Déjà vu (1999)
Somewhere in a subtropical country white visitors crowd around dark-skinned plantation workers emptying their harvest baskets. They look curious, as if wanting to test the quality of the tea leaves. Everywhere tourists take out their cameras whether in front of large animals in the wild or camel riders, whether in the face of decorated human bodies or daily work routines. Now and again they look into the camera themselves. For later, for when they will proudly show their 'exotic' finds at home. This posing contains a model of western travels and picture making which is over a century old. The fascinated gaze on the foreigners fixes them in pre-formed frames. Lisl Ponger follows the trail of that gaze by taking amateur found footage material and linking it together in new ways.
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A different way of telling a story
The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.
The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.
Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.