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Supervising director lucien kill his Taylor (" vetiver grass, "" leviathan"), in the sensory ethnology laboratory projects (including Li Kaiqing dina Cohen and JP Sniadecki bold, a single "people park") have all ask for immersed in a foreign audience, stimulation of the environment on the feeling, the possibility of freedom at the same time try to formal documentary film. In "leviathan" is the same as the line between the producers and their subjects deliberately blurred, as a small digital camera, a dozen people pass between the cast and commercial fishing boat crew. Here, said itself in a seemingly strict remain confined to its location and a single (though mobile), or even more stubborn camera equipment, 16 mm film shot in 400 - foot - long enough to catch a cable car in the magazine of the one-way trip about 10 minutes.
Number will be easier, but given the "Manakamana Ş run is one of the themes of the tension between the ancient and modern, its decorate, spraying and the les choice, to make the film almost obsolete format (digital projection) in most venues will be necessary, click click click the score with electric cable car itself hum, the shutter of the camera. Up, up, up, and they went, down, down, down, they came to the villagers in traditional costumes, young people in the modern graphic t-shirts, and even the strange foreign visitors (much like their producers). Each journey to exert its full cable car leaving a station, and its arrival at the end of the other, almost imperceptible fade black a set of drivers unload, another climb aboard. In fact, people who never know - what - will appear in the passenger seat.
From a distance, the film seems very easy, and if the spray and the les simply go out one day, in his lift Manakamana express, and report their results. As of the closing, it reveals the chassis of a more complex system than many script function. A trained ethnologist, born in the United States spray has been living and working in Nepal since the late 1990 s, with Mr Rice took a long due date more and know the local people in the village, "casting" theme of the film, relying on their comfort and film producer, can effectively "play" itself is not the existence of the camera and the crew caused some audience for spray and Mr Rice did not even appear in the process of filming in the cable car is a distraction.
However, all of its operations and self-handicapping, "Manakamana" is a broad, complicated and surprising nifty. Spray and bei some subjects les stoically in what to say in front of the lens (nearly 30 minutes pass before the first line of the speech). Others, like the three old man a Shared by his wife, chatted, their life and landscape here through a real storm. Some observe different passenger: unity the corn fields of dashan, before that have house clusters; Old admirers use trek to the temple, when I come back take several days of journey, rather than minutes. It is the secret of a film, and these landmarks in the very great degree framed close-up images, but we formed a vivid image, what they have to be like.
Some comments on the cable car itself, look be like cable from the illusion of pressure at high altitudes, a person's ears. The construction of the cable car, and then boot into an impromptu music number two plug range player even offers a brief history. In a sequence, are pure magic, two women came back from the temple swooping a couple of rapidly melting ice cream sandwich set a to disarm. Another man, however, two times (up and down), in a very short moment gazing at his watch some of the audience, the film did not feel is very special, but the pace of hypnosis, is likely to be doing the same thing - a wry smile, joke, a happy surprise, or both.
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