A White Road and an Ambiguous Narrative
After failing to capture his vision for a project, Ivan Sigal unmoored himself from his preconceived story and went on a dizzying trek through Russia and Central Asia.
zoological and scientific documentaries along with some experimental films are the only forms of film making without a fetish for humans.
How can you compare a tiny village in Africa to NYC. It is like trying to compare a steak dinner to a birthday cake. That’s why “Wind Sand and Stars” takes place within the same country and culture.
Wind Sand and Stars !
The long trailer is coming to an internet device near you in February 2013.
Many of us jar ourselves into ready-made futures. Obey our inabilities then call it the reality of life. The lack of creativity yields consumption. On the contrary, every time we stop to consume culture and create something anew that reflects uniqueness of the individual, we are manifesting new realities.
A film like “Wind, Sand and Stars”
The relationship people have with nature is based on their settings. Wind Sand and Stars offers three main categories: village, town and city. Large number of people gather in and around cities. Suburbs, towns and villages are satellites of these cities. Cities produce and radiate information; it is a dominant and penetrating dissemination. People rotate around this dominant culture as it is their terrestrial sun. Every small culture and country will be swallowed by the rays of this far reaching dominant culture and melt into the pot.
A film like “Wind, Sand and Stars” which takes issue with this phenomena and defends the importance of quietness in sound, slowness in pace, and diversifies what’s considered beautiful and aesthetic in a documentary film is too bound to take its place within the tummy of the global whale and slowly get digested then perhaps discarded onto what is soon to be the forgotten past.
Artists continually challenge the established boundaries around them. They are fully aware that the status quo turns meaning into profit or produces a blanket meaning for things on its margins. For all that, how is it that Shakespeare is still breathing in his texts or Michelangelo is in his paintings?
