Some stand empty, slightly askew, some look as though they could be small wooden chapels, while others are slathered in graffiti and filled with people - all of them are the many and varied bus stops of Chile, caught on camera in Carlos Araya Díaz's quirky documentary.
They appear in locked off shots, as Díaz and his cinematographer Adolfo Messiah record the day-to-day conversations and encounters within them. In one night-time shot a person suddenly appears from the shadows, in another we meet wannabe rappers The Guerillas of the Desert, in others there are declarations of love or discussion of the news. Reminiscent of the work of James Benning and with a similar eye for connection and the absurd, Díaz intercuts the various stops across the country with occasional snapshots of life seen at close quarters - passengers on the bus, a hospital reception, a succession of dogs identified mostly by.
They appear in locked off shots, as Díaz and his cinematographer Adolfo Messiah record the day-to-day conversations and encounters within them. In one night-time shot a person suddenly appears from the shadows, in another we meet wannabe rappers The Guerillas of the Desert, in others there are declarations of love or discussion of the news. Reminiscent of the work of James Benning and with a similar eye for connection and the absurd, Díaz intercuts the various stops across the country with occasional snapshots of life seen at close quarters - passengers on the bus, a hospital reception, a succession of dogs identified mostly by.
- 6/16/2020
- by Amber Wilkinson
- eyeforfilm.co.uk
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