88:88

88:88 ★★★★★

"...it was like the universe being broken down into molecules.."

For me, a work so utterly inspiring and so TRUE, so informed by philosophy yet so far from theoretical. Everything is informed entirely by experience. It's political yes, but unlike so many other films this is built from the ground up; the politics are just a consequence. Broken down to pieces, this is a movie about a person, his friends, and how much he loves them. And yet watching this intensely emotional experience again, I realized that no other film to my mind, from beginning to end, treats cinema as a language itself. It is important to realize that in 2015, cinema is a language, and the predominant one the world over.

Is is a documentary? Is it a feature? Both and neither: it is cinematic. IT's a term but a necessary one, one that seemingly has no meaning because it always has to be justified, which is why it is a good term. Like this film and like this 120 old medium itself, it is finding and breaking new ground.

"But aren't these political questions? Not being able to have a home?"

They are, but these are never reached through theoretical means. We are always on "ground-zero," we are always "effects," not causes. Repercussions wouldn't fit either, because again causes are nowhere to be found. Just the effects on a community, and on a "moral" level, the effects should alert us to the causes regardless. It's important to mention the lack of spacial geography in this picture. Nothing "connects" in the classical narrative sense. This is because we are with the people 100%. The spaces do not fully matter, this is a movie about a persons friends. What does connect: every shot. I haven't seen a film where I've sensed so much excitement over what happens when one shot is juxtaposed with another. Everything is a association, everything is for a new idea. And yet the film addresses when new ideas or forms are not necessary! It's one of the most beautiful moments in the film. The narration gives us something approximating that question, followed with a shot of Myles staring up at a treebranch.

The movie is dominated by the idea, mentioned by some already, that those living in poverty live in suspended time. We end up with some images I've never even seen, probably created on a computer, one of which is the seeming digital creation of a space on a grid, and a sound follows the addition of each block. We hear that sound again when we see his brother Avery walking in the snow, and with this sonic association in this suspended time we infer that we ourselves are stuck on a grid, moving but every move seemingly predetermined. And this repeats itself within the eventual repetition of shots near the end of shots we had seen near the beginning. Birds and dust for example, initally they had seemed a juxtaposition made for sheer grace and aesthetic beauty, but as the images repeat, the meaning is changed: these birds and dust are free in a way that we currently are not. These reveals, these shifting of meanings, this is a sophistication extremely rare in contemporary cinema. But at the same time saying what is "for cinema and not" is reductive for a work like this. This was not intended to express sophistication, this is a work from the heart, for loved ones. The sounds of the grid follow Avery even as he sits in a car. Yet it's hopeful. We see old structures, left behind to rot by capitalism..but who's to say these structures can not be re-made, re-thought, re-constructed because it went through cinema? For me, they look like pieces of a Roman Coliseum. This was a film that was thought of frame by frame, and sound by sound.

"There's no justice, just-us.

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