Flickcrit: Babies – Speaking for Themselves

A crosspost from my little cinema blog Cinema Takes:

No commentary, no dialogue to speak of, just four babies in their first year of life. Ponijao from Opuwo Namibia, Bayar from Bayarjargal Mongolia, Mari from Tokyo Japan and Hattie from San Francisco USA.

Though not my topic of choice, I was won over within seconds. Thomas Balmès’Babies is my kind of documentary maker. He lets the camera tell the story. The structure is straightforward and predictable: from breastfed dependency to toddling independence. You can draw your own life lessons, just enjoy the wonder of infancy or do both. If the global village has any future, it is being nurtured in these communities.

It’s a French production but could hardly be classified as foreign language. Wikipedia suggests that some viewers think “it lacks insight and depth”. Must be used to docos that do all the thinking for them.

Do yourself a favour – catch this one, preferably on the big screen. I haven’t smiled so much at the cinema  for ages.

6 comments on “Flickcrit: Babies – Speaking for Themselves

  1. (Taking a step back, and reverting the a(d)verted lens lacking insight and depth, or amplifying its apposite opposite, it might almost be possible to infer that IMDB ratings for Bébé(s) might almost reflect life-stage-like sentiments.)

  2. (LFAB would probably tend to continue to sequester(-in-brackets) any typically-tangential meta-studies, Kevin; particularly, as Meta is now par-considering adaptapplying ideas taken from Why skin is a better lens than glass to a (potentially available) mosaic of data-information; especially as that kind of lensing (re)arrangement could be (mis)used variously, perhaps even naively.

    Not that he’s necessarily abandoning an early notion that (Eriksonian?) life-stage-like worldviews, when cross-referenced with an extant body of sociobiopsychoetcetero studies on populations’ attitudes to babies (and/or procreativity), for/from within those life-stages, would perhaps somewhat-map (to) critical reactions to a rorschach-like stimulus on the very subject(s) of.

    Still, in his humble opinion, as a filmic stimulus, Babies is a piece of pure brilliance; especially if its mise en scene manages to subtly co-extend the putative fourth-wall, through implied mise en abyme, to (re)discover a fifth (inner-child); one (re)iteratively trying to make (meaningful) sense of a world of stimuli, with or without learn-wor(l)ds, in which (self- and other-)agency and (self- and other-)awareness is, as ever, quasi-negotiated dialogically.

    And, as agreeably said, one for the big screen, for the big little-big grins.)

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