What Benjamin meant was that how we act in the present can change the meaning of the past. The past may not literally exist (any more than the future does), but it lives on in its consequences, which are a vital part of it… In one sense, we know more about the French Revolution or the Stalinist reign of terror than those who were involved in them, because we know what they led to. With the privilege of hindsight, we can inscribe these events in a broader narrative, making more sense of them than Robespierre or Trotsky were ever able to do. The price of this superior knowledge is impotence. There is no way we can use this knowledge to undo past catastrophes. We are like men and women frantically waving at history from a long way off, powerless to intervene in its crises and convulsions.
The 7th annual World Film Festival of Bangkok kicked off a week ago, but for a variety of reasons I’ve only managed to see three movies so far, including two today. The three films have also delivered three odd coincidences, which I’ll detail as we go along. As usual, I’ll use (perhaps with slight editing) the film synopses that the festival organizers wrote themselves.
Home / (trailer)
Director: Ursula Meier
Length: 98 mins.
“A family’s peaceful existence is threatened when a busy highway is opened only meters away from their isolated house in the middle of nowhere. Refusing to move, Marthe, Michel and their three children find innovative ways to adapt to their new environment. They continue their happy-go-lucky routine despite the daily stress of hundreds of noisy speeding cars. But suspicions about the highway’s unknown long-term dangers cause family tension.”
I’m not sure that synopsis quite captures what a nightmarish film this ends up as. As you might imagine, the bucolic environment is utterly shattered by the sudden intrusion of overwhelming noise pollution. Home essentially chronicles one close-knit family’s descent into insanity as they attempt to cope with, then block out, the deafening highway roar. The breakdowns are varied, but with the inexorable march of automobiles comes each individual’s inexorable march toward madness. Viewers are also taken along this ride, since the noise pollution from the highway contaminates the theater as well (albeit to a lesser extent). Meier does an excellent job transitioning between each of the film’s three sections (normal/loud/quiet, respectively), aided by great cinematography – including two memorable tracking shots. In its depiction of communal isolation, Home reminded me a lot of Dogtooth, also a quiet horror flick. In psychology there’s a concept known as “group polarization” that highlights the radicalizing effects of a group (both peculiar families in these cases). Crazy-pushes-crazy until (as in both films) something finally snaps, creating unpleasant scenarios but fantastic movie-going experiences.