Latest video reviews
Crossing to Ireland by Jean Maskell
I always tend to feel that poetry animations are best at their most abstract and minimalistic—depending on the poem, of course. This animation by Rachel McMahon AKA RaeRae won the audience award at the Liverpool Celtic Animation Festival. It’s a collaboration with Jean Maskell, “a multi-disciplinary artist and writer inspired by contemporary and historic social issues and the natural world,” who provided the voiceover and text: a poem “about the conflicting emotions of feeling a part of two countries.” Perhaps it is that sense of a provisional existence that makes the kind of tentative approach to the animation—lines drawn and undrawn on white space with a paper grain—such a good fit.
Gethsemane by Toby Martinez de las Rivas
Gethsemane is one in an ongoing series of films from Jane Glennie, made in collaboration with fellow UK poet Toby Martinez de las Rivas, and Bulgarian sound artist Neda Milenova Mirova. This poem is from the collection Floodmeadow, published earlier in 2023 by Faber.
All films in the series take an experimental approach, including layered and truncated voices, gritty sound and music, and still images animated in darkly expressive ways. The three collaborators seem artistically well-matched, the writing, sound and film-making coherently meeting. Another highlight from the series is Psalm-for-the Sea, Little Sea-Psalm.
Jane Glennie currently has a solo exhibition happening over August and September in the Art at the ARB program of University of Cambridge. Gethsemane and the other films in the series form part of the exhibition, along with her award-winning Because Goddess is Never Enough.
We have previously featured several other of her films here. In addition, Jane regularly posts about film festivals and more at Moving Poems Magazine.
Cuando Fui Clandestino / When I Was Clandestine by Juan Garrido Salgado
This recent collaboration between Chilean poet Juan Garrido Salgado and Australian filmmaker Ian Gibbins incorporates other texts in the process of evoking quite different places from where the film was shot, which could’ve gone wrong in so many ways, I was astonished by how well this all works—how authentic everything feels. Ian has posted some process notes which are worth sharing in full:
Juan Garrido Salgado immigrated to Australia from Chile in 1990, fleeing the Pinochet regime that burned his poetry, imprisoned him, and tortured him for his political activism. Since then, his poetry has been widely published to acclaim, and includes eight books, anthologies and translations. His readings are renowned for their passion and dedication to social justice. His latest collection, The Dilemma of Writing a Poem, has just been published by Puncher & Wattman.
Some time ago, we decided to make a video of one of his poems. It was a hard choice, but we settled on Cuando Fui Clandestino / When I Was Clandestine from his collection of the same title, published in 2019 by Rochford Press. The poem is strongly autobiographical and refers to time he spent in Moscow as well as living under curfew in Chile.
Making the video was a challenge. It was not possible for me to film in Russia or Chile, and, in any case, the political and social changes have been so great in each country, it was not clear what footage would be appropriate. We could have used archival footage in the public domain, but, in general, I prefer to use my own original footage in my work. Given that Juan has lived in Adelaide for many years now, we decided that I would film sites around the city that reflected the mood of his original experiences, while being clearly set in a contemporary context. All the footage was taken at night at locations I know well. A few scenes have been composited from more than one site. We went back to a key location not far from where Juan lives to film him there after dark with his poetry.
The music is an original composition, written and performed by Juan’s son, Lenin Garrido. After a small amount of editing, the structure of the music ended up being a key element in pulling together the various components of the video.
The language of the poem is complex. Although it is published in Spanish and English, we decided to have the spoken word element only in Spanish. A truly bi-lingual version would have been ideal, but we decided it was not necessary this time.
Part of the complexity of the poem relates to its references to the work of other poets: Nicanor Parra, Pablo Neruda, Vladimir Mayakovski and musician Violetta Parra. In recognition of the use of public walls for propaganda, advertising, street art and protest, excerpts from the poems referred to in Juan’s text appear on dark walls, in different languages, alongside public domain portraits of the authors. These are the poems and their sources (click on the texts for relevant links):
El Premio Nobél
Nicanor Para: Antipoems – How to Look Better and Feel Great
New Directions 2004Домой! (Homeward!)
Vladimir Mayakovsky: Maximum Access
Sensitive Skin Books 2018Oda al Hombre Sencillo
Pablo Neruda: Odas Elementales
Editorial Losada 1954
The World by Rumi
The World is an animated film by Ella Dobson from writing by the Persian mystic Jalal ad-Din Rumi, who is widely known simply as Rumi (1207-1273). The words are spoken beautifully by contemporary Iranian academic Fatemeh Keshavarz, who also was translator. Sound and music are by Chris Heagle.
This is a one in a series of poetry films produced by the On Being Project, a non-profit initiative. Another video from the series was earlier featured here at Moving Poems, from Wendell Berry’s The Peace of Wild Things.
The Grains Are Rough Here by Claire Rosslyn Wilson
A poetry film in eight parts, The Grains Are Rough Here is by Australian-born writer, film-maker, researcher and editor, Claire Rosslyn Wilson. Footage and sound were collected in Melbourne, Chiang Mai, Singapore and Barcelona, the latter her current place of residence.
In the video notes she describes the film as “a suite of 8 videopoems”. Indeed, each of the eight parts could stand alone, but I find them cohesive as a single film. The intertwining of personal and political reflection is emotionally affecting. Rhythmic repetitions of words, phrases and lines deepen the sense and impact of the text. The effective editing of images and sounds suggests an experienced film-maker.
Wilson speaks her own poetry in the film, accompanied by subtitles. To some this may seem unnecessary doubling up. But I enjoyed being able to visually read the poetry at will, as well as to hear it, allowing different perspectives on the writing. The 13-minute duration invites an easy shifting of focus across each element of the film.
From the ‘About‘ section of her website:
I take an intercultural and interdisciplinary approach that explores creative ways to look closely at the world around us. This stems from my personal experience working in a number of cultures (Australia, Spain, Thailand, Singapore), which has given me an appreciation for the importance of an open and multifaceted worldview, necessary when adapting to diverse cultural contexts.
