As a female beekeeper, Kadis is very professional in raising bees and harvesting honey, and even has more excellent judgment and experience. We got acquainted with the beemen who cultivated their hives on the flat ground, but Kadis was able to go to high altitudes, raise honey on the cliffs, and let the golden crystals absorb the essence of the whole mountain; she also It can support bees at the intersection of tree trunks and rivers, relying on natural and abundant water vapor to brew, so that the nutrition of honey can be integrated with high-purity vitality. Just as the varieties of coffee beans have strict regional standards, the source of honey is naturally exquisite. It is precisely these things that we regard as rare and precious crops, but in Kadis' eyes, they can be shared with others. Many times we can't help but regret that Cadiz is too trusting, generous and honest to others. Her sincerity is simply not "virtue" but connivance, otherwise it will not lead to the following man-made disasters.
As the only daughter in the family, Kadis assumed full responsibility for taking care of her elderly mother. After the historical tide of refugees returning home, the two became the only remaining Turkish descendants in the Macedonian mountain village. Kadis regularly went to the town market to sell honey and buy daily necessities and food. On such happy days, she would sit by her mother's bed and sing in the native language, teach her how to fan, and peel her the snow-white fruit of bananas. This is a rare luxury, and there is another sweetness different from honey in the monotonous and thin life. The mother-daughter connection must begin with transmission. In addition to the inner offspring relationship formed by the delivery of the body, there is also an outer sense of life, which constantly affirms the origin of motherhood and the physical and non-material ways of feeding, keeping warm and nourishing. rely. In the cramped shack, the coal stove was used to melt the snow, the candles were used for lighting, and the mother's sick bed was what "home" was all about. The two were sometimes bickering and sometimes silent. Putting one's head down to play with the cat, looking up at the clouds, and pitching is all seasons. This accessible, native experience is far from metaphors, analogies and complex methodologies. A kind of direct and pure love and concern makes Cadiz and her mother the last dialogue, shelter and spiritual guide for each other, and the sacred and inclusive matriarchal prototype formed by her has also become the practice of life development between her and the land and nature. and continuation of principles and references. Therefore, when Kadis collects honey, she understands the philosophy of "take half, keep half" to maintain ecological balance and to support and respect the weak belief in survival.
In the publication "Liu Xiaodong's New Observations in Hotan and Xinjiang", there is a record of the artist discussing nature and religion with local writers and representatives of nomadic peoples. Before talking about the Kazakh people slaughtering livestock, they all have to say, "It is not a sin for you to die. , I was not born to starve". To show the gratitude that one life expresses when asking for another life in order to survive, it is also the Kazakh people's understanding of the reincarnation of life and the rules of the world. Killing and taking is both a politics of existence and a politics of food. How to develop food sources, how to use these resources, and how to make them flow to meet the needs of future generations. Whether it is for food or hospitality, food has been upgraded from basic needs to more avant-garde nutrition along with the pace of human evolution, and even determines our psychological well-being. Standard-star restaurant reviews published in The New York Times have also made a noble profession and institution, and even the kitchen has jumped from a slaughter-free zone to a viewing area for diners to interact with. At this point, do we still feel sorry for the life in our belly; in a time when fighting against pandemics is the norm, can human beings admit that we are also responsible for the living environment of non-human creatures? As a nomadic people, the Kazakhs strictly follow the rules of wild animal reproduction and fear all things even though they hunt. This sentence has been lingering in my heart like a mantra. Its frankness and restraint are a hierarchy that refuses dominance between the human and animal kingdoms. It regards human beings as a link in the entire natural biological chain and needs to follow the entire ecological environment. the rule of. The Kazakhs understand this. Cadiz also understands. The audience also understands. And this simple truth has not yet been able to form a unified consensus among human beings. I have heard Xiang Biao and Jiang Jiehong (a conversation about the world two meters away) mention the "cosmology" in the dialogue about time. Dadi needs to put his personal experience in a wider space to examine it in order to realize the human being and nature. Why do other beings have closely related fates? The documentary was filmed here, and a certain sense of despair and wandering inevitably permeates the golden honey juice from the borderlands.
There is also a nomadic family from afar in the film. The RV was attached to the trailer, and the rambling cattle swept across the plains in the rear, with noise, dust and domestic waste, they intervened slightly aggressively in the peaceful stay-at-home one day. This temporary collective is like a tentacle of capital extending into the countryside, faithfully replicating the mode of operation of odd jobs, unpaid labor exploitation, and unlimited extraction of natural resources like gears. In this condensed capital social landscape: the effects of patriarchy are gradually released between husband-wife, parent-child, and economic activities are carried out not by trusting relationship but by family status and gender roles determining the form of OEM. There is a lack of love and respect in the individual , and this negative attitude then radiates to their handling of the human-animal and human-land relationships. For example, the wrestling between the mother and the bull is more like an unreasonable provocation; the father carries out the self-contradictory behavior of squeezing pulp from the hive and burning the bushes where the bees rest; the merchant cuts the natural tree trunk hive with a chainsaw, Appropriating the fruits of one's labor as one's own is fundamentally a crime. The vivid power structure is thus strangling everyone's throat in the systematic dismantling and destruction. It reminds me of those stories of building demolition, how similar it feels. It starts with eviction of residents, then takes away fixtures, cuts copper pipes and cables, any metalwork (big or small function) is stripped of the attached environment until everything falls apart into the smallest unit, fulfilling its mission of replacing money until.
In the article "Agaric fungus" (My Altay), Li Juan recounted the experience of searching, picking and selling wild fungus with her mother in the natural forest area of Xinjiang. The huge commercial benefits of "black mushrooms" tempt mainlanders to flock to the land and forests to scavenge and cut wildly. This greed once caused the fragile ecosystem of the Altay Forest to collapse. The extravagance of nature's gifts has also led to persistent disputes among different ethnic groups, struggles of different factions, and friction between civilians and border guards. The raging desires of predators undermine the nomadic principles of mutual respect and self-restraint that the Kazakhs have forged with nature for generations. Until overexploitation caused a plague of animals, and eventually the fungus disappeared from the forest area. In "Honeyland," the indiscriminate violence of the nomadic family is similarly punished. Large numbers of cattle fell ill and died due to lack of water and careful care, and the originally sustainable bee sources also competed and attacked each other because of the lack of food sources. We would be shocked by the similarity in this world, where humans so arrogantly cut their own way and then guiltlessly prepare to loot the next place. This is a rare sense of absurdity that the film uses in its naturalistic poetic language.
The two directors, Tamara Kotevska and Ljubomir Stefanov, naturally shot and directed the documentary from a female perspective. They not only chose Kadis, a single woman who wanders between tradition and modernity, as the protagonist, but also compared the land to such a powerful motherhood that is inclusive, sharing, tenacious, and capable of self-healing. "This feminine divine spirit makes the world orderly; it knows the limits of vitality and vitality, of purpose and innocence." (Analysis of the Archetype of the Mother Goddess, Neumann) The country is lonely, and the summer has a very burst of dust , There is a very hard ice layer in winter. What more can we expect in the impoverished mountains of Macedonia? But these do not prevent the continuous birth of eternal life. Although Kadis did not experience the life events of getting married and having children, she nurtured the last place of civilization. She needs to be the world's new bottom line, fable and consciousness archetype. Let us always remember those highly symbolic moments. Thousands of bees fluttered around Kadis in the bright sunshine, and the flower turban she wore also became a new source of nectar, a hope of life that needs to be developed in a new dance language to describe. And the rhythmic singing in her mouth makes it possible to make all things deafening without raising her arms and shouting!
PS picture is from the movie
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