Brazilian director Joao Moreira Salles wrote and directed this documentary (English Title: In the Intense Now) wrapped around the years 1966-1968 and the intense revolutionary spirit that engulfed certain parts of the world: France, foremost, but also Czechoslovakia, China and Brazil. Although the movie is inherently political, it rises above politics to express the fleetingness of self-actualization, the kind moments of such a spiritual coming together catalyzes. Although a tad long and sometimes too explicitly ponderous, Salles's work provides a unique frame to a very particular moment in time which is exceptionally relevant in the present day climate, all around the world.
The starting point for this project, composed predominantly of amateur archival footage, was Salles stumbling across film recordings his mother had shot during her visit to China in 1966. It was the first year of the Cultural Revolution, but what's really striking is the almost transformative effect the experience had on his mother. Providing a somewhat pedantic observational narrative, brimming with suppositions about what certain scenes mean, or what protagonists recorded on video might be thinking and feeling, the director spends most of the movie in Paris, where he lived for a while around the same period. Then, in May 1968, protests broke out among students in France, against the class- driven hierarchization of society and sexual conservatism. The dispute between students, on the one side, and university administration and the government on the other, escalated quickly, as worker unions joined the protests. All of a sudden, France was paralyzed. And liberated, at the same time, as Salles observes.
The events of those months are about more than social discord though. Salles nuances the idealism which spread like brushfire, manifesting itself in certain leading characters of the otherwise leaderless 'revolution', like Daniel Cohn-Bendit – a student at the University of Nanterre, where the protests were ignited before reaching the Sorbonne and Paris. The shift in communication dynamics, from a stifling top-down approach rooted in centuries of class division, stood out in interviews of the time. Yet, more than anything else, the protests also developed a renewed sense of belonging and generated an artistic flurry of dissent, Banksy-esque almost, including:
Soyez réalistes, demandez l'impossible (Be realistic, ask the impossible)
Sous les paves, la plage (Under the paving stones, the beach)
It's hard not to feel something. And then, the movement slowly withered – in the approximate words of Jean-Paul Sartre, who personally interviewed Cohn-Bendit: Spring belongs to the students, but Summer belongs to the holidays. Moreso, the commercial potential became obvious and even Cohn-Bendit, exiled for a short while in Germany, ended up writing a memoir of the events for a quick buck and a publishing deal. The Revolution that never was, lead with spontaneity and not with political manifestos and lists of demands, then faded, resulting in minimal, percentage-sized improvements to worker wages. The divide persisted as well, even between the protesters, as the worker class and the student class never found the equal footing. In the wake of it, desolation set in for the idealists, even though the landscape for social and political movements had changed forever. Salles contrasts martyrdom across Paris, Prague (the Soviet occupation, after the Spring protests) and Rio (march against the military dictatorship), focusing on the familial textures as well as the wider social impact of these deaths, questioning whether they represent persistent hope or the effigy thereof.
What really hits hard is the sense that for many involved, especially among the students, those days of 1968 were the highlights of their lives, the purest form of ébouillant existence, living 'in the intense now'. There's a joy of camaraderie, of a mutual and subliminal understanding which stem from the joint struggle. One wonders whether the depth of those weeks of protests, of standstill, is something that can still be today, with the rhythm of life and the exhibitionist nature of social media. Although subverting the status quo should be easier, just by looking at the recent (and ongoing) protests in my home country, Romania, I'm left more with vague hope, than conviction. I don't dare draw further parallels, because these are not trifles; they are intricate manifestations of a shared design of what life should be, in spite of apparent similarities.
Salles stumbled across the perfect time frame per chance. His work on No Intenso Agora started in 2012, before the world went aflame – in his native Brazil, in Europe, in the United States. The choice of spanning over four different manifestations of revolt is overbearing and tentative at times, but one can sense an inner core holding them together. Perhaps what bothered me, if anything in particular, was some of the narration, coming across as professorial. Once purpose was established, more natural expression and feeling coming directly from the images could have enhanced their impact and their significance, not unlike something as eccentric as The Autobiography of Nicolae Ceausescu (2010).
