FROM THE OTHER SIDE and SOUTH (Akerman, 2002 and 1999)
Icarus Films, DVD, Release Date April 17, 2012
Review by Christopher S. Long
(Chantal Akerman celebrates a birthday on June 6. I'm celebrating her work with an Akerman A Day the rest of this week.)
In her documentary “From the Other
Side” (2002), Chantal Akerman tweaks the old saw “Show, don't
tell” to “Show OR tell.”
She keeps the two distinct. In show
mode, Akerman's camera glides gracefully along the dusty streets of
a Mexican town, or sits implacably still as children play baseball in
an open field, with only ambient sounds as accompaniment. In tell
mode, the Belgian auteur turns her attention exclusively to her
subjects who are framed in modest, static shots as they relate their
unadorned stories about the perils of crossing the border into
America. No further illustration (save for wisps of a classical score
in an opening interview) is either allowed or necessary; testimony is
a cinematic event unto itself.
The film begins on the Mexican side of
the border as a young man talks about his older brother who was
abandoned by coyotes (paid “guides” who smuggle immigrants across
the border) to fend for himself in the Arizona desert. Later, a woman
speaks about her son and grandson who died during a crossing.
In this latter shot, Akerman and her
crew are visible in the reflection of a television screen, and an
off-screen voice asks a few questions in Spanish, but for the most
part, the director cedes the stage to her subjects. Combined with the
tracking shots through town (one virtuoso shot trails a long line of
traffic at a border checkpoint, then peels off at the last second to
remain in Mexico), Akerman assumes the persona of a visitor who is
probing the surface with the keen eye of a trained observer, but also
with the humility of a stranger who cannot claim any sense of
authority over complex matters or the subjects who know their stories
best.
The film provides eloquent witness to
the perils of turn-of-the-century U.S. Immigration policy which made
it more difficult for immigrants to get into cities like San Diego,
with the side-effect of forcing them into far more dangerous
crossings in the Southwestern desert. But Akerman isn't presumptuous
enough to offer solutions to intransigent issues that have vexed
locals for decades. She is there to record, with a sense of
melancholy and compassion, the attitudes of people on both sides of
the border. Later in the film, she hops over to Douglas, AZ,
speaking first to the Mexican consul, then later to a sheriff who at
least provides the impression of a balanced attitude towards “the
problem” though whether he's playing nice for the camera is harder
to say.
Akerman could take the opportunity to
underscore the parochialism of an Arizona couple who expresses some
outsized paranoia about the immigrant population, but the choice to
let them speak for themselves is eloquent enough in its own right.
I've read some complaints about Akerman not providing enough “facts”
for an in-depth analysis, but I'm not sure how the first-hand
testimony of bereaved relatives and Arizona residents doesn't qualify
as “fact.” The director isn't out to shoot a “60 Minutes”
segment. What she has provided instead is a sober, stately and
respectful portrait, and if she resists overt commentary, the somber
tone suggests that she most certainly has an opinion on the subject –
just no cheap “click on my website” style solutions to offer.
Akerman is even more self-effacing in
the documentary “South” (1999), provided as a bonus on the second
disc of this set from Icarus Films. She planned a “meditation” on
the South, but the film changed its focus when James Byrd Jr., an
African-American man, was chained to the back of a pick-up truck and
dragged to his death by three men claimed to be white supremacists.
The murder shook the small town of Jasper, TX and, far too briefly,
the rest of the nation.
Akerman uses a similar strategy as in
“From the Other Side,” employing tracking shots through town
(including one that may be a retracing of the pick-up truck's route)
and no-frills interviews with locals, as well as a lengthy sequence
filmed at Byrd's funeral service. The facts are shocking enough, but
I let out a gasp when one African-American woman noted quite
matter-of-factly that there “isn't as much lynching” as in the
old days. Not as much, mind you, but still some.
Video:
Both films are presented in 1.78:1
anamorphic transfers. “South” is the weaker of the two transfers,
suffering from mediocre image detail throughout, something visible
even in the first shot as the lettering on a church sign isn't in
sharp resolution. However, the transfer is acceptable enough that it
doesn't interfere with the viewing experience. “From the Other
Side” fares better. Image detail isn't exactly razor sharp and the
colors are a bit wan at times, but overall the picture is solid
enough to do justice to the director's painterly compositions.
Audio:
The Dolby Digital Stereo tracks aren't
particularly dynamic, but the ambient sound on the tracking shots in
“From the Other Side” is deep enough to convey the desired
effect. I had a problem with the volume level on “South.” No
subtitles are provided and I needed to crank the volume to double the
normal level to make out all of the dialogue. However, that's a minor
enough issue. English subtitles are provided (and are non-optional)
for the Spanish dialogue (but not the English) in “From the Other
Side.”
Extras:
The films are housed on separate discs
in this two-disc collection. The disc with “From the Other Side”
includes a five-minute clip from Akerman's magnificent film “From The East” (1993), also released by Icarus a few years ago.
Otherwise, there are no extras.
Final Thoughts:
While we might all hope for more souped-up releases with restored
transfers and piles of extras, it's fantastic that Icarus has now
released three of Chantal Akerman's recent and lesser-seen documentaries. I
wouldn't rank either of these with her phenomenal “From the East,”
but that's a tough standard. “From the Other Side” and “South”
are excellent additions to anyone's library.
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