RIDM, Montreal’s documentary film festival, takes place in November, but festival organizers keep the doc spirit alive throughout the year with monthly screenings at Cinema du Parc.
The selection for Thursday, May 26, 2016, is the Chinese film Behemoth, from director Zhao Liang.
Behemoth looks at the human and environmental devastation created by coal mining in Inner Mongolia. The landscape is scarred and ugly, while the men have blackened faces and hands. Imagine what their lungs must look like. We don’t see any chest X-rays in the trailer, but we do see them cough and struggle for breath. We see some hooked up to oxygen tanks, too.
That coal powers smoky, noisy, iron foundries and steel plants that glow with red-hot heat like a vision of hell. In fact, Zhao Liang took inspiration from Dante Alighieri’s Divine Comedy, which sees the Florentine poet travel to Hell, Purgatory, and Paradise. Behemoth uses excerpts from the poem in place of dialogue.
I have read more than 10 reviews of Behemoth and they were all extremely enthusiastic. Here are quotes from a few of them.
Variety’s Jay Weissberg says Behemoth is: “stunningly lensed. . .impressively self-shot poetic exercise in controlled righteous outrage. . .”
In the New York Times, Amy Qin writes: “documentary combines with art film to produce a powerful testament to the human and environmental costs of coal mining and consumption in China, the world’s biggest user of coal and the leading emitter of greenhouse gases from coal.”
In Screen Daily, Lee Marshall writes: “Vast swathes of once-pristine Mongolian prairieland have, in the last couple of decades, become scarred and brutalised by open-cast coal mines, iron foundries and generating stations, with thousands of desperate Chinese migrant workers brought in to feed the insatiable demand for disposable, low-paid manpower to keep them operating. That’s the background to Zhao Liang’s remarkable, powerful film Behemoth (Beixi moshuo), a sort of ‘dream documentary’ set in this ravaged landscape but liberally inspired by Dante. Behemoth achieves much of its authority from the way the images comment wordlessly on a world in which humans are reduced to the status of servants of a vast, unfeeling industrial system.”
“. . .But it’s Behemoth’s final sequence, almost devoid of human figures, that is, paradoxically the most shocking. It shows a Mongolian ghost new-town, with its serried ranks of residential skyscrapers. These are all empty, we soon realise – as are the streets that surround them. Empty, that is, except for teams of migrant-worker street sweepers – one of whom chases after a drift of tumbleweed that has entered the shot, and tidies it away. Refreshingly undidactic, Behemoth leaves us to work out that, after hell and purgatory, this empty metropolis, made by the industrial monster that ravages the steppes, and the sweat and blood of those who serve it, is the film’s tragic, ironic heaven.”
Another Screen Daily writer, Wendy Ide, put Behemoth on her list of best films of 2015. She writes: “Behemoth (Beixi Moshuo) makes me forever grateful I write about films for a living and don’t have to pick bits of molten pig iron out of my skin at the end of each working day.”
Behemoth, Le Dragon Noir, 90 minutes long, with French subtitles
Thursday, May 26, 2016 at 8 p.m.
Cinéma du Parc, 3575 Av. du Parc
To avoid disappointment, consider buying your tickets online, here on Cinéma du Parc’s web site.