Page 85 - Metropolis Magazine nº115

the motto "Go Wild!" But what going to face the same issues as space, he's going to reflect on it
the French painter finds— he did in Tahiti. So he's in search later. And that's where the movie
and he self-reflects on this of something impossible, a real wanted to go. And hence our
frustration—is a space where Utopia! I think Segalen realizes way of filming nature: as Paulo
the French language is already this—he didn't realize it at the (MilHomens) has already said,
dominant, where local dialects are time he visited and looked for with the choices we wanted to
disappearing, where traditions Gauguin. But with everything he make and which we had defined
are repressed because the Catholic gathered, he later wrote a text as a program for the film from
Church itself oppresses them and called “Essay on Exoticism” (a few the outset, in terms of image,
doesn't allow them. Basically, years later, not many), in which chromatics, and everything, we
he culturalizes the local people all these experiences with these wanted to avoid picture postcards
in French-speaking culture. cultural issues and with this and exoticism.
Anyway, he observes all this and concept of nature are called into
is very distressed. That's his big question. This book is almost a Paulo MilHomens: Totally
disappointment, so at the end of seminal book in contemporary avoiding that commonplace,
his life he goes to this island, to ethnology! Precious, because it that layer that almost overlays
Hiva'Oa, because he thinks it's calls into question these absolute the locations: a person says
further away, it's more isolated, concepts of nature and the Tahiti, and two or three images
but even here, he'll find a small pure. He does this experiment, immediately spring to mind. And
French micro-society. He's going confronting himself with all of here there was a great concern to
to have problems with justice; he's Gauguin's history. With all this film the reality of that place as

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