Ein flüchtiger Zug nach dem Orient (A Fleeting Passage to the Orient, 1999)

Following on from my post about Ulrike Ottinger’s Chamisso’s Shadow earlier today, another filmmaker crafting a similar meeting between history and travel is Ruth Beckermann, whose work I discuss today takes the form of a travelogue but again uses historical texts and incidents to structure it, finding a little bit of the past in present actions perhaps, and revealing something of the world as it’s not perhaps frequently seen by the West.


An essay film with shades of Chantal Akerman I thought, in the way it elegantly constructs its telling of the story of the peripatetic later life travels of Empress Elisabeth of Austria in the 19th century with its own travelogue visions of Egypt. There are lateral tracking shots of markets and bridges across the Nile, among many other sights and sounds of the country, pulled together by a studied narration (available in both German and English). It seems like something that must be very deeply considered, and I confess that I watched it in probably less than the careful scrutiny it deserves, but I very much warmed to the sense of feeling it imparts (presumably somewhat like the Empress would herself have encountered) of peering somehow through the exoticised Othering of Egypt and its people that exists in the West, of getting a glimpse of life in this bustling world city, albeit with a certain distance.

A Fleeting Passage to the Orient film posterCREDITS
Director/Writer Ruth Beckermann; Cinematographers Nurith Aviv נורית אביב and Sophie Cadet; Length 82 minutes.
Seen at home (DVD), London, Thursday 30 January 2020.

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