From the very opening sequence, I knew the Rhea was going to be an important little movie. There was, back in the 1980s. a Rhea that ran through the streets of Buenos Aires. The story is about trying to re-discover the event, if anyone remembers it. And, of course, no one seems to. It's shot in a style that is DIY. The entire thing has the feeling of a guy who had a deep connection with a neighborhood trying to recapture the essence of a time that no one else seems to remember. He isn't crazy, at least we don't think so, and as the documentary unfolds, it becomes more and more interesting to see how and why the memories form, and why they did not leave a major impression. It starts out as a journey towards Beyond a Reasonable Doubt; it ends up as a trip towards Preponderance of Evidence. The overall effect is really fun, and it ends up leaving you knowing exactly what you came in with, but with a very different take on it.
And maybe the thing that drew so strongly to this doc was that questioning. I knew this happened from the very start. It was completely within the range of possibilities and just made too much sense for a guy, even a filmmaker, to come up with such a story not based on truth, and then I found myself questioning, until the question was answered and I realised that another viewer, one who completely DISBELIEVED that this was possible, would not have enough to change their mind, not because the filmmaker did not do their job, but because the truth is not what's important: it is the illusion of the Universe operating in the way it should operate that matters to them. The residents of the neighborhood, even those that were there and could (and probably SHOULD) have been aware, could not make that connection in their minds, Instead, they glossed over it, moved away from, did not catalog it. THAT's the real story of The Rhea, and one that sung to me,
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Klaus at Gunpoint
A Film Journal dedicated to all film.A segment of Office Supply Publishing.