SUNDAY ENCORE 1 – Life Overtakes Me & Titixe


Life Overtakes Me

This film’s unusual approach to the global refugee crisis invokes fairy tales such as “Sleeping Beauty” and “Rapunzel” to tell a story about consciousness and parenthood. Depicting Sweden with a dreamlike palette, the film delves into the uncertain daily lives of three refugee children—Daria, Karen, and Leyla—who have sunk into an unresponsive sleep state. This “resignation syndrome” affects a disproportionate number of refugee children in Sweden, triggered by a decidedly nonchildish existential despair. Evocative cinematography of the frozen Swedish landscape acts as a pictorial Greek chorus, visually deepening the compelling narratives of overburdened families hoping for permanent residency. The film conveys the high stakes faced by asylum seekers, homing in on the children’s sensitivity to trauma and hopelessness.  NK



When the grandfather of filmmaker Tania Hernández Velasco dies, the family and farm in rural Mexico are left without their patriarch and steward of the land. As a loving tribute, and in a steadfast attempt to maintain both the land and tradition, the family members band together to undertake a black bean harvest. While the bereaved but determined descendants may be lacking in resources and experience, the film eloquently depicts (and embodies) a wealth of diligent sensitivity and resolve via rhythmic montage, evocative close-ups, and resonant sound design. The camera itself is like a member of the family, as its graceful movement and expressive compositions chronicle the seasons’ imagery and episodes with both diaristic efficiency and poetic flourish. As the dramas of the seasons, landscape, and weather play out with tangible suspense and wonder, an omnipresent sense of uncertainty underscores a cautionary tale about the abdication of generational wisdom, the fragility of the family tree, and reaping what we sow.  TM

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