Other than that though, this was the best movie I had the chance of watching at the Berlinale. It's a strange mix of analytical-poetic- social justice, that ultimately leaves a lingering sense of how fleeting and unique some of the most important moments of our lives can be. There is no recipe to it, but Salles clearly indicates that a tempestuously exhibited shared belief, with the deep tributaries of 1968, can change our perception of purpose and existence. I'm not sure I completely agree, but the thesis is compelling and No Intenso Agora is good at expressing it.
The starting point for this project, composed predominantly of amateur archival footage, was Salles stumbling across film recordings his mother had shot during her visit to China in 1966. It was the first year of the Cultural Revolution, but what's really striking is the almost transformative effect the experience had on his mother. Providing a somewhat pedantic observational narrative, brimming with suppositions about what certain scenes mean, or what protagonists recorded on video might be thinking and feeling, the director spends most of the movie in Paris, where he lived for a while around the same period. Then, in May 1968, protests broke out among students in France, against the class- driven hierarchization of society and sexual conservatism. The dispute between students, on the one side, and university administration and the government on the other, escalated quickly, as worker unions joined the protests. All of a sudden, France was paralyzed. And liberated, at the same time, as Salles observes.
The events of those months are about more than social discord though. Salles nuances the idealism which spread like brushfire, manifesting itself in certain leading characters of the otherwise leaderless 'revolution', like Daniel Cohn-Bendit – a student at the University of Nanterre, where the protests were ignited before reaching the Sorbonne and Paris. The shift in communication dynamics, from a stifling top-down approach rooted in centuries of class division, stood out in interviews of the time. Yet, more than anything else, the protests also developed a renewed sense of belonging and generated an artistic flurry of dissent, Banksy-esque almost, including:
Soyez réalistes, demandez l'impossible (Be realistic, ask the impossible)
Sous les paves, la plage (Under the paving stones, the beach)
It's hard not to feel something. And then, the movement slowly withered – in the approximate words of Jean-Paul Sartre, who personally interviewed Cohn-Bendit: Spring belongs to the students, but Summer belongs to the holidays. Moreso, the commercial potential became obvious and even Cohn-Bendit, exiled for a short while in Germany, ended up writing a memoir of the events for a quick buck and a publishing deal. The Revolution that never was, lead with spontaneity and not with political manifestos and lists of demands, then faded, resulting in minimal, percentage-sized improvements to worker wages. The divide persisted as well, even between the protesters, as the worker class and the student class never found the equal footing. In the wake of it, desolation set in for the idealists, even though the landscape for social and political movements had changed forever. Salles contrasts martyrdom across Paris, Prague (the Soviet occupation, after the Spring protests) and Rio (march against the military dictatorship), focusing on the familial textures as well as the wider social impact of these deaths, questioning whether they represent persistent hope or the effigy thereof.
What really hits hard is the sense that for many involved, especially among the students, those days of 1968 were the highlights of their lives, the purest form of ébouillant existence, living 'in the intense now'. There's a joy of camaraderie, of a mutual and subliminal understanding which stem from the joint struggle. One wonders whether the depth of those weeks of protests, of standstill, is something that can still be today, with the rhythm of life and the exhibitionist nature of social media. Although subverting the status quo should be easier, just by looking at the recent (and ongoing) protests in my home country, Romania, I'm left more with vague hope, than conviction. I don't dare draw further parallels, because these are not trifles; they are intricate manifestations of a shared design of what life should be, in spite of apparent similarities.
Salles stumbled across the perfect time frame per chance. His work on No Intenso Agora started in 2012, before the world went aflame – in his native Brazil, in Europe, in the United States. The choice of spanning over four different manifestations of revolt is overbearing and tentative at times, but one can sense an inner core holding them together. Perhaps what bothered me, if anything in particular, was some of the narration, coming across as professorial. Once purpose was established, more natural expression and feeling coming directly from the images could have enhanced their impact and their significance, not unlike something as eccentric as The Autobiography of Nicolae Ceausescu (2010).
Other than that though, this was the best movie I had the chance of watching at the Berlinale. It's a strange mix of analytical-poetic- social justice, that ultimately leaves a lingering sense of how fleeting and unique some of the most important moments of our lives can be. There is no recipe to it, but Salles clearly indicates that a tempestuously exhibited shared belief, with the deep tributaries of 1968, can change our perception of purpose and existence. I'm not sure I completely agree, but the thesis is compelling and No Intenso Agora is good at expressing it.
