Purple sea
as part of Cinema of Crises film review
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Purple sea, directed by Amel Alzakout, Khaled Abdulwahed, Germany 2019, 67'
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'I see everything' – she says, as if it were a curse. Brilliant sunshine, clear blue skies. A calm sea. Buzzing voices. A peaceful moment, if it weren’t for the fact that the sea is standing upright, like a waterfall. A rush of images – twirling, upside down, shocking. People on the boat, in the water, screams, life jackets, emergency whistles. Fluorescent orange, geometrical shapes cast by the sun. There’s no horizon any more, no sky, no up or down, only deepness and nothing to hold on to. Even time’s flow comes to a halt, contracting into the brutal present.
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She is filming and speaking. To him, to herself, to us, perhaps. Legs clad in sweatpants, in jeans, crowded together. A blouse with butterflies, which look like their wings are flapping in the water. A snake-like belt of a coat, a crumpled plastic cup, a pack of cigarettes. Fuck you all! She speaks, she rages, and she films to win being tired, to win the cold, to win with the fact that help isn’t coming. To win with dying, and for something to remain.
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What we see in this disquieting documentary is an edited video from a sports camera Amel Alzakout was wearing when an overcrowded refugee boat began to sink in the Mediterranean Sea
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Screening on MOJEeKINO.PL
