News from the Locarno Festival


Piazza Grande




At a time when our restless eyes flicker constantly in an almost epileptic and unproductive effort to keep up with the incessant flow of images, the ability to pause and genuinely see has become rare. And it can be most valued skill if the task at hand is to uncover the mystery behind the macabre appearance of a ritual murder. Adam, a forensic photographer, has an eye for details, and the kind of open-minded thinking process that helps him capture what others are blind to. Yet he experiences his particular disposition as a curse. As sensitive as photographic paper, his mind was burnt once by an overexposure to violence. Retired at home in one of these colorless urban apartment blocks, he turned his attention to the neighbors in the next-door building and photographs them with a telescopic lens. When the dark-haired reincarnation of a Hitchcockian beauty enters his field of view, he instantaneously falls under her spell. The unusual journey that follows, between murky criminal investigation and mythological fantasy, is a rollercoaster of contrasts, both thematic and visual. Darkness and light, imprisonment and liberation, reason and superstition… all opposites collide in the brilliant Interchange, which channels the idea that magic does exist in today’s societies, however modern they seem to be. A telling example of rationality’s shortcomings, lead detective Man’s inability to connect with the tribal world seems to always leave him one step behind. For him a shaman and a witch are the same, a vague concept, and a supernatural creature must be handled with a gun. When chasing someone into the rain forest, he would never notice the trees’ century old roots. Nor would he be granted the sublime magical visions that filmmaker Dain Iskandar Said has imagined for his first man, Adam.

Aurélie Godet

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