Because instead of Rote, the land on top of this image could be Timor Leste’s Tasi Mane, I spent 90 minutes putting this page together on the Timor Sea Spill.
Judging by the Australian (non)-reaction to this environmental catastrophe, Timor Leste should not rely on its neighbor to clean up its future messes.
Environmental disaster knows no national borders, or redrawn maritime boundaries.
(Credit goes to Skytruth, who have been blogging and proving the extent of the spill with satellite photos.)
I saw Balibo tonight on the big screen, in the first row. The mortars and explosions nearly knocked us out of our seats.
Let me start with a disclaimer. I know it is annoying. But this is something that I personally to need to recognize more often. Those who are interested in Timorese history (and by interested I mean obsessed), those who have lived that history whether in Timor or in exile, often have a fiercely personal relationship to all representations of the place. It becomes hard to peel away emotional layers which we have painted over the course of events.
As a movie-goer, I felt the film was effectively framed, with great pacing and enough attention to detail to merit praise. I thought the historical footage was artfully spliced with footage recently shot in Dili. There was enough micro/macro for a political thriller about an “obscure” place. Enough soapbox rants balanced with enough authenticity.
However, as somebody perhaps afflicted by this palimpsest of the personal and the political, the film did not reach down beneath the surface. (Perhaps it simply could not.)
Lapaglia’s performance was solid – not overdone in any way, which is crucially important. And yet, as he is being dragged along the dock on December 7, 1975 to his execution, I felt my connection to events being abruptly felled. (Please do not think that I am suggesting there should have been some contrived love story or love interest.)
Perhaps the Timorese protagonists: Ramos Horta, and two less-present members of Falintil, are not enough to create a stronger emotional “trunk” that can stay standing. The closing footage of Ramos Horta returning in 1999 is definitely not enough.
To be fair, “Balibo” is clearly a sensitive labor of love of people who had the “acumen” (quoting Lapaglia) to deal with a loaded story which calls into question our own complicity with distant injustices. Something quite rare. I believe Balibo is compelling enough to become a global arthouse film, and that it very may well be “the” Timor film for many years to come.
If you like this image by Wolf Böwig called “Matebian”, please take a look at the photo/essay “Shadows, Dreams and Shapes: The Lulik Reality” by Böwig and Pedro Rosa Mendes. (It also exists in Portuguese. Careful, it is a big download.)
Rosa Mendes writes,
In Timor, the dead or the part of them that survives, are the geography of their own relationships, in the literal sense of the word, the lines that establish contact between two points, two people, two lives. That defines a concept of life as a symmetry, with two reciprocal locales. It is not the elimination of one of them that will make – just the opposite – the other lose sense of where it is, or the place to which it belongs, and of where it is going.