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  “Let the dead bury the dead, you shall leave no trace. Bury your existence, lest they say there lived a sufferer. The soul-less march of time has surrounded you, like an old cloth turned into a dry beetle. The (church) bells speak when people can’t. Little children cheer up. The dead buried their own dead. You will do so in future. You can hear the church bells under the water” --- words of a song sung in the opening sequence, where the time stamp is revealed by the electricity that lights up the room (the rest of the film is lit by candles). The song is sung, aided by a Lesiba, “an unbraced mouth resonated bow,” by the film’s actor Jerry Mofokeng   L emohang Jeremiah Mosese is one of the best directors from the African continent today, if not a wider geographical area, and his 2019 film This Is Not A Burial, It's A Resurrection testifies that fact. How original is the tale of the film depends on whether he had seen a remarkable US film Northfork (2003) directed by Mark...

T he title of a movie often provides a vital clue for a viewer to approach and analyze a film. In Asghar Farhadi’s latest work The Past, there are several pasts on review:  the past life of the Iranian Ahmad (Ali Mostaffa) and his French wife Marie (Bérénice Bejo) now about to sign divorce papers; the past life of Marie who had lived with a gentleman we never see on screen but is currently living in Brussels and is definitely the father of Lucie (Pauline Burlet) and possibly of even of Lea; the past life of Samir (Tahar Rahim) whose wife Celine is in a coma after a botched suicide attempt, and is a husband-in -waiting  for a pregnant Marie after she divorces Ahmad. These pasts are never shown in the film; the viewer has to flesh out these pasts from bits of dialog in the film as it progresses.  The pivotal point for all the three “pasts” revolves around one individual Marie. She is the one seeking a divorce.  She is the one who has two husbands living under one roof,...