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Cinema Scope | Shadow of a Doubt: Andrea Bussmann’s Fausto and Lina Rodriguez’s Ante Mis Ojos

By Demitra Kampakis

Now more than ever, the perilous state of our dying planet and its precarious international panorama demand a seismic reexamination of how we’ve engaged with the world, and the ways through which capitalism has ushered in society’s geological, moral and religious rot. As our environmental anxieties increasingly shift into existential ones, one can’t help but look to the previous as a approach of questioning how the heck we received right here, and scrutinize the forces underwriting our moment of despair and decay.  Consequently, the natural want arises to need to perceive the origins and implications of this decline—and doing so means delving into the complicated philosophical, historic, psychological and literary tapestry that is the human experience. It’s this tapestry that synergistically informs Canadian filmmaker Andrea Bussmann’s solo 2018 directorial function Fausto (Faust), lending this modest , meditative brief function an air of immediacy, relevance and urgency.

Utilizing the classical, semi-autobiographical and much re-interpreted German legend of Johann Georg Faust as her connecting thematic tissue, Bussmann turns her lens on the denizens of a small Oaxacan coastal town, whose apparitional fables and local legends are the glue that connects previous and present—a present that for them continues to be defined by the specter of industrialization and enlargement. To deal with these modifications, tales of witches, shapeshifters and the like have permeated the inhabitants’s collective consciousness throughout the centuries; their ubiquity at the moment informs both these native peoples’ ancestral roots and their modern cultural id.

Embracing these chic stories of the supernatural allows Bussmann to boost questions concerning the limitations of the tactile world and the follies of our selfish, superficial engagement with it—and as a result of this engagement relies virtually solely on what’s concretely seen, the visual advantages afforded by the cinematic medium permit Bussmann to further drive residence this point: by forcing us to reconsider our own limited scope of imaginative and prescient on this approach, Fausto attracts a potent distinction between notion and information, whereas simultaneously throwing into doubt our static notions of the borders between actuality and fiction, visibility and invisibility. Paradoxically, the movie’s infusion of historic native folklore anchors its quasi-documentary critique of capitalism to present-day Faustian themes, resulting in an experimental rendering of the basic parable that examines Western civilization’s legacy of colonialism and exploitation. The celestial mythologies and oral traditions that have passed down by way of the generations of these colonized individuals–and type the bedrock of their social material–serve as a stirring, mercurial testament to this legacy.

Fernando and Alberto, pals and co-owners of a small beachside bar, wish to broaden their institution. They enlist the help of Zaid, a cartographer and translator, in addition to their pal Victor—and we quickly come to study that this enlargement threatens the last piece of land within the space that when held a witch’s den. They recall a memorable encounter that they had one night time with a French nobleman, who approaches the two proprietors in search of employment and shelter. With nothing to provide them as collateral, the person leaves behind the one possession he has: his shadow. Someday following the Frenchman’s sudden disappearance, Fernando and Alberto vow to seek for his shadow each night time; so struck have been they by the impression this beguiling man left behind.

In Goethe’s epic poem of Faust, this shadow is personified by Mephistopheles, a devilish, handsomely charming figure that approaches Faust with the promise of unlimited information, hedonistic pleasures, and worldly experiences. Faust, having reached the peak of skilled success yet still disillusioned by the boredom of life, accepts this wager and forfeits his soul in return. Though the business ventures of the film’s four foremost subjects paint every one of them as Faustian to a point, it’s by means of their stories—notably the one involving stated Frenchman—that the film’s most specific and potent references to the literary fable come into play.

Within the centuries that followed the publishing of Goethe’s poem, quite a few iterations of “Faust” have appeared all through classical artwork and pop culture, although one constant that is still is the parable’s fixation with nature as a approach of helping us understand ourselves and our place on the earth. Here too, nature serves as a elementary bridge to the past; a lens for introspection; and a humbling reminder that we are but one tiny dot in a much bigger, immeasurably stellar, grand design. Bussmann was additionally impressed by Gertrude Stein’s adaptation of the poem, which presents know-how and modernity as direct foils to enlightenment, and as with Stein’s version, the appearance of a man-made mild in her movie serves as a visible marker of capitalism’s burgeoning corrosion. As a result of Faust is unable or unwilling to understand the universe’s cosmic sense of belonging and obtain this religious harmony, he mockingly fails in his very mission to unlock all its mysteries and kernels of information. This rejection of nature precipitates Faust’s ethical vacuity previous the point of redemption—which both the movie and its literary predecessors argue is the logical end result of what happens whenever you make a cope with the satan and compromise one’s values and sense of group for material comforts. It is this egocentric temptation to abandon what’s virtuous and for the higher good, in favor of what is straightforward and immediately gratifying, that has plagued the human experience for millennia, and Fausto’s reverence for nature and the animal kingdom is Bussmann’s approach of reminding us of the fallacious hubris in making an attempt to include Mother Earth and domesticate her youngsters in line with our myopic and ignorant whims—the results of which we can be grappling with for centuries to return.

