Having said all of this, before drawing any conclusions based on Céu’s multilayered evocations of the virtual and its oscillations between the “no longer” and the “not yet,” I would like to turn to the other two films and to the notion of the ordinary, which, along with the virtual, is central to contemporary documentaries.
Excavating the Ordinary
Although Céu’s characters are unique, and in a sense extraordinary, we can also think of Sérgio Borges’s film as an immersion into the ordinary world of everyday life, a world in which the flow of time barely has any narrative momentum. The film adjusts its rhythm to the rhythms of ordinary time. This illustrates what Ivone Margulies once called the “hyperrealism of the everyday,” which, in counterpoint …show more content…
However, they are also intensely invested in the material stuff that fills the everyday. In these films, the objects of ordinary life take on meaning as repositories of personal and social histories; they become the meeting ground of the private and the collective that the films attempt to unearth. KFZ and Rua therefore excavate the materiality of the everyday to show not what exists in a consolidated form, but the lingering of what has passed and the intimations of what might be yet to …show more content…
Rather, these are objects-in-ruin, objects abandoned or forgotten by subjects and therefore reduced to mere things, material assemblies that are gradually falling apart. In the junkyard, objects pause for a moment on their way to ruin so that some of their parts may be recycled or saved. The junkyard is a space poised between the “no longer” and the “not yet” of the decaying car commodity, a space where the car object becomes a mere thing and lingers in this state of transition before becoming scrap metal and
Excavating the Ordinary
Although Céu’s characters are unique, and in a sense extraordinary, we can also think of Sérgio Borges’s film as an immersion into the ordinary world of everyday life, a world in which the flow of time barely has any narrative momentum. The film adjusts its rhythm to the rhythms of ordinary time. This illustrates what Ivone Margulies once called the “hyperrealism of the everyday,” which, in counterpoint …show more content…
However, they are also intensely invested in the material stuff that fills the everyday. In these films, the objects of ordinary life take on meaning as repositories of personal and social histories; they become the meeting ground of the private and the collective that the films attempt to unearth. KFZ and Rua therefore excavate the materiality of the everyday to show not what exists in a consolidated form, but the lingering of what has passed and the intimations of what might be yet to …show more content…
Rather, these are objects-in-ruin, objects abandoned or forgotten by subjects and therefore reduced to mere things, material assemblies that are gradually falling apart. In the junkyard, objects pause for a moment on their way to ruin so that some of their parts may be recycled or saved. The junkyard is a space poised between the “no longer” and the “not yet” of the decaying car commodity, a space where the car object becomes a mere thing and lingers in this state of transition before becoming scrap metal and