An art tyro tries to sell her peers on an surprising new project’s merits.
Is it a work of art when a young, absolved white lady from one of Earth’s richest nations chooses to sit, 10 hours a day for months on end, alongside one of a many Romani beggars on a streets of her town? That’s a dire doubt in Time Passes, Ane Hjort Guttu’s sensitively judicious documentary about a tyro assured this plan has definition yet capricious what that definition is. A window into art-school life for those who haven’t gifted it, it’s an ideal fit for MoMA’s documentary fortnight and identical niche venues, yet a clinical proceed and featurette using time will keep it from wider distribution.
Damla Kilickiran has been sitting nearby a Bergen, Norway sight stop from 9am to 7pm, any day yet Sunday, doing zero alongside a lady named Bianca. At night, Bianca finds preserve underneath a bridge; Damla retires to a unit she shares with other students. She feels pity this viewpoint gives her a new clarity of Bianca’s humanity, creates her reduction other; she intends somehow for this opening to pull courtesy to those we try not to see.
But when she attends classroom critiques, associate students doubt and are even annoyed by her assertions. “Your conditions is utterly different,” one says in respectful response to Damla’s supposed oneness with Bianca; a dictated “equality is not real.” Speaking in a ease monotone that reflects critical intent, Damla digs in: “I don’t wish to assistance them,” she says when someone asks what outcome her efforts are carrying on a predicament of a homeless.
Couldn’t her time be improved spent, everybody wonders? That’s a point, maybe: Beggars “spend an huge volume of time on nothing,” to an border that is roughly infinite to a center class. The “maybe” is essential here, as Damla struggles to work out an egghead horizon for an practice she has given so most of herself to. She brings in artistic precedent, arguing over a value of labor in a Bruegel portrayal and a cursed endurance-test sea excursion done by Bas Jan Ader. But a longer she fails to get peers on her side (their clergyman can’t confirm if a plan is cynically provocative or beautifully uncynical), a some-more she gives in to self-doubt.
Guttu observes all this coolly, sensitive to Damla’s efforts yet not holding their value for granted. She gives Bianca some time to pronounce for herself, anticipating that a comparison lady doesn’t feel during all exploited; in fact, when it’s time to leave city for a winter, she invites a lady to join her. But an doubtful loyalty doesn’t equal artistic merit, and Time Passes insists that any of us lingers prolonged adequate on this provocative tender to doubt a possess snap judgments.
Production company: Aldeles AS
Director-Screenwriter-Producer: Ane Hjort Guttu
Executive producer: Elisabeth Kleppe
Director of photography: Cecilie Semec
Editor: Jon Endre Mork
Composer: Knut Olaf Sunde
Venue: Documentary Fortnight, a Museum of Modern Art