Wake Up Mars’ Review – Different3 min read
It’s hard to ignore the “easy living” motif that 10-year-old Furkan Demiri’s bed sheets are included in De Gijinosi’s “Wake Up Covers”. The heartbreaking embarrassment of the icy move, because there is nothing simple about the life of this imaginary child, was brought to a halt in the endless immigration system in a icy Swedish city. But the status of citizenship is not the only painful obstacle that has left the Kosvan family, a six-member asylum seeker in Furkan, in a state of uncertainty.
In the midst of Genovi’s sympathetic and somewhat chaotic documentary debut, it is said that Farkan’s two siblings, Ibadeta and Zenita, have been living in a coma-esque plant for many years after falling ill with a mysterious disease called “resignation syndrome”. Body shutdown that affects the deportation of about 200 shell-shocked migrant children each year
While the Demiri family, led by parents Moharrem and Nurji, are caring, caring and fighting to get their shelter closer to hope, Farkan has his own plans: a trip to Mars, where he believes his sisters have been taken and brought back home. Furkan’s resignation version of imagining an out-of-space adventure like a child; Survive a crippled trauma at home until safety and normality come into view.
Throughout “Wake Up Tuesday” which was inspired to read Gizinovi Rachel Aviv’s 2013 New York article in New York, “The Trauma of the Mask of Exile,” she tries to integrate the two accounts – Furkan against her significant quest against forest misery. Home – Different degrees of success. When the filmmaker stays close to Demiris’ daily routine, sympathetic doctors and teachers visit their homes, immigration officers and expatriates become very important with their families on the snowy roads around them, on the scenic roads, cinematographers are at risk. Kathari f Pictures.
The director is unfortunately less successful with the story of Furkan’s inspirational advent; It’s not so much about portraying, it justifies her dramatic need when the two sisters ’lives are in balance; While young Furkan’s bright, gray blue eyes and surprisingly camera-friendly facial expressions are a priority for audience narrators, Genevieve’s cinematic resources can’t determine how the director can weave his vision into the film. In it, sections including Furkan increasingly take on a manipulative, far-reaching dimension and feel like saying goodbye to the main feeling that “wake up on Mars” should be noticed; Especially when a 10-year-old make-believe spaceship is made with pieces collected from a junkyard, it looks like the work of on-set artisans with professional resources.
Still, there’s a lot of fine-tuned sympathy here that makes “Get Up on Tuesday” a worthwhile observation, adding to the theme of last year’s Oscar-nominated documentary short, “Life Overtakes Me.” Resignation syndrome in refugee families. While we’re at Demiri’s house, old audio recordings of the news report explain that filmmakers use sporadically, given the government’s harsh stance on refugees in a senseless world, and the audience’s response to the sisters’ struggle. That context only deepens when we realize the whole story – the family had already been deported once two years ago, a decision that resulted in Ibadat falling ill after her sister fell ill three years ago, witnessing a tragic event in Kosovo.
Amidst communal support, secret parental tears, and the touching care of a family that seeks to engage worshipers and Zenita in everything, including dinner and conversation, why do you wonder why the film isn’t entirely centered on a domestic rhythm that sways in harmony? And Pathos even when the story comes to a happy and fruitful ending in all accounts – the sisters are finally awakened, the last credit is revealed – the audience may feel some slight change in the film’s ending sensitive effect.