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The concept of staging an arthouse film is not new. Renowned European theatre directors like Ivo van Hove, Katie Mitchell, and Milo Rau have explored the possibilities of blending live cinema, utilizing cameras to capture intimate moments and projecting them on giant screens. However, Brazilian director Christiane Jatahy takes a more focused approach to this technique. In her adaptation of Lars von Trier’s intense 2003 film Dogville, Jatahy delves into the insidious rise of fascism in Brazil prior to Jair Bolsonaro’s far-right leadership.
In Jatahy’s rendition, the story unfolds in a community of French-speaking actors, adding a unique twist to the narrative. Set on a stage marked only by a few lines of tape, reminiscent of von Trier’s deliberately artificial film set, the community initially seems impervious to evil. The ensemble cast embarks on an experiment, exploring the theme of acceptance by welcoming an outsider named Graça, portrayed by Julia Bernat. While the original Dogville sees Nicole Kidman hiding from mobsters, Jatahy’s adaptation portrays Graça as a refugee fleeing an oppressive regime. The play begins with a vibrant welcome party, accompanied by lively conversations and a piano rendition of “I Will Survive.” However, as time passes, darkness looms over the community.
Jatahy skillfully utilizes onstage cameras, projecting live footage on a large screen at the back of the stage. Subtly, the on-screen events start to diverge from the “real” events onstage, as the villagers demand more from Graça in exchange for offering her refuge. The most disturbing scenes are only shown through pre-recorded footage: a young boy urging Graça to hit him and the threat of rape by the village men.
It is refreshing to witness Jatahy’s rebellion against the objectification of women’s pain by certain male film directors. Instead of lingering on Graça’s distraught face during the rape scene, Jatahy’s camera fast-forwards, emphasizing the importance of avoiding gratuitous suffering.
However, the play’s message at certain points may appear less clear. Jatahy truncates the story before reaching the horrifying and violent depths of Dogville‘s ending, offering a meditation on the perils of authoritarianism. By halting the narrative prematurely, the audience is deprived of the cathartic experience found in Dogville, where the world is reborn after violence.
Dusk is part of a trilogy by Jatahy, exploring the rise of the far right in Brazil. Therefore, the lack of a definitive conclusion feels somewhat fitting. Nonetheless, the cinematic experiment laced with an unsettling sense of hidden evil is both frustrating and intriguing.
Rating: ★★★☆☆
Showing until August 8th, eif.co.uk
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