*This traveling has got me losing my mind* The snails and the flowers between maps and scratched photographies. Storytelling as gardening. Cutting the dead parts, putting them aside and assembling something delicate & beautiful out of the leftovers. I keep thinking in the sadness of Aya’s father when he has to leave the wounded car in the parking lot. In the image of Tokyo from the airplane. You can’t come back.
Gezip gördüğüm yerlerin 30 sene önceki halini görmek çok nostaljik geldi. Filmde kullanılan eski kareler de yeni çekilen görüntüler de huzur ve dinginlik verici. Savaş gibi vahim olaylar bile usul usul ama yıkıcılığını ortaya koyarak işlenmiş. “Büyük” meselelere değinmeden hayatı ve hepimizin yaşadığı duyguları anlatabilen keyifli, sakin bir film.
A gardener who gleans images mainly from the Mediterranean region and whose perspective on the visited (and driven through) topoi blends personal feelings and experiences with stoic commentary on the civilization's state of being. Aya Koretzky brings forth her father's photographs with all their decay, creating thus a sort of hyperreal evocation of memory and imagination before the film climaxes in a sublime finale.
Those first few minutes of Koretzky grabbing a shovel and walking among trees to his back garden to dig up a box of photographs is literally him unearthing his past of a collection of old polaroid photos that are then told to us in slideshow of a journey around the world in a beat up old car. Looking like it's been recorded in the 70's it's an experience of finding out who you are in travelling and gaining a family.
The film texture gave me the sense that the movie was shot during the 70s. It really drew me in. Soundtrack provided a soft feel throughout, guiding me into a different world, a more modern Western world via the sounds of classical composers. The inclusion of so much nature highlighted the discussion about modern cities and the absence felt within them.
Película con fuertes tintes poéticos, con cierto parentesco con último cine Mekas. Una historia sencilla, de un viaje realizado 50 años atrás, sirve a la directora, para reflexionar sobre el paso del tiempo, y construir una poética minmalista, donde se juntan las imágenes de fotos tomadas por su padre en aquel lejano viaje, junto a composiciones de planos fijos, con el tema excluyente de las plantas y flores.
A melancholy and nostalgic film which made me think about the power of the still image. A thoughtful meditation on the passage of time aided by a poetic diary from the father. However, it deal feel unnecessarily slow (a snail on a globe) at times, and I wasn’t enamoured of the very staged scenes in the present day. And the photographs at 90 degrees hurt my neck and seemed pointless.
I felt that the filmmaker wanted also to take a journey that she couldn't quite pull off, so she stuck with her father's journey and made a lyrical film about his memory. Still I felt questions unanswered. The photos are beautiful, and I especially liked the material of her father gardening. For me the film needed another layer.
Essa fascinante viagem ao redor do mundo em tempos pré-instagram e redes sociais traz o fascínio e a nostalgia por um tempo em que as coisas pareciam mais reais, mais palpáveis. As fotos reveladas em filme, imperfeitas, sem filtros, mas com olhar certeiro se somam a uma narrativa em off que parece saída de um romance de formação, com todo intimismo da literatura japonesa. Bela jornada pra se fazer do sofá de casa.
The world opens up to anyone who looks, even to those with the smallest of purposes. Could rank among the great still photography-based films. A document of a document, reframing the question of "why do we take pictures" over and over again till you don't care that there's not a precise answer. Inanimate objects (the car) and animate objects (the plants) blend together. This is getting lyrical.