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Caribbean Beat — 25th Anniversary Edition — March/April 2017 (#144)

A calendar of events; music, film, and book reviews; travel features; people profiles, and much more.

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SCREENSHOTS<br />

Site of Sites<br />

Directed by Natalia Cabral and Oriol Estrada, 2016,<br />

61 minutes<br />

A pair of coconut trees frames a beach at sunrise, waves<br />

lapping against the sand. This is no clichéd <strong>Caribbean</strong><br />

image, however: a wide, rutted ditch running into the sea<br />

points to disruptive human activity, which is reinforced by<br />

the piece of industrial equipment<br />

sitting off to the right. A man walks<br />

into the shot, up to the machine<br />

and switches it on. A puff of<br />

black smoke belches out, and the<br />

thrumming of the engine disturbs<br />

the dawn.<br />

So opens Site of Sites, the new<br />

documentary by Natalia Cabral<br />

and Oriol Estrada of the Dominican<br />

Republic. It furthers the direct<br />

approach to the non-fiction form that was so effectively<br />

on display in the duo’s debut, You and Me, a portrait of<br />

the relationship between a maid and her mistress. Site of<br />

Sites continues to probe themes explored in You and Me <strong>—</strong><br />

race, power, economics <strong>—</strong> but on a broader scale, even as it<br />

maintains that film’s equanimity and empathy.<br />

Site of Sites is set almost entirely within the confines of<br />

an upscale housing development somewhere in the DR.<br />

Precisely framed static shots <strong>—</strong> the camera never moves<br />

<strong>—</strong> showing the (invariably) black people employed as<br />

gardeners, domestics, and labourers, are interspersed with<br />

scenes showing the (invariably) white people who employ<br />

them relaxing in swimming pools, playing golf, and having<br />

barbecues. Conversation is largely<br />

desultory; people are simply living<br />

their lives.<br />

The cumulative result is a<br />

sobering rendering of black and<br />

white, poverty and wealth, work<br />

and play, a social dynamic little<br />

altered since it came into being<br />

centuries ago. (And, the film<br />

suggests, with little chance of<br />

being altered.) Site of Sites is<br />

exemplary of what can be done with little more than a<br />

camera in one’s hand and an idea in one’s head: politically<br />

committed and formally rigorous filmmaking of a very<br />

high order.<br />

For more information, visit faulafilms.com<br />

Green & Yellow<br />

Directed by Miquel Galofré, 2016, 19 minutes<br />

For a decade now,<br />

Barcelona-born, Trinidadand-Tobago–based<br />

filmmaker Miquel<br />

Galofré has been making<br />

acclaimed documentaries<br />

in the <strong>Caribbean</strong>.<br />

Whether they’re about<br />

prisoners creating music (Songs of Redemption) or atrisk<br />

children discovering the transformative power of<br />

art (Art Connect), Galofré’s films are characterised by<br />

their boundless empathy for the marginalised lives they<br />

celebrate, as well as their unforced optimism.<br />

His latest film, Green & Yellow, is a work of disarming<br />

and devastating simplicity. Shot on the streets of<br />

Port of Spain, it contains the interwoven, direct-tocamera<br />

testimonies of two homeless men, Sheldon<br />

“Sketch” Aberdeen and Shawn “Yankee” Brown, both<br />

crack cocaine users. There is no music score, and the<br />

cinematography is in stark black and white <strong>—</strong> until the<br />

closing moments, when the colours of the film’s title<br />

saturate the screen. The running time of Green & Yellow<br />

is just under twenty minutes; its power will remain with<br />

you for much longer than that.<br />

For more information, visit trinidadandtobagorocks.<br />

com<br />

I Am a Politician<br />

Directed by Javier Colón Ríos, 2016, 90 minutes<br />

Some explanatory<br />

text at the beginning<br />

of I Am a Politician<br />

declares this satire to<br />

be “almost a work of<br />

fiction” <strong>—</strong> which, given<br />

what follows, makes it<br />

a depressing reminder that we now live in the time of<br />

President Trump. Javier Colón Ríos’s follow-up to I Am<br />

a Director, his comic debut, I Am a Politician tracks the<br />

follies of Carlos (Carlos <strong>March</strong>and), an ex-convict seeking<br />

to become governor of Puerto Rico.<br />

Colón Ríos’s satire is light, sometimes even slight. Not<br />

all his gags work: for example, a joke involving Carlos<br />

“coming out” to his mother as a member of a political<br />

party different from hers feels forced. And some nuances<br />

may be lost on those not conversant with Puerto Rico’s<br />

unique political system. That said, the story of a boorish<br />

narcissist, opportunistically hopping from one political<br />

party to another, is one with which most people can no<br />

doubt identify.<br />

For more information, visit facebook.com/<br />

yosoyunpolitico<br />

Reviews by Jonathan Ali<br />

32 WWW.CARIBBEAN-BEAT.COM

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