Del este

Chantal Akerman's haunting masterwork is not for those looking for clearly drawn narratives and characters, but for those willing to commit two hours to observation and contemplation, D'EST could be an extremely rewarding experience. There are moments when the poetic minimalism of this perceptive film feels like epiphany, but passive viewers may walk away empty-handed. It could be described as an existential meditation on memory and endurance, and while that may not sound exactly riveting, D'EST is, nevertheless, film-making of the very highest order, a work of art expanding the boundaries of the language of cinema.

Chantal Akerman's film is a sort of documentary of Eastern Europe and Russia after the Berlin Wall fell and Communism was basically abolished. You are shown beautifully filmed winter pictures in various countries with crowds of people waiting for buses and/or trains. Some scenes are quite effective: a long sequence in some train station, people dancing in some club. Most of the faces Akerman shows look unhappy. I have heard some Eastern Europeans say that they were at least secure under Communism but were left in the lurch when they had to immediately fend for themselves. I suppose that is Akerman's point. What bothered me most was that I had no idea where the filming was taking place. In what country or city where were the streetcars and snow covered roads? As a traveler, I found this quite frustrating. Occasionally you hear people shouting in some language but there is no translation.

Personal "slideshow" album from the director's journey in Eastern Europe and Russia. Well executed; pictures are precisely framed by fixed camera with occasional dolly. (There is only one shot with panning, the shot in a big station) Because nothing happens in a landscape sequence during two hours, the piece is more suitable to be viewed in a gallery or in a public place than in a theater. Conceptually, it is reminiscent of Erik Satie's Furniture Music.

This 1993 film by Chantal Akerman resembles some of her best early experimental work from the 1970s, especially 'Hotel Monterey'. This is a truly non-narrative film. Just a series of images from across Russia; often slow, amazingly long tracking shots (probably made from a car, but somehow rock steady), intercut with some long stationary wide angle shots, and shots of people in rooms, clearly staged. There's no dialogue and almost no music, only the incidental sounds of the place being photographed.

The film is clearly a comment on how lost Russia was at that moment in history after communism fell – a lifetime of one ideology was suddenly gone, and nothing new had yet taking it's place. We see it in the faces - every person looks like they're waiting for something. The only problem for me was the length. At 110 minutes both images and ideas, terrific though they were, started to feel repetitive. That said, I'd gladly re-visit and see if a second viewing, knowing now what the style of the film is, would be easier to settle into, and get lost in.

Years ago I discovered this film from reading an interview with Gus Van Sant where he mentions "D'Est" as an influence. When learning of it's DVD release date in October 2009, I was very anxious.

I'm glad I watched "D'Est" because (even without the political context) it brings the background of everyday existence to the foreground. I'm not sure of the logistics with the tracking shots in public places among crowds of people, but it can be very surreal...in a positive manner.

"D'Est" is for those seeking a lyrical, poetic film experience that is 100% visual. Fans of Godfrey Reggio's "Qatsi Trilogy" and Robert Gardner's "Forest of Bliss" will be delighted, because no narration, location titles, or dialogue are featured.