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Freedom(2000)<br/> (ReportDeadLinks)<br/> Rating:6.1/10<br/> Runtime:96<br/> Language:French,Berber<br/> Country:France|Portugal|Lithuania<br/> Color:Color<br/> IMDbLink:<ahref="https://www.douban.com/link2/?url=http%3A%2F%2Fwww.imdb.com%2Ftitle%2Ftt0255177%2F"target="_blank"rel="nofollow">http://www.imdb.com/<wbr/>title/tt0255177/</a><br/> Director:SharunasBartas<br/> Cast:<br/> ValentinasMasalskis...TheMan<br/> FatimaEnnaflaoui...TheGirl<br/> AxelNeumann...TheOther<br/> CoreyLarge...Soldier<br/> Description:<br/> AdrugtraffickingoperationfailsandtwomenandalocalgirlareleftashoreontheMoroccanCoast.Theywanderwordlesslyintotheinlanddesertinsearchoffood,waterandshelter.Whenthetwomengotheirseparateways,thegirlislefttofollowoneofthemdeeperintotheabandonedlandscapes.Althoughtheysharenocommonlanguage,atranquilbondgrowsbetweenthegirlandthemanshechooses.<br/> Ahandfulofstrangershopingtofindfreedomdiscoveritisnoeasyquarryinthismetaphoricdrama.Fourpeoplestandneartheshoreofaseasidecommunityandboardasmallboathopingtosailaway;theyaresoonattackedbyborderguards,andoneofthemdoesnotsurvive.Thethreeremainingsailors--twomen(AxelNeumanandValentinasMasalskis)andawoman(FatimaEnnafloui)--washuponthebeachofanislandstrewnwithrocks.Noneofthemspeakthesamelanguage,andtheystruggletomaketheirwayontheunforgivingcoastline,oftenatoddswitheachother.Theyfindtheyarenotaloneontheisland--anArabsettlementandacadreofsoldiersarealreadylivingthere;themilitarymenattackthem,andtheArabsrefusetocometotheiraid.Freedomwasshownincompetitionatthe2000VeniceFilmFestival.<br/> Avoicefromthefrontierofbothpost-post-industrialcivilizationandart-filmreductionism,LithuanianfilmmakerSarunasBartasmaybetheultimatelitmustestforhardcorecineastes.Hisfilmsrepresentapolarcapofinhospitablecinematicordeal—theywithholdorthodoxpleasuressostrenuouslyyouimaginethefilmmakerasamarchingascetic,disgustedwithadecadentmovieworld.ABartasfilmrarelymoves,andisneverhosttomorethanafewmumblingmomentsofinconsequentialdialogue—youarrivelongafterlifehasalreadywounddownintohopelesssilence.Strippedofeventhebaresteffortstowardnarrativeandcharacter,Bartas'saestheticalsocallsforthespectacularcaptureofnaturaldesolation,whetheritbethehovelsofLithuaniancapitalVilnius,ortheSiberianSayanMountains,whereTofolarnomadsstillhunkerdownamidthereindeerdung.<br/> ImmersionintotheAnthologyretrowillknee-jerkedlybringSokurovandTarkovskytomind,butthey'replansequencesong-and-dancemencomparedtoBartas,whosuggestsbothGodard'srecentwatchfulnessandHerzog'sdevotiontoextremelandscapes.Thefilms,startingwiththesemi-docfeaturetteTotheDayPassed-By(1990),furtherskirttotalsensorydeprivationbywayofextraordinaryambient-layer-cakesoundtracks,seethingwithdistantvoices,windroar,mechanicalwhitenoise,pin-dropminutiae,andthedespairingwheezeofrelentlessexhalations.Bartasiswhollyconcernedwiththedire,sun-crystallizedlocationsthemselves,andthequalityofeternaldowntimespentintheplanet'sforgottenvalleys.<br/> AzombifiedportraitoftheVilniusstreetshauntedbyashamblinghomelesshulk,ToTheDayPassed-Byisanethnographicnightmare—fewplacesonEarthareasbombedoutbyindustrializeddecayasex-Sovietnations.