I saw two films, both documentaries, at the San Francisco International Film Festival on Tuesday. One was about the world coming to a previously isolated stretch of Bolivia. The other was about music of the world.
Before the screening, Director Mike Plunkett told us that the film was “a passion project of mine. It took six years to complete.”
This exceptionally beautiful documentary looks at change from the point of view of someone who doesn’t want it, although the film itself seems neutral on the subject. Moises Chambi Yucra lives in the small town of Colchani , next to Bolivia’s Salar de Uyuni, the world’s largest salt flat. A husband and father, he’s harvested salt all of his life. He cannot imagine another life for himself or his family.
But Lithium has been found in massive amounts in the area–enough to make Bolivia a significantly richer country. What’s more, the government is taking steps to bring tourism to Colchani. Moises life can no longer go on as it was.
Plunkett feels considerable empathy for Moises, but he also shows the considerable advantages that come from the changes–advantages that appear to be helping the people who live there. The film contains some of the most mouth-watering images seen at this year’s festival.
Plunkett did a Q&A with the audience after the screening. Unfortunately, I had to leave soon after it started, but I caught this comment:
“I was really just struck by the landscape. If the landscape could have a voice, it would say something.”
I saw Salero at the Roxie. It was the last screening of the film at the festival. Unfortunately, it’s unlikely to get a theatrical release.
Before the screening, director Morgan Neville (Best of Enemies, 20 Feet from Stardom) told us that he was delighted to be in the New Mission‘s Theater 1. “I think I saw Nightmare on Elm Street 3 here.”
Since this film will get a theatrical release, I can only give a very short review here:
In the year 2000, cellist Yo-Yo Ma took his musical career in a new direction. He gathered up musicians from various countries, all experts in their own cultures’ music, and created the Silk Road Ensemble. The idea was to find the beauty in their different traditions and create something special out of them. This documentary follows Ma and other musicians as they work, play, and talk about their lives. Many came from repressive regimes and war-torn lands, and their stories are often tragic. But the beauty of making music keeps them going. The film’s one problem: Not enough music.
After the screening, Neville and producer Caitrin Rogers came onstage for a Q&A. Some highlights:
- How the project began: It’s one of those instances of jumping off a cliff. Yo-Yo called and wanted to talk about filming a concert. He started telling off-color jokes. I said “I’ll follow you with a camera everywhere.”
- What role does culture serve in society? In the West, we tend to take culture for granted. It’s discounted because it’s a soft influence.
- We started talking to Yo-Yo. Then we started talking to the ensemble, and we saw how much material there was.
- On the film’s visual style, which involved a lot of moving, swooping camerawork: Early on, we decided the camera should float amongst these cultures.
- Advice for new filmmakers: Get good sound. It’s the most overlooked thing in film. If you have great sound you can make a great film.
- It’s become so much easier to make films because of the technology.
The film will screen once more for the Festival, Thursday, 4:00 at the Pacific Film Archive. But don’t worry if you miss it. It will open in Bay Area theaters June 17.