Whereas the film presents nature as an ephemeral, enigmatic corrective to the human situation’s shortsighted recklessness and self-destructive greed, its fascination with the immaterial world—verbally communicated in local mythologies and visualized via long, brooding photographs of natural vistas—emphasize the ethical lessons to be gleaned.  Indeed, upon first viewing the movie, I used to be flummoxed as to how tales of witchcraft and wizardry might probably function (prominently, no less) into a documentary, by which tales of black magic and animal telepathy are delivered with the same matter-of-factness that’s used to speak random snippets of native history or scientific nuggets of wisdom about horse blind spots. It isn’t till the movie’s second half that Bussmann’s recurring motifs and motivations begin to really crystallize, when the delineation between reality and fiction, science and storytelling, and the fabric and immaterial world has utterly dissolved.

Borrowing closely from lore and anecdotal gossip, Bussmann buildings Fausto round scripted interviews with precise residents that she wrote herself, save for one with an American expat. Speaking in Lebanese Arabic, French, English and Spanish, these topics regale us with every part from charming musings on regional curiosities (the zoo of completely blind animals headed by a one-armed zookeeper who solely ventures into city at night time for worry that he’ll see the shadow of his severed arm); to historical legends (the story of how Christopher Columbus stole the moon utilizing the knowledge gleaned from an almanac); and stranger-than-fiction local trivia (how the display of every tech gadget turns black on the seashores because of the high iron content material within the sand); to outright fanciful yarns about ghosts, spirits and shadows which might be the stuff of city legend—and this framework permits the film to thematically invoke “Faust” with out immediately adapting it to the display—to say nothing of how forgoing the use of actors in favor of actual residents (save for maybe the omniscient God-like narrator whose presence informs the movie’s deified ambiance) permits the movie to nonetheless technically fall beneath the purview of documentary.

Certainly, shadows—that liminal area between the recognized and the unknown, between the tangible and the evanescent (which might arguably be thought-about human blind spots)—are maybe the film’s most compelling motifs. They occupy the strain between bodily and psychic areas—when asked concerning the film’s use of shadows in an interview with MUBI, Bussmann replied “it is the invisible that makes the visible possible”—and Fausto elegantly navigates this rigidity by way of the near-total darkness of its imagery; shot principally at night time, with frames that always linger on barely discernible coterminous landscapes and the nocturnal sky, in such a means that the out-of-focus specks of mild we see might or is probably not stars, or they could simply be eye floaters. Although Bussmann shot the movie with a Sony A7 digital camera—recognized for its high resolution in dark environments—she transferred her work onto 16mm film, and the outcome provides Fausto’s visible palette a bloated, faintly blurry lo-fi aesthetic that brings to thoughts grainy 20th century ethnographic footage.

This metaphysical fixation with shadows helps explain the film’s obsession with obstructing our visible readability—subjects too are often barely illuminated by candlelight—by forcing us to reconsider what’s actually in front of our eyes. Although this will likely make for a visually destabilizing and impenetrable viewing expertise, that is all according to Bussmann’s personal grand design, which urges us to simply accept that certain issues in life merely cannot be rationalized. And just as really nocturnal animals can’t be domesticated, we can’t include what we can’t see–we will only respect and respect it. Fortunately, Fausto isn’t thinking about being contained, as an alternative choosing to thrive unencumbered in a type of otherworldly register—an astral aircraft so to speak—that seeks to dismantle our materials development of the world in favor of a more holistic, expansive and divine strategy. The identical might be stated for Bussmann’s personal craft, for though Fausto is ostensibly billed as a documentary, she liberally toys with the form to supply an avant-garde hybrid between anthropological super-Eight reels and art-house cinema that largely operates outdoors the slender margins of human visibility. By challenging our visible interpretation of the film and upending our expectations of what a documentary could be, Bussmann forces us to rethink the genre’s parameters, not to point out Fausto’s lack of outlined boundaries is itself a meta-commentary on the film’s recurring themes of fiction vs. actuality; the dualities of existence and notion; metamorphosis and mutability—themes that she beforehand visited in her Kafka-esque Tales of Two Who Dreamt (2016). Together with her first function solo outing, Bussmann brings a mystical and metaphysical gravitas to what is not only a celebration of nature’s wondrous abstractions, mysteries and ambiguities—but in addition (and extra importantly), an act of wistful, ruminative mourning for a weak planet and its communities that is each timeless, and uniquely plugged into the current second. At one level in the movie, the narrator declares, “shadows are uncontained memories”. If that is true, then Fausto’s dissolution of the boundaries inside both the cinematic medium and the bodily world ought to present probably the most handsome canvas for these reminiscences to roam free. The query that is still, nevertheless, is whether we’re even able to faucet into them, and for the moral reckoning they’ll convey.

Visible obfuscations, aural ambiance, the elasticity of perspective and the lingering presence of what can’t be seen additionally find a residence in Lina Rodriguez’s tranquil Ante Mis Ojos (2018), a religious cousin of Fausto that takes an illusory take a look at Colombia’s Lake Guatavita; considered the inspiration for the legend of El Dorado all through the centuries.  Like Bussmann, Rodriguez makes use of grainy footage, atmospheric sound design and local parable as context to current an allegorical view of the paranormal marriage between nature and fantasy, and the area that occupies earthly transcendence.  On this area, even vacationers can appear to be phantom wanderers.