The Salt of the Earth is a 2014 biographical documentary about famed Brazilian photographer Sebastião Salgado. Directed and narrated by Wim Wenders in collaboration with Salgado’s son, Juliano, the film tells Salgado’s life story from his childhood in northern Brazil, his early career as an economist, and ultimately the shift to photography that would lead him to over 120 countries as a world-renowned photojournalist. Shot in stunning black and white by Juliano and Hugo Barbier, The Salt of the Earth is a mesmerizing exhibition of one man’s lifelong dedication to capturing humanity and nature in remarkable states of peril, compromise and elegance. From the Brazilian gold mine of Serra Pelada to the Yali Tribe of Papua New Guinea to the war-ravaged people of Rwanda (to name just a few), the film follows Salgado’s career through his photography, accompanied by his personal accounts of his many encounters and impressions. It’s Salgado’s grace, empathy and kindness that shine the brightest—remarkable for a man who has seen (and photographed) the worst of humanity over the course of his lifetime. It’s an utterly enthralling experience, upsetting at times in its frank display of war and death, but it ultimately serves as an exemplary presentation of Salgado’s work and his intimate reflections upon a career dedicated to truth, awareness and beauty.
Horror movies have always been creepier to me when they play on our fear of the “unknown” rather than gore. Under The Shadow does exactly that. The story is based around the relationship of a woman, Shideh, and her daughter, Dorsa, under the backdrop of the Iran-Iraq war. As widespread bombings shake the ground beneath their feet, the two grapple with a more insidious evil that is faceless and traceless, coming and going only with the wind. The movie’s dread-effect plays strongly on feelings of isolation and helplessness. The scares are slow and it’s obvious the director takes great care in making every single second count and in raising the unpredictableness of the action. Like the bombs, the audience never knows when or how the next apparition will materialize. The former is always on the edge of fear, wondering what is no doubt there, but is yet to be shown on the frame. In terms of significance, Under The Shadow features too many symbolisms to count and will most likely resonate with each person differently. But one thing remains relatively unarguable: this is a wonderful movie.