‘Rewilding’ is directed and performed by Deb Pugh, and is also a dialogue-free performance that focuses on the manifestation of an individual’s lockdown fears. The second film, ‘Rewilding’, is also stylish and arresting, though in different ways. Nevertheless, as a comment on the stifling effects of fear – particularly during the early days of the lockdown – it makes its point in a stylish and arresting way. At times, it veers into being rather heavy-handed: a particular sequence involving soap and very suggestive facial expressions and sound effects, for instance, is rather blunt in its commentary on the fetishization of handwashing. Its messages – like the authoritarian slogans – are writ large on the screen. There are no home comforts here, just a single featureless sofa and an anxiety-inducing bathroom sink. But it feels so very small, dark and claustrophobic. The flashes of government warning messages evoke dystopia, but it’s through the use of lighting and camera angles that the dystopian atmosphere is truly created. The spectre of death is increasingly intrusive, and jittery neurosis dissolves into abject terror as the film progresses. It is not safe to go out, and the man maniacally washes his hands as though trying to purge the mistake from his mind.Īs Paldi’s man remains indoors, attempting to occupy himself with some sort of isolated entertainment, further fears manifest. The man primps and preens himself as though preparing for a gaudy night out, but as he steps out of his front door, warning messages flash on screen and an alarm sounds. The man’s escalating neurosis is performed physically, manifesting in theatrical movements, mime and exaggerated facial expressions, thrown into stark focus through Mann’s direction, and also through unsettling and jarring use of lighting and editing effects. The film throws a spotlight (quite literally, at times) on the isolating effects of social distancing. ‘Mr Pink’ presents us with a man alone in lockdown (performed by Paldi). So, that’s by way of any introduction to the series, time for my first review in six months… A Small Gathering. I’m going to be taking a look at a number of the Homemakers commissions over the next few weeks, and reviewing them on here and on Hannah’s Bookshelf. You can book tickets to view or take part in these creative experiences via the HOME website, and most are on a pay-what-you-can basis (though there is a recommended ticket price, which will help HOME to continue to survive and plan for the future). These funded projects invite artists to make creative use of COVID restrictions to produce art in different media, and that use different strategies to engage their audience. The website describes this series as ‘new commissions inviting artists to create new works at home, for an audience who are also at home’. One part of this programme is the Homemakers series. However, during lockdown, HOME have been putting out a programme of digitally-accessible content that can be enjoyed from the safety of your own home. Sadly, like all theatres, HOME has had to close its doors during lockdown – though plans are afoot for its reopening in September, and you should check out their website for information about those plans. If you’ve read my reviews before, you’ll perhaps know that I often reviewed theatre and multi-media productions staged at HOME in Manchester. So it gives me a lot of pleasure to be back reviewing performance pieces on here, and also to be able to say that a radio version of this review will be broadcast on Saturday, as Hannah’s Bookshelf is returning to the airwaves with a slightly different format (which you can read about here). The last theatre review I published was – as you might imagine – back in February, and Hannah’s Bookshelf has been on an unfortunately prolonged hiatus since January. Prior to lockdown, you may remember that I regularly posted theatre reviews on this blog, usually ahead of broadcasting a review of the production on my show, Hannah’s Bookshelf, on North Manchester FM.
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