Obsessed with manifesting Sorcerer’s message on film, Friedkin failed to see he was living that very message during its sanity-snapping production: that which is behind us cannot be returned to. All one can do is persevere for as long as possible into the fates that our pasts have shaped for us.
Inevitably, the breach comes. More humans are lost, doomed to roam the earth themselves, joining the ranks of the undead. If the worst predictions about the climate crisis come true, we will only have ourselves to blame. The zombies were once, after all, us. And we have destroyed ourselves.
Paradise Now provides humanity to the oppressed, even as years of continued violence chip away at their personhood, providing a defense of the disenfranchised and a portrait of damaged resilience that still remains incomparable nearly fifteen years later.
Fragmented, discontinuous, and piercingly personal, Cameraperson is a testament to what it means to be open and alive to the variegated voices of our world.