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FILMMAKER MAGAZINE RE BEBE ZEVA

“Bebe Zeva’s sociological desire to do ‘human research’ is the same impulse we all share as we navigate through life, and therein lies the film’s almost sentimental humanism. And in a strange way, the films of Lin and Boyle are not about people at all, but rather about the medium of cinema itself, in the same way one could claim that Citizen Kane is not about any of its characters, but is instead about its experiments with deep focus; or that The Passenger is not about David Locke (Jack Nicholson) but is instead about the film’s long takes; or that Avatar is not about the Na’vi, but is really a story of the digital simulacrum. In this regard, a film like Bebe Zeva is a window not into Zeva or Boyle or Lin or even the mumblecore movement, but rather into a particular and exciting moment in the history of cinema, when the motion picture camera’s liberation from its traditional form and shape becomes, slyly, the very subject of cinema itself.”