NIDO TO MEZAMENU KOMORI UTA

DESCRIPTION

REVIEWS

• 

  Abbarsenius

  100/100
  How Nido to Mezamenu breaks the god called progress (Translated from Portuguese by Google Translate)

  [Spoilers don't hinder your experience]

  The first requirement for this film is to understand our current situation. We praise progress: we celebrate the new plane, the most modern rocket, genetic manipulation, the bullet train passing at ever higher speeds. And how, in turn, does Nido to Mezamenu Komori Uta see this progress? Like an immense oppressive shadow that hovers under a decaying city in the shape of an aircraft. And how does this process stay alive? For the training of individuals, inserted in a common educational system that neglects its origin, its traumas and its daily life.

  And so, The Death Lullaby links the macrocosm to the microcosm. The powerful toast, celebrate and laugh with the new shinkansen; the protagonist is beaten. Photographers look forward to recording the grand opening event; the boy lies bloodied on a filthy floor. The ruler, smiling, signs the paper; the child sees the city being overthrown. It doesn't matter that you go hungry, that you are despised and tortured, that you have lost your parents, that you spend, in the words of the work, "the time of daylight locked in darkness", the authority holds you to the mechanism, makes you a gear , suppresses the individual. Now, you know that when something unbearable is kept in a cage for a long time, it ends up emerging in the most ferocious way possible, and this is what we see when the boy arouses violent desires even towards his benefactor, scenes before stabbing to death 3 of his executioners. And all for more and more progress machines to emerge, for the species to try to fill the great hole of nihilism by giving themselves the foolish objective of evolving without brakes.

  A god is sought, and this god is called Modernity. And we believe that it will bring us freedom, happiness, and it will be imperishable, and unchanging, and perfect. And we cleaned everything up to make room for him. The overpass, in one scene, has been falling from the sky and destroys the bakery, the family home, the tradition, the daily life of the inhabitants. And does Modernity condone itself? Do you think that He would have pity on the weak? All you want is more power over us, and we gladly give it.

  And then, when man finally reaches this god, what he does is to abandon the human being to the very emptiness he created. The final scene of the work consists of the big chimney, erect in the wreckage, falling to the ground. Thus Nido to Mezamenu shows us the great nothingness that is our obsession, the great folly to which we submit our individuals and history.

  In just 27 minutes, he condenses a maximum criticism, and such experimentalism is in his compositions, that he is not afraid to use the most profane resources to horrify the viewer. Probably one of the most wronged works in existence.

  (This review was written in portuguese, and then translated by Google, with a little few manual changes by me. If it's hard to understand, please quote the stretch in my profile and point me the error.)

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