Gun, with occasional music
Entertaining enough but suffers from an overabundance of plot lines—this probably should have been three movies (or a television series) rather than one. Its episodic tendency makes the film, on the shorter side by mainstream South Asian standards, feel much longer than it is. Furthermore, the preachy eleventh-hour critique of the social conservatism driving what I guess amounts to the story’s central conflict was welcome but also seemed like a last-minute attempt to wring a Message out of a film that otherwise signals no desire to question what it depicts. The subsequent finale, while bold, thus feels unearned.
"They tell me I should be always searching. But I am only celebrating what I see."
"Just watch these images. Nothing much happens. The images go. No tragedy, no drama, no suspense. Just images. For myself. And for a few others." - Jonas Mekas
Such a warm and joyful film that (despite its epic length) never tries to be more than it is. Mekas comes across not as an artist who lives for art, but rather as one whose art comes out of a life well-lived.
It's a little ironic that, compared to À bientôt, j'espère, the film with at least a dozen times the number of credited co-filmmakers feels more distinctively Marker's. Or maybe not; Letterboxd, IMDb, and a cursory Google search all credit Marker alone and not the Medvedkine Group as this film's director, but that's not what I understood the title cards as claiming. Although perhaps it's a matter of the production mirroring it's subject matter, with an exploration of collective action (the…