At Galeria Luisa Strina, São Paulo, the artist presents a series of paintings, drawings and collages that capture the physical and mental endurance of confinement
2014 was a great year for cinephiles. The one regret I have is not having seen Jean-Luc Godard’s Goodbye to Language (2014) in 3D, a film that is said to revolutionize cinema to the point where watching it in 2D, as I did, is pointless. Luckily, as far as 2D pleasures, there were plenty, starting with White Shadow (2013, 2014 release), a stunning debut by Noaz Deshe, so far scantily present on the festival circuit. Berlin and Los Angeles-based Deshe sets his film in Tanzania, inspired by real-life stories of Africa’s albinos, who are mercilessly hunted because their organs are believed to have healing powers. In the film, a young albino, Alias, escapes after his father’s ambush. Alias sells DVDs in a cutthroat city and finds companionship in a rural albino shelter, but is betrayed by his uncle. Deshe’s hallucinatory storytelling and edgy camerawork have a primal power, with a witchdoctor that channels Flannery O’Connor. Deshe stresses the sensory experience, and Alias’ plight is so agonizing, this is the one film whose vision and humanity continue to haunt me.
