2022 CAMDEN INTERNATIONAL FILM FESTIVAL REVIEW!
Many people are blind–not blind in the sense that they are literally unable to see, but blind in the sense that they are often unable to see the truth. Furthermore, while that ignorance exists in the world, there are individuals who fall between the cracks, ultimately becoming irrelevant in the grand scheme of life. Seasick aims to stand up for those that we don’t see, fix the issues that exist within the system, and remind the world of the atrocities that have befallen our world in the past.
As the film begins, viewers are transported to the past, to a time when racism was at an all-time high. We discuss issues of slave trade and displacement, and the world is able to see, once again, the harrowing details of the early days of the Americas as we know them now. Regardless of the way in which the world looks now, slavery occurred, and there is no escaping a past that destroyed entire families, entire generations of people–and the poetic nature of what João Vieira Torres says throughout his presentation brings these sentiments to life once more. Seasick is intentionally antagonistic, and Torres knows how to ruffle some feathers–he knows just how to frustrate viewers.
His antagonic approach is commendable, but I’m not sure that he’s going to get the response that he had hoped for. Obviously this approach will work one of two ways: he will either appeal to viewers as a result of his inability to be silenced, or he will piss people off, turning them off to Seasick. I happen to fall on the side of disliking the documentary, struggling to fully see the merit in what Torres does throughout. I genuinely appreciate the message, and retelling the story of the Americas is compelling, interesting, and educational–but as Torres enters a museum and begins antagonizing other guests, his ability to convey information is hindered greatly. As he walks through the museum and asks people, over and over again, to count the number of black people they can see in the room, he gets looks of confusion, disgust, and frustration–and my reaction was some combination of the three. His failed attempt to be what I assume many would refer to as woke dilutes the meaning of Seasick, and his passion eventually falls flat as a result.
However, with all of that being said, the reality is that Torres journeys a road untraveled, and he finds himself doing and creating something unique as a result. He knows that, even if the reception isn’t what he had hoped for, his stance, and his tenacity is admirable. Clearly he’s not worried about what the masses have to say, and he wants to do what’s best not only for his documentary, but for the people that he feels he represents. He’s willing to stand up to the veritable man–and that's a difficult feat. Seasick is definitely created out of passion. So, for that reason, it remains functional in the world of cinema.
Again, there are two ways in which Torres’ approach can work–and I honestly believe that, while many will be frustrated, he will receive an ovation of sorts from a generation geared toward making change. I think he’s found the right time and place to create something of this nature, and timing is everything. He and Seasick will inevitably find success–but I think there’s more work to be done than with a standard film. He has to find a way to market this film in ways that haven’t been done before, and down avenues that aren’t often explored. He must find a unique niche within the world of film, or he runs the risk of his message never being heard. He has the potential to make big splashes, it’s up to him and his team to find ways to make that happen. For viewers like me, Seasick isn’t as powerful as Torres had hoped, but the viewers with a chance to appreciate his message are out there–he just has to find them.
Directed by João Vieira Torres.
⭐⭐⭐⭐⭐⭐/10
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