One of the responsibilities of the documentary is to find the beauty in what it is. By looking at what is close we can see what we will soon lose or, on the other hand, the traces of what has already been lost. Here on Guidedoc we bring you three films that you should see if you are feeling nostalgic.
What Remains, by Jola Wieczorek
Images of inhabited houses that slowly begin to be dismantled, to cease to be, to exist, to be other houses that will give space to other lives. Something goes with all that.
A cemetery of everyday objects with no home, no place, no homeland, just as those who write letters in the midst of wars and exile. The eternal war between memory and oblivion.
What Remains is a portrait of what remains, if anything remains, of those family and social quotas that wars charge: profound emptiness.
Watch this nostalgic documentary now on Guidedoc
Etre et avoir (To be and to have), by Nicolas Philibert
The rhythm of the rural village of Auvergne in France is marked by winter in this film. Etre et avoir stands out for being a fascinating exercise in portraying childhood and innocence at the only time when things are changing: the present.
Every day a group from all the children of the village meet in the only school of the place, mixed in ages and with their sole teacher - who stands out for his level of commitment, not only with the learning of the small ones, but also with his humanity.
It becomes pleasant to see how, with a touching vocation, the teacher assists and accompanies the education process of each of the children. In the small details and gestures we see how in group they learn to break eggs, to draw the numbers, to solve the problems that come with anger and insecurity, the moment of knowing that numbers have no end, their mischiefs and their worries. We also witness what is the last year of the teacher's work before his retirement and before the children enter school, so that each frame is already loaded with tenderness and nostalgia.
Lives in transit, by Valérie Léon
Condemned to live a life that they did not choose for themselves and from which they cannot escape, the filmmaker makes a methaphor from the situation of the inhabitants of Abkhazia, on the coast of the Dead Sea, after the war with Georgia between 1992 and 1993.
The citizens speak and show openly their deep wounds and emptiness, their need to have fantasies and to preserve their memories. What they decide to keep quiet also gives clues to the undeniable and immeasurable spiritual sequels that the war has left them. In the ruins of what was once their homeland, they are are still impregnated with all the pain, helplessness and destruction brought about by the confrontation.
Abkhazia, in the process of completely destroying itself, has stopped and has remained in a limbo that seems not to allow to retreat or let advance. But after the first impression of seeing only ruins, we also begin to see the traces of life that inhabit those corners. Children who play, who ask for wishes, including the director, as representatives of a new generation that tries to transform this reality, however difficult it may seem, and to raise their voices.