(Onestartlingsequencewatchesamassivequeueofcoatedfiguresfilingintoadoorway;onlyafterseveralminutes,whenacarpassesintheforeground,areweshakenfromtheDeChiricoweirdness.)AnditlookslikeeverythingyoueverthrewawayendedupinLithuaniaassecondhandgoods.Bartas'sfirstfeature,ThreeDays(1991),isaseverestumblethroughVilniusbytwoguysandasinglegirl(KaterinaGolubeva),whotryandfailtofindasuitableplacetofucknearthebusyyetdissoluteBalticharbor-works.We'reneversurewhatthey'researchingfor,butthere'slittleelsethiswind-blastedaussereuropahastooffer.<br/> GolubevaisinnearlyallofBartas'sfilms,but,giventhedirector'sminimalism,sheismoreofacompellinglyemotionlessvisagethananactress.(Itissurprisingthat,basedonherworkforBartas,LeosCaraxcastherinPolaX,andevenmoresothatsheactedupastorm.)Sheisliterallyair-droppedintothecenterofBartas'sbestfilm,FewofUs(1996),materializingfromahelicopterontoahugehilloflooserocksittakesafullminutetotreacherouslydescend.WhosheisorwhysheisinfiltratingtheTofolarsintheirremotevalleyaremerelythefirstquestionsBartasisdeliberateinneveranswering;whenafewdrunkenvillagerseventuallycloseinforarape,themoviecutsawaytothegelidexteriorsagain,andwhenwereturntheconfrontationisover,withastabbedbodyslumpedonthefloor.Outside,thetreescreakinthewind.<br/> Bartasmaybebuildingthebitterestcareervisioninfilmhistory.Hisfirstfourfilmsarecenteredsquarelyontheanomieofpost-Sovietdestitution—theirspecificityistheirvindication—buthislatestfilmsareadifferentstory.TheHouse(1997),co-writtenbyGolubeva,isameanderingtourofadilapidatedmanorfilledwithsymbolicnonsense:ahugelitterofpuppies,anoldmancultivatingamini-graveyard,acrowdofnakedchildren,andsoon.(Caraxshowsup,too.)Nudgedintoapretentiousmodernism,thefilmmaker'srigorousstrategyfallsonitsinexpressiveface,andBartasseemedtorealizeithimself—heculminatesthemoviewithanindulgentlyTarr-like,room-to-roomtravelingshot.Freedom(2000)isBartasreassertinghisperspectiveinwhatbeginsasanalmostfullycontextualizedadventurestory:twomenandawomanstrandedintheMoroccandesertafterasmugglingtripgoesawry(thatsingle,distantlyobservedscene,withthecoastpatrolboatfiringawaywhilebothboatsnearlycapsizeinroughseas,isoneofBartas'smostbreathtaking).Speechisauselessrecourseinthisdangerouslygorgeousterrain,andthestarvingcharactersjoinusinsimplykillingtimebeforetheearthswallowsthem.ThatmaybeBartas'sessentialidea:Thewaitingisthehardestpart.<br/> Insofarasthisslow,visuallystunning,determinedly'poetic'filmhasastory,itconcernstwomenandagirlwhoalightontheemptyandwindsweptMoroccancoastafteradrugtraffickingoperationgoeswrong.Separatelyandtogethertheywanderthedesert,tryingtosurvive.Itwouldbeeasytodismissthisalmostdialogue-free,enigmaticpieceaspretentiousnonsense.Certainly,theportentoustitlesuggeststhatwriter/directorBartashasallegoricalaspirationswithregardtothehumancondition,butthefilmsimplycannotsustainthem.It'salsoarguablethatthepictorialismandmiserabilisttoneareself-consciousandstudied.DisregardthisunfortunatetouchoftheTarkovskys,however,andyoumayjustsuccumbtothemesmerisingmood,inwhichcasethereareepiphanieshere-gulls,waves,crabsandflamingos-tosavour.<br/> Anextremeborderlandmovie.Onlyscenery,soundsandlessthanhundredsofwordsspoken.ThisisthewayinwhichBartasshowsusthedesperationofthethreeprotagonistsandheleavesittothepublictoponderoverthemeaningoftheirlives.Thefixedcameradoesnotfollowtheactors.Thedirectorletsnaturespeakforthem.ItisnotaneasymovieasBartasoptstopersonalisetheperceptionoftheuniversewithhisatypicalmethodofnarrativedirection,butintheendhemanagessomehowtocapturefigmentsoftheinvisible.
