Competition review - BEHEMOTH by Zhao Liang
Despite the use of narration, never explicit about its themes but rather metaphorical and poetic, the film is defined by its visual style which constantly mixes expressive and imagined sequences with an intuitive use of realistic shots. Of these, the heavy air and fog, often of unnatural red and yellow colours, which has to slowly fade out in order for us to see the action of the heavy machinery. A descent into "hell", shown by a tripod still camera going underground inside the coal mines on a lift - layers upon layers of soil that ultimately lead to a worrying and destructive scene. The close-ups of the dirty faces of the coal miners and workers, marked by the hard work. But also more imagined sequences that serve as powerful metaphors, like a naked man lying on the ground with his back facing the camera and another man walking the grounds holding a large mirror - the latter also breathing heavily, highlighting the dangers of pollution.
ZHAO LIANG is not just worried about the impending and ongoing natural disaster, but also the shrinking in inner Mongolia's pastureland. Traditional rural workers in sheep grazing overpowered by the advancement of abusive industrial works.
BEHEMOTH is nothing short of masterful. Shifting from long shots of the activity of heavy machinery and generalist statements to tight close ups of workers faces, this is an exciting film that unblinkingly and ponderously looks at a huge theme but also represents concern in a tighter human way, even for many of the individual people who are featured in the documentary.
It encourages a contemplative type of experience and quite easily draws you into its world through its lyrical nature and attention to atmosphere, aided by great use of music but also the violence of the sound of its working sites, itself very musical, opposing the meditative and peaceful silence of that ever vulnerable mother Earth.