Pigeon eggs are on the one side of the window, and iguanas are on the other. They’re supposed to make a delicious breakfast, but at some point, we’ll find out that this older man named Iggy has run out of teeth and has to settle for a squirt of avocado puree, which sounds good to me, thank you very much.
Her name is Iggy, and she is Panahi’s pet who catches lizards as he roams his expansive Tehran apartment, sometimes searching for the solitude of the carved room under the cupboards.
Panahi’s focus shifted with the arrival of his aged mother, who was wearing a suit just steps from Chernobyl. He sprayed disinfectant on everything he saw. He doesn’t care about iguanas but seems to enjoy visiting his son and daughter-in-law. At first glance, this is a documentary, but at times it seems too organized in terms of content and composition to have a bit of uplifting truth in it.
Chen directed the more famous fiction:
This seems to be fiction, as a couple (Zhou Dongyou and Zhang Yu) are restless and bicker in a cramped Tongzhou apartment. As they try to feed, keep their little ones busy. And of course, be protected during the lockdown.
Vital used animation and face/selfie footage to collect real-life Californian Bobby Yai Yai Jones. She wasn’t separated from her three children directly by Kovid. But a rather late court appointment and other complications left them in a foster family and later with relatives.
Still, to her, they were usually just small rectangles, their words and faces freckled.
And they have turn off their Technological limitations. In New York, Poitras (who won an Oscar for the documentary Snowden) is investigating the idea of ”digital violence” by Israeli cyber-weapons. The companies using less surveillance technology to prosecute Covid than for nefarious purposes.
We saw some animated graphics, lots of expert commentary on zoom. And repeated footage of police and Black Lives Matter protesters preparing for an off-camera flash.
In Santiago, Sotomayor is followed by a mother and daughter (Francisco Castillo and Rose Garcia-Huidobro). Who travels to the state border police and many rules and regulations to see their daughters/sisters and new babies. Mom’s only consolation seems to be singing in her greenhouse. Lowry tells the story of a Texan woman (Catherine Machowski). Who lives in her truck and an Evil Dead 2 sleeveless T-shirt.
By reading old letters filled with heartbreaking fatherly praise for her dead son – and an unmarked grave map. Finally, in Thailand, Weerasethakul found majesty in silence. When he placed a row of lamps over a bed with a white sheet to draw a group of insects and contemplated their buzzing. Which soon began to sound like distorted human voices.
In general, the Eternal Storm is often poetic:
But more often, it hurts. Some directors are tackling the pandemic and putting themselves straight into quarantine to get the empathetic effect right out of Being There. At the same time, Lowry uses a face mask. As an excuse to take a deep breath in a horror film on the soundtrack.
While a flashlight is a storage device like a spaceship left pierced full. With evil monster eggs in aliens. Both the direct and indirect approaches worked. And each director created a different mood that suited the time and the place we were in past two years ago, and now we’re stuck.
Panahi creates the necessary comedy through his mother, which is also great for one touching moment.
Chen finds support ineffective melodramas. The combination of Vital’s clever animation and crazy selfie images subtly explores the pain of its subjects.
Poitras’ appearance was a bit dry, but it created an eerie atmosphere as he wondered who was watching over whom in this new world. Sotomayor reflects on the dull pain of long separation and tries to find moments of beauty and connection, both in an increasingly tight context.
And Weerasethakul, well, talented director Uncle Bunmi who remembers his previous life makes you wonder how long you’ll be staring at the bug, and the answer is long enough to make you feel like you’re out of this world. Sure, the Eternal Storm can be uneven, but it reminds me why all these directors are considered writers.
Panahi and Uirasetakul are the best here, the former deep in its directness and the latter deep in its idiosyncrasies. It may be wise to defy widespread views of the pandemic. Which is not over yet, and so we should think of these shorts. As nothing more than individual reflections under the same big roof. Everyone here has something important to say or consider.