“I’m filming this trip for you.” Something is not wrong with the set, is met. It is the harmlessness of the word “journey”, his inner kindness. Bright as the Blue of the sea. Travel we know, finally, all of you, think of verkochte Board menus, neck support, happy children on the Tablet. With the travel the holiday starts. However, if the rate falls, kicking hundreds of people full of fear of Lesvos in the bright blue sea. The speaker, the Alzakout Syrian artist Amel, but has not told the truth: she is filming. With a under water camera she’s holding, such a trip can look like in the 21st century. Century and how it ends, unfortunately, often.
“The purple sea” is a radical Film, video art, poetic Requiem shocking and authentic documentation at the same time. It differs greatly from all the reports, the committed film-makers have turned to boats of the dgzrs, and in the best case, subjective objectivity of reach. Here it is from the first to the last second of objective subjectivity, “perspective” in an inescapable Form. And this is transmitted almost without loss. The effect of a wreck, to the one witnessed in such a way, is massive. It shows – and is similar also in the case of Schopenhauer, that empathy is nothing, for or against the you decide, no do-gooders virtue, but deep anthropologically anchored, a vulnerability that makes us human, and the civilization to civilization. Who is not sympathetic to your plight here, must be a stone.
Look at would be the wrong Verb for the reception of this film, shot in a single setting, namely at the wrist was recorded; unintentionally, such as Amel Alzakout in Interviews said: you have not switched off during the break up of the boat the camera. You have to expose yourself to the 66 long minutes instead. The picture and sound are not a torment, since the light help colors. Dramatically chaotic, it’s happening already: The horizon of the head, apparently kenterndes Boot is inclined to see. Then a Hand is located directly in front of the lens, a swimming screams, the Shrill of the Notpfeifen vest, and Distortion to fill the sound track. All of a sudden it is quiet, deceptively still, because behind the Bubbling sound of the screams and whistles are still listening quietly.
The uncertainty between life and death
The camera is under the water surface where they are most of the time: legs in sweatpants as you can see, a other Hand, floats through the image, with a Ring this time, jeans legs, cords and belts, sneakers, a cell phone in a waterproof case. So it now goes for a whole hour (actually, the shipwrecked sailor driven on the 28. October 2015 four hours in the water). And the camera breaks the water’s surface, captures the impressions of people who cling to the boat remains. To is a work of art of recording by the Move to a further level. From the Off, the Director is reduced to us and to himself, but strong in effect. In times melancholic, at times defiant sets, she reflects on Childhood and war. She speaks – in a very individual and yet, paradigmatic – about the reasons and circumstances of the escape. There’s a lot of Familiar. The helpless in these images, disaster, driving viewers to offer these rates Hold.
we Take the hinted love story set in Istanbul: “In Syria, we should have met us, maybe never.” The man can leave the country by plane to Berlin and lives there, in a refugee accommodation. He suggests to want to come back, but there is in Syria no going Back. Also, the Narrator makes. Without a ticket you must be over the sea: “I meet the smuggler. He is a film producer.“ Long the Refugees clung to the Illusion of a journey, took Selfies in front of the departure: “I’m one, too.” A girl with wool cap smiled at the Narrator: “I can see the mountains on the other side.” In the water of their lives, banging, paint this, what’s it like living in Berlin; then again, she doesn’t imagine how she manages.
