As a gamer who has witnessed a plethora of narratives unfold in my virtual journeys, I must say that Nanfu Wang’s Night Is Not Eternal stands out as an exceptional quest for truth and understanding. As someone who’s navigated through multiple worlds – from the dystopian landscapes of China to the complex politics of the United States, I find a striking similarity between my gaming escapades and this documentary.
After the election excitement subsides, the film “Night Is Not Eternal” becomes more relevant. In this documentary by Nanfu Wang, she examines issues surrounding authoritarian regimes and fascism, looking at how they can take root within a country. This topic may resonate deeply with Americans grappling with difficult aspects of their political system. Wang compares China, her homeland, the United States where she resides now, and Cuba, home to her friend and democracy activist Rosa Maria Payá, to underscore the notion that the people’s power is essential for cultivating a liberatory mindset and is the only way to resist oppressive rule.
As a fervent admirer, I eagerly anticipate the premiere of “Night Is Not Eternal” on Nov 19th, airing on HBO. This intriguing film opens with a question that beautifully sets the stage for a twin portrait of Wang and Payá. In a voiceover, Wang reflects upon the challenges she faced during her initial project, “Hooligan Sparrow,” which sparked thoughts about how individuals living under authoritarian rule could bring about change. At a film festival, she encounters Payá, who was moved by the film’s resonance with Cuba. A bond forms as these two women exchange tales of their unique experiences. The initial phase of Wang’s new movie recalls the tender intimacy found in “Apolonia, Apolonia,” Lea Glob’s profound portrayal of an artist. Just like Glob, Wang, in her role as a documentarian, also emerges as a subject in her own film.
In her work, Wang constructs a biographical sketch of Payá using historical recordings. Payá, an activist, is the daughter of Oswaldo Payá, who initiated a pro-democracy movement in Cuba to challenge its single-party rule. Videos collected by Wang show a younger Payá discussing her father’s legacy (older footage provides insights into his character) and the Cuban government’s efforts to intimidate him. At times, Wang offers her own insights during this part of the piece, providing details about the young Payá’s temporary departure from the island.
The storyline of “Night Is Not Eternal” truly unfolds from approximately 2017, prompted by a protest movement that brings Payá back to Havana from Miami. Wang steps down as the narrative voice and takes a more passive role, watching over Payá and her associates. Upon her return, Wang employs the story to highlight the similarities between herself and Payá, as well as between Cuba and China. Both women grapple with the difficulties of traveling freely between the United States and their native lands, and must deal with being labeled as dissidents. Wang expresses great respect for her friend, particularly as she witnesses her fight for the release of imprisoned allies, elude state surveillance, and make challenging decisions concerning risk and safety.
Wang is an efficient storyteller and Night is Not Eternal moves through its introduction of Payà, a history of Cuba and early comparisons to China with ease. Archival footage helps the director explore the history of Cuban resistance, its antagonism to the American imperial project and Fidel Castro’s evolving reputation. Wang’s distance from the subject makes her a compelling interlocutor, one who wrestles with the myth of Cuba and its reality. Of course, there are moments, especially when it comes to understanding Cuban’s contemporary political landscape and Payà’s place within it, that inspire some questions and would have benefitted from additional context. Still, throughout Night Is Not Eternal, Wang models an urgent and necessary type of critical thinking. Her questions become one of the most striking elements of this project, which takes a surprising turn.
Following the development of a close bond founded on mutual political ideals, Wang was dismayed by Payà’s actions during the 2016 U.S. presidential election. One day, while watching TV, Wang spotted her friend seated alongside Donald Trump. Was this a calculated move or a silent approval?
Exploring this topic takes Wang on a difficult journey, both intellectually and emotionally. She grapples with the fact that some individuals who fled authoritarian regimes end up backing figures like Trump in the United States. Wang struggles to reconcile herself with Payà, who starts attending events such as the Victims of Communism gala and increasingly views the ideology as a terrible evil that needs to be eliminated. Through heated debates with her friend, Wang seeks to comprehend this aspect of Payà. These encounters add layers to their dual image, and Payà’s political stance compels Wang to define her own beliefs more clearly.
During a particularly enlightening instance, Wang clearly distinguishes between diverse economic systems and authoritarianism. She posits that Communism doesn’t foster consolidated power any more than Capitalism does, and it’s misleading to consider their relationship as causal. Wang notes her previous belief that Americans understood the politicians’ fear-mongering about Communism during the Red Scare was to exploit that fear, but she admits this wasn’t accurate. This observation of Wang’s resonated with me when I recalled a recent comment by Denzel Washington, a prominent actor in Ridley Scott’s “Gladiator II.” When asked about his views on the election, Washington voiced disappointment with the current political scene and suggested that people are being manipulated by both parties.
In the context of rising concerns about fascism within the United States, Wang and Payá find themselves using this country as a platform to express their political beliefs. Their differing opinions on the nation’s future path cause tensions in their friendship, which the filmmaker skillfully explores with sensitivity. The interviews between the two later in the movie are filled with tension yet insightful, as Wang actively engages in countering his friend’s viewpoints.
Despite its tumultuous journey, the director’s project maintains an optimistic outlook, evident in subsequent footage showcasing modern protests in China and Cuba. The film Night Is Not Eternal underscores the resilience of the people and serves as a reminder that governments exist to serve their citizens, not the other way around.
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2024-11-20 02:55