WATCH THE TRAILER HERE
First, the Recap:
In the end, is it truly only a new beginning? What actually would indicate that physical death is the absolute, the final step, in our existence when we have so much that our minds, souls, and spirits retain from the time we’ve spent on this Earth? How, as mortal beings, can we grasps the concept of what passing on holds for us when so much in the reality we face every day could speak to things well beyond our ability to comprehend? How we prepare, how we perhaps seek to gain “proof” of our very existence is a dilemma confronted as well, for our innate human curiosity virtually demands explanations for all around us, maybe even more so at the end, when life’s flame is but a flicker, and the desire to know what we were all about suddenly arises, taking hold in those ultimate moments before the next door to eternity is revealed.
Next, my Mind:
A deep exploration of what it is to witness one’s final moments through the eyes of what can only be described as the “out of body” experience the conscious mind takes when it knows the time is short forms the core of this 10-minute animated short film effort from Australian writer/director Kathy Smith, shown at the 2nd Annual Berlin Illambra Experimental Film Festival housed at Salon AM Moritzplatz and hosted by Illambra. It’s an impactful combination of elements both eerily surreal and vibrantly poignant through the depiction of one old woman’s perspective and reflection on her life as she nears her passing, a journey to find the evidence, the verification, of her life’s path, perhaps a quest to ease her soul and prepare for the peaceful transition into an as yet unknown forever she’s about to venture to.
It illustrates as well how our consciousness gravitates, one would think understandably so, towards those factors and aspects from personal life experiences that have particular meaning or significance, a showcasing of the grander scope of things that influenced us in both heart and mind over time, and how they now become the tapestry for our mind to linger on and appreciate as sought after substantiation. Visually, the film’s deft utilization of multiple forms of CGI/digitally created imagery neatly accompanies the story elements being portrayed, as it highlights these specific facets of Grace’s life that encapsulate what has had an sway on her, from birds, kittens, and horses all set in the backdrop of the Australian outback with its wildness opening up for Grace’s car ride that makes up her consciousness’ travels through this dreamlike land of reminiscing.
Additionally, the opening sequence effectively speaks to the synapses of our brain firing which initiate this venture into the mindscape along with some initial voiceover narrative from Eric Gudas that introduces the viewer to the scenario being presented. I felt this also could be an observation as to how much we allow ourselves to get stuck in time, focusing only on certain moments rather than allowing a grander picture of who we are and have been to be revealed, as is being delivered here. We’re often so intent on being in the moment, that perhaps we let get away so many of the other dimensions that make us whole. This film sees someone who’s seeking clarification, authentication, and that confirmation of who she’s been, receiving it by letting go rather than desperately trying to deny the unavoidable inevitability of her passing, letting the moment go and, we now hope, relishing the more in depth and affirming view of her time.
That might be stretching it a bit, or misinterpreting what Smith had intended here, but it just strikes me with thematic examinations like this how much we take for granted in this life and how important it is that we ensure we store away, remember, and find a new sense of self and contentment that what we’ve accomplished in our time has been worthwhile and beneficial, yes to ourselves, but also to those around us, in whatever form that may manifest. Even these images for Grace of natural things she clearly appreciated can grant this viewpoint, at least for this critic. So, in total, as we take the virtual car ride we do with Grace in her final moments, “Slippages | Grace” should ideally resonate with us as transient creations, to take stock of this mortality we live within, and come to a better state of awareness and gratefulness for what we have in this existence so that we might experience something as ultimately soothing as Grace does when we’re getting ready for the transition to forever ourselves. It’s not a message to frighten, but of divine hope.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
