In times of great turmoil, time comes to a standstill.
The central two movements in For Now are panoramic shots and firm, vertical edits. They show shifts of place without the journey. Nature, the wind, movement occurring on its own: this seems to be the film’s real subject matter. The film unfolds in waves. Locations appear, disappear, and come round again – Lewinsky Park, Maximilian Park, Habima Square, Lion Square, Zuccotti Park, Times Square or pastoral landscapes at opposite ends of the Mediterranean Sea. The actions are the same: people wait, pass by, kill time. The contrasts between refugees and citizens, tourists and activists, Israelis and Palestinians, Europeans and Americans: all become less clear. The repetition of these blurred relationships, Asselberghs’ decision to film after the fact, the enigmatic inclusion of hand signals – all these work together to reveal a distinct constellation in which things come together momentarily before taking their leave. It is a film running alongside events, alongside time. A contemporary film in the pure sense of the word - a way of being with time.
For Now is also a publication.
Images Fairuz, Mieriën Coppens
Voice recording & sound design Boris Debackere
Text Herman Asselberghs
Voice Willy Thomas
Color Grading Florian Keirse
Produced by Auguste Orts
With the support of Vlaamse Gemeenschap, Vlaamse Gemeenschapscommissie, Cultuurcentrum Mechelen, Contour Mechelen, De Garage, Beursschouwburg, LUCA School of Arts, On & For Production