Australian arts jobs, news, industry commentary, career advice, reviews & data

What's On

Below sea level

Samantha Wilson

HUMAN RIGHTS ARTS AND FILM FESTIVAL: In ‘Below Sea Level’, an Italian filmmaker documents the world of a down-on-their-luck individuals, living in a California desert community called Slab City.
Below sea level
In the Californian desert, thousands of miles from the built up cities that spat them out, is Slab City, a community of homeless people living out of their vans and cars, attempting to blot themselves out on the surreal desert landscape. Below Sea Level documents their lives and how, despite their best efforts, it becomes impossible to completely submit to the loneliness so many people think they desire. Filmmaker Gianfranco Rosi follows seven members of Slab City over a period of five years, each living with their trucks, vans, tents and, most importantly, their dogs. Each has experienced a rupture that has brought them to this place, to their day to day existence that is punctuated by the tentative gestures of their fellow inhabitants. Rosi’s style falls into an increasingly prevalent school of documentary filmmaking, emphasising unobtrusive observation. You never see the film crew, or hear their voices. There is no narration, no commentary, no summation of the disparate reasons these people have arrived at such a place. It is an exercise in patience and reflection – no questions from the filmmaker-as-protagonist, no purposeful teasing out of stories that have brought the subjects’ lives to this point, and by denying that sort of narrative, the piece has a certain sense of calm to it. Not that this film is easy to watch. The lives that are followed have a certain ritualised, and ultimately positive, behaviour to them. Kenneth, or ‘Bus Kenny’ as he is known, is in an ongoing renovation battle with his old school bus, trying to connect with ‘the Doctor’, a recently divorced woman who is struggling with her new homeless identity. David, the ‘water guy’ drives his truck full of water around to the inhabitants, selling it to those who need it. ‘Bulletproof’ and ‘Insane Wayne’ form a booze addled relationship that swings between tender and unstable in seconds. Cindy, an ex-Navy transwoman, shakily starts a salon out of the back of her RV, her fragility essentialising the existence of the desert dwellers, all functioning in their own way, defying a final judgment on their lives. And all through Mike Bright, spending his nights alone in his caravan, writes a ballad of the citizens of Slab City. The dogs in this film deserve a mention in themselves. They are essential companions to most of the desert inhabitants; where people have failed them, their pets have not. The Pet Cemetery is a landmark in an otherwise arid landscape, people gather to scatter the ashes of their old dogs, and otherwise spiky characters are seen to coo and cuddle over new litters. The slow pace of this film may put some people off, but I found that the expansive and gentle approach laid out the documentary subjects in whatever way they wanted. There was no pounding political commentary to their stories – unless they themselves wanted to provide it. This lack of commentary by Rosi meant that their stories weren’t turned into causes, highlighting their pain for the ‘greater good’. The overarching reminder was that, despite allowing these cameras, these strangers, into their lives, they were in the desert for a reason, coping as best they could with either a system that had let them down, or a series of life events from which it is sometimes impossible to rebound. Slab City Part of the HUMAN RIGHTS ARTS AND FILM FESTIVAL By: Gianfranco Rosi Runtime: 110 min Genre: Documentary Country: USA | Italy Language: English Awards: Venice Film Festival 2008 – Winner Best Documentary Cine du Reel Paris 2008 – Winner Grand Prix DFA 2009 – Official Selection One World 2009 – Official Selection Nododoc Festival 2009 – Official Selection
What the stars mean?
  • Five stars: Exceptional, unforgettable, a must see
  • Four and a half stars: Excellent, definitely worth seeing
  • Four stars: Accomplished and engrossing but not the best of its kind
  • Three and a half stars: Good, clever, well made, but not brilliant
  • Three stars: Solid, enjoyable, but unremarkable or flawed
  • Two and half stars: Neither good nor bad, just adequate
  • Two stars: Not without its moments, but ultimately unsuccessful
  • One star: Awful, to be avoided
  • Zero stars: Genuinely dreadful, bad on every level

About the author

Samantha Wilson is a freelance writer and poet. She also co-founded SNAFU Theatre, and has directed all eight of its productions, including Month of Sundays (2007), The Beginning of the End (2008), and both the Melbourne and Edinburgh Fringe seasons of Murder at Warrabah House (2011).

Share