As a long-time aficionado of independent cinema, I find myself constantly seeking out films that challenge my perspective and immerse me in unique worlds. With Bas Devos’ “Here”, I have found a cinematic gem that does exactly that. This Belgian masterpiece is a love letter to the city of Brussels, but it’s not just about the cityscape; it’s about the connections we make with our surroundings and each other.
As a passionate admirer, I’d say that Brussels has an exceptional cinematic heritage, thanks in part to the city being the hometown of Jeanne Dielman. However, it seems that director Bas Devos might just be the city’s most dedicated and all-encompassing chronicler on screen. After the powerful duo of “Hellhole” and “Ghost Tropic” in 2019 – where the former delved into urban loneliness following terror attacks, and the latter offered a captivating nighttime journey through its overlooked outskirts – Brussels receives a warmer, sunnier tribute in “Here.” Yet, even in this film, Devos continues to focus on the city’s marginalized populations and hidden gems. In this instance, it’s the city’s connection with nature that captivates him, whether through its parks, communal gardens, or overgrown riverbanks. This fascination extends to his two non-native characters who find a bond in the untapped beauty of their immediate surroundings.
In a concise 84-minute runtime, Devos’s fourth feature film offers a compact yet profound exploration of life, often referred to as “miniature” even by its admirers. However, it presents a broader, more holistic worldview than many larger arthouse films. Look at the director’s finely-tuned perspective and seemingly casual actions in this movie take on monumental significance. Scenes of everyday life – like a patch of moss swaying in an afternoon breeze, or a man holding mysterious brown seeds, or a pot of homemade vegetable soup simmering on the stove – are imbued with intense emotional resonance. This film, which won the Encounters competition at last year’s Berlinale, has the potential to catapult Devos into the elite group of festival-favorite auteurs, while hopefully preserving his intricate and delicate artistic vision.
Despite shooting “Ghost Tropic” with Devos using warm, touchable 16mm film, primarily natural light, the film’s arrangements often exhibit a vibrant, shimmering quality that seems infused with a desire to perceive urban landscapes in a fresh way: a tree, a construction site, a restaurant window glowing amid heavy rain. In “Here,” magic hour persists throughout the day, and this heightened sensory perception is mirrored by characters who may benefit from their contented solitude, making them more attuned to their environment.
Stefan Gota, the Romanian construction worker, quietly expresses his feelings as he gazes at his humble high-rise apartment under the soft evening light. His voice carries a mix of awe and doubt. The camera lingers on the ordinary items in his kitchen – a soiled cutting board, scattered Tupperware containers – as if capturing a piece of art. It seems that Stefan has worked hard to create a home for himself in Brussels, but the script suggests he’s uncertain about whether this place truly feels like home to him. Initially, we find him wrapping up work before a break, planning to drive back to Romania to see his mother, unsure when or if he will return.
Cleaning out his fridge for what might be the last time, he resolves to make soup with the leftover vegetables, portioning it out into containers to share with those he’s closest to — a fellow immigrant friend working as a night receptionist in a swanky office block, a Romanian family friend fixing his car, his weary but caring older sister — as he makes his way on foot around the city, saying his maybe-goodbyes. But there are introductions, too. Sheltering from a midsummer storm in a small Chinese diner, he strikes up a shy rapport with Shuxiu (Liyo Gong), a moonlighting waitress who works by day as a bryologist (a botanist specializing in the study of moss) at the local university.
The following day, they happen to cross paths again, this time with Shuxiu engaged in fieldwork amid a suburban forest. This encounter seems as ordinary and extraordinary as the events in “Here.” After all, Stefan moves towards the city without purpose or destination: “I wander, I go places I’ve never been, I observe others wandering, and when I’m exhausted, I return home,” he describes his leisurely walks that fill his spare time. With a towering build and boyish charm in his short shorts, Gatos is captivating without imposing his curiosity on the world. However, his quiet enlightenment upon discovering a possible kindred spirit is a delight to witness.
As I watched Devos’s film unfold, it subtly transformed into a heartfelt ode to the profound connections and discoveries that blossom when one embraces their surroundings, whether they are plant, animal, or something else entirely. There is a gentle rebellion in its praise of surrendering oneself to one’s environment, and of interactions with others that transcend conventional social norms, allowing for intimate moments even without shared names. In its most captivating instances, the intricate sound design of “Here” silences the cacophony of city sounds to highlight the whispers of leaves, the murmurs of wind, the hidden drips of water – a testament to nature’s resilience amidst our relentless disruptions. It asserts itself through the city streets and cracks in the sidewalk, inviting those who pay attention to its enduring presence.
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2024-12-28 18:16