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[Omer Fast: "Continuity"]
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Those moments are magical in film
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when we have kind of a pure linear motion
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that approaches something and reveals it.
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But I'm interested in the stuff that gets
in the way.
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With more and more and more questions,
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you create, in a sense, a productive kind
of confusion.
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And I think that's what I'm after.
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I had a commission for dOCUMENTA
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and they were also going to show this on TV.
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I started to think about this, kind of, TV
movie
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and this notion of the domestic interior that
TV is all about--
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or at least for me--and that kind of middle
class obsessions
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of showing the family
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and showing the living room
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and showing the kind of dynamic within a particular
family.
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And I wanted to do it in the context of a
homecoming--
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that is, ostensibly or topically, Germany’s
involvement in Afghanistan.
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Except for, there isn't that kind of classical
development.
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You don't reach a particular climax and a
denouement.
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You have a repetition of these scenes and
these places.
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It is increasingly formalized.
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And having TV as the medium for
showing the story
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has dictated a lot choices I made.
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You have two parents who are middle class
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who are doing materially well.
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But something in their relationship is off.
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There is a trauma,
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but it's not the trauma that you think
it is.
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It's the trauma of emptiness.
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It's a, sort of, suburban desert.
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It's this kind of middle-aged angst that these
people have
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and they try to fill it with something--
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and that thing is young flesh.
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There's this empty hole in their relationship
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that they fill with a choreography.
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They try to revisit this homecoming--
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this return of the son--
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which never took place.
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They pay these young men,
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who are male prostitutes,
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some money in order to come and perform.
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These men, who offer their flesh to these
parents,
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are in a sense also the young men whose flesh
is used
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in order to do the state's bidding.
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You know, who do we ship off to do our bidding
in Afghanistan?
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The world keeps asserting itself in, kind
of,
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strange and theatrical ways around them--
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in these little apparitions
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and these sort of ghosts and images that they
have.
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They become, in a sense, viewers of the spectacle--
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of horror.
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Death should happen far away.
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You know, conflict should not happen in these
particular comfortable surroundings.
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And so, they are caught between those two
roles--
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of being a soldier, being a son,
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and being an object of desire.
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But for me, the more interesting possibility
was
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maybe there was never a son.
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Maybe there were sons and they're just gone
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and there is this vacuum.
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In the end, they drive down this country road.
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We've seen that country road three times already.
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And all of a sudden there is a camel walking
towards them.
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And they follow this animal to a quarry.
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Inside is sons that we’ve seen up until
that point.
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They're comrades.
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They're all dressed in fatigues and uniforms.
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They've been ambushed and they've been killed.
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Through having these multiple references,
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it becomes something I was able to talk about
several things at the same time
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and is none of them at any one time.
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So it's about sort of figuring out what to
put along the way
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to pull you away from this notion that there
is a linear story
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with a goal at the end.