Review of film “Before
Flying Back to the Earth”
by
Ulla Jacobsen
From
Documentary Film Magazine
DOX, October
2005
„Before Flying Back to
the Earth“ is set in a Lithuanian hospital ward for children with leukemia. It
is first and foremost a film about children and their incredible ability to
accept things that we as adults find unbearable, their way of just living,
always moving and playing, with drops and tubes hanging from their bodies, all
these bald children running around or intensely concentrating on whatever they
are doing. Yet one mother describes her feelings: on the one hand, she is glad
to observe that the hospital doesn’t make her son depressed anymore; on the
other, she finds it sad that he accepts his fate so easily – as she thinks he
should be living a different life, outside the hospital.
But we don’t get
outside the hospital, the universe of the film is inside. From time to time we
see short clips of the hospital building from the outside, the changing lights,
the changing seasons. But inside, time doesn’t change, only the mental state
between hope, sorrow and joy and the physical state between feeling fine and
being ill.
Arūnas Matelis, who
himself has been a parent in this situation (his child was successfully
treated for leukemia), obviously has an intimate relationship with the children.
He is there filming them as they just play around, eat their dinner, watch
television; he talks with them about friendship, love, medicine, other stuff. He
asks them questions like: What do you want to be when you grow up? Could you see
her as your wife? – questions implying they will grow up, the positive approach
that everybody at the hospital tries to take, however difficult it is. It is not
a film about death but life, though without taking the omnipresent disease and
threat of death lightly.
The hospital scenes are
interspliced with sequences of black and white still photos, which have an
extremely strong effect. The photos are expressive and catch the children in
different situations showing feelings like joy or sorrow, and the effect of
stopping time, watching that same expression for several seconds makes them even
more powerful emphasized by the soundtrack adding external sounds or music
stressing the mood.
Another of the
countless qualities of the film, which sets it apart from most other films
dealing with such subjects, is its avoidance of focusing on the children’s
chances of survival: there is no information about who dies and who survives. It
manages the difficult balance of being emotional without ever being sentimental.
Every detail is
carefully chosen, composed and edited, constituting a great poetic work, full of
emotion, love and respect.