Nocturne

I don't know Rosi's work as a cameraman, but can imagine some directors like long takes in wide angle, especially when content is not the main thing. So this is documentary 'art' ? Three years of film-making and I see material that's general, could be anywhere, even an LA backwater. Certainly better on a big screen, but watch out if you have a comfortable chair too, as you might sleep and miss most of it.

This movie sucks it's so boring. I could've done a better documentary with my android phone.

If you aren't blown away by the power of this maybe just stick to Hollywood CGI'd blockbusters. The lack of narration adds power to the heartbreaking stories of ordinary peoples lives in dire situations. If you're expecting to be spoon fed a happy ending just move on this isn't for you, reflection, empathy and questioning the status quo requires intelligence.

Gianfranco Rosi's follow-up to FIRE AT SEA which was about Middle-Eastern and North African migrants coming ashore on a small Italian island. NOTTURNO depicts the circumstances by which many of those refugees come to be. Whether it's Iraq, Kurdistan, Syria or Lebanon Rosi's camera simply captures the lives caught up in the turmoil. Rosi's Documentary is naturalistic. There is no narration. No title cards. No manipulative music. There's even very little in the way of conversation. Whether it be an all female military troop, a teenage hunter, a group staging a political play, elderly mourners or, most chillingly, a group of school children recounting in words and drawings the horrors of ISIS, Rosi's camera is simply there to record. The cinematography and sound work is extraordinary, but, they never call undue attention upon themselves. A little familiarity with the wars and political strife that have occurred in the region is helpful. Rosi provides vivid images and audio, but he leaves it to the viewer to provide their own insight. It's a fine achievement.

There are some scenes in this world that are just sitting still, awaiting for a person with a camera at hand to arrive and film, and the war-stricken fields and streets of Syria, Lebanon and Iraq undeniably fall into that category. Fortunately Gianfranco Rosi resolved to be that person with his skillfully placed cameram just letting those streets and fields tell the tale.

The film consists of several parallel sotries of people, remnants, survivors and soldiers moving simultaneously along. We are shown a boy maybe of 10 years try to survive by working dawn to dusk for mere five dollars, a group of women-soldiers guarding the borders who might just be some college student party-goers if they had more share of luck when born, a mental health ward of a hospital with a doctor and a crew of mentally-shaken patients and a group of kids with fallen parents living a life not identical to ours.

But the film- or the scenes- doesn't show these people as victims to be pitied or sympathized, but as alive and sentient humans trying their best to maintain thier poise and outplay thier unfortunate circumstances and that is the most moving part of this film.

the other very bold and stroking aspect of Rosi's work is how gorgeous and stunning it looks. The landscape shots are plenty and here and there are vistas so catchy that reminds us of this region's old glories. I had the chance to watch this work on silver screen and I think it it best served that way.