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Siberia movie review & film summary (2021)
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Eremita (Anthologies) Harbors Appeal Beyond the Average Pandemic Response Movie
This anthology of shorts offers a precious peek at the directorial visions of five leading cinematographers.
Maxxie, Suzzee & Cinema
When the COVID-19 pandemic brought the world shuddering to a halt in March 2020, it forced virtually every film set on the planet to shut down, leaving many filmmakers across the globe twiddling their thumbs. In the weeks and months that followed, directors have responded to this enforced downtime the only way they know how: creating.
From Mati Diop’s
In My Room and Spike Lee’s
New York New York to Martin Scorsese’s quarantine film and the seventeen shorts that make up the anthology collection
The hourlong experimental documentary “Erēmīta (Anthologies)” is a collection of short films made by cinematographers from around the world, each having been tasked by Egyptian American filmmaker Sam Abbas, as curator, with one key creative restriction: cellphone cameras only, no added lenses or devices. The impetus was itself an overarching constraint this was March of 2020, when the pandemic had everybody in quarantine.
The shorts run the gamut from the avant-garde/impressionistic like Soledad Rodríguez’s “The Eagle and the Snake,” shot through what appears to be a tube to the observed, typically defined by a sense of being inside looking out. (The overall title translates as “hermit.”) American indie DP Ashley Connor’s “A Well Watered Woman” offers up a jaggedly edited bath starring her own body in close-up fragments, while Rome-based cinematographer Stefano Falivene (“Point of View”) contrasts the majesty of the ancient Coliseum (not a bad walki
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Add Erēmīta (Anthologies) to the growing list of collected short films including Netflix s Homemade created during the pandemic. This hour-long program, made during the first lockdown, was compiled by filmmaker Sam Abbas. It features six shorts by cinematographers from around the world who were told to shoot on their cell phones without any lenses, rigs, or audio devices.
The program is mostly experimental, and is (as with most short anthology programs), a mixed bag. That is more an observation than a criticism; this kind of cinema is designed for sensorial appreciation. The entries in Erēmīta (Anthologies) eschew the set-up, suspense, payoff arc of narrative shorts and instead deliberately create a hazy, seductive, dreamlike feeling.
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