The World of Movies: Dadli
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we take a look at Antigua and Barbuda.
Dadli.
May contain spoilers.
One of my considerations while choosing films is to remain relatively equal between regions. Especially with smaller industries, it can be quite difficult to find films that are accessible, interesting, and (if necessary) have subtitles. As the Americas have a comparatively small number of countries, and many have produced few films, I am always on the lookout for something new. Since my review of Rockers near the beginning of this column, I’ve wanted to return to the Caribbean, and so I was delighted to find this beautiful short from the island of Antigua.
Dadli (Shabier Kirchner, 2018) is part documentary and part experimental film – but its subject is presented quite clearly. The film’s protagonist, a teenager named Tiquan White, guides us through his hometown and daily life. His narration is straightforward but detailed. He freely explains his opinions about his friends, his donkey, the arrival of tourists, his life in both town and country, and the girl he likes. (Reportedly, Kirchner started off filming the neighbourhood, then met Tiquan and built the finished film around his experiences.) This leaves us with a well-rounded view of the people and places he encounters. Occasionally, other people in his life weigh in, adding more context from their perspectives.
Dadli.
Right away, I was taken with this movie’s use of cinematography, particularly its work with light. While much of the short is focused on the events Tiquan shares, it also moves in a near-montage style, bringing together seemingly unrelated images to form a greater impression. The sound is a combination of original music and ambient noise. Kirchner heightens the film’s sense of unreality by experimenting with the intensity of sound, colour and editing. Dadli uses these elements to cycle easily between different moods. A peaceful sunset is the backdrop to a somber story. As kids play on the street, they are highlighted by the sun. While the camera moves through a neighbourhood, the music is strangely muffled. The result is a contrast, particularly between different settings, that allows the short to breathe and creates smooth transitions between concepts.
Unsurprisingly, Kirchner is primarily a cinematographer – he recently worked on Steve McQueen’s Small Axe, and often uses analog film. This is his directorial debut. Considering his ease with the medium here, I hope that it is the first of many. I have said in previous reviews that a successful short makes use of every frame, while still maintaining cohesion. Dadli fulfills this splendidly. While each shot has its own beauty, the overall composition is quite fluid and never loses track of the story.
Visually, this film is stellar. In both editing and imagery, it veers from frenzy to nostalgia to reflection, while hinting at some harsh truths. Tiquan’s presence, however, is equally critical to its success. While Dadli shows us a broad perspective on contemporary Antigua, its personal angle gives the film a focal point from which this world can be fully explored.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from Ryerson University, and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.