Waste Land

A documentary about the international acclaimed Brazilian artist Vik Muniz, who reconstructs photos using garbage materials from Jardim Gramacho, the world's largest landfill in Rio de Janeiro, and with the help of the pickers who work and dwell there. An both artistically tantalizing and sociologically empathizing body of work.

This film has indeed reminded me that it is the one should have used the 4D gimmick which brazenly hyped by SPY KIDS: ALL THE TIME IN THE WORLD IN 4D (2011). With a bit odor touch, it could enhance more on the turmoil what we are watching in the landfill, and it is an extraordinary case that the sense of smell could actually have played a more essential role in the film genre.

Anyway, the environment-concerned stress has never been under the spotlight here, being a documentary about art and garbage pickers, one possible pitfall is the condescending inclination, but blithely it is not the case for this film, instead it spends most of time on the individual pickers who are involved in making this project, it captures many poignant moments behind their own stories. No doubt, Vik's work does have a pivotal role of altering the pickers lives, but the film does not overwhelmingly hinge on the process of making those artworks, and which perfectly encapsulates a more sublimated obligation in additional to a general aesthetic percipient, to change the world in a better way, and Vik and his team has done it, a tenacious and awe-inspiring job.

Apart from the riveting story, there are several panning scenes of the landfill are astonishing, our life is linking with garbages everyday, but most of us act like they are thoroughly vanishing from the earth after when they are being discarded in the dustbins. After watching this film, we might be coerced to face some soiled corner of our life which we are selectively and subjectively ignoring, and starts with the most basic one: behave yourself.

I had only heard little about 'Waste Land' and didn't know what to expect other than be introduced to some artworks by Vik Muniz. Also the concept of making art from garbage and involving the garbage pickers who work at the dumpsite got me curious. What I got from this film in the end was far more than what I expected. The camera follows Muniz to the world's largest waste land in Rio de Janeiro. One by one the viewer is introduced to some of the people who work there while Muniz proposes his project to them. The people, who are considered by many, to be of the lowest of classes, are portrayed beautifully as high spirited people, in this film. Just like any other common working human being, the pickers work hard to provide for their families and many of them are quite proud of what they do . There is also a wonderful sense of unity. What Muniz offers them is to be a part of something big, to dream again. It's a sight to behold, when the workers' faces light up as they realize they are becoming/ have become a part of something unique, beautiful and important. These are three adjectives that I'd additionally use to describe this inspiring, insightful and unique gem.

Vic Muniz's art has never been as influential as when he decided to spend 2 years at the world's largest landfill outside of Rio. The catadores or pickers became his subjects, a ragtag group of Shakespearean types who love what they do for a living, making something out of someone else's nothing. Waste land is the title for this engrossing documentary about art as few have experienced it till now.

Making a living is what they made until Muniz changed the way they looked a recyclables. He bonded the artifacts with the humans and created memorable portraits of the pickers. A show in London, which they attended, became a catalyst for change in their lives and in the lives of spectators who had no idea Rio's garbage had become Rio's recyclables under the hands of these professional pickers.

Muniz makes sure no one condescends, no one feels sorry for his subjects, some of whom have never known anything but the landfill and others who have chosen it rather than deal drugs or prostitute themselves. Waste Land is as dignified a story about the potential of the poor class to rise out of its garbage and transform it into art and a better life. For this reason, Muniz can stand with the great humanitarians like Albert Schwitzer and Mother Theresa.

This film is a remarkable surprise! A clever, concerned, screen-grab of homeless lives that gives an ounce hope where one would least expect it. Internationally acclaimed artist, Vik Muniz, is our guide on a journey through garbage, guts, and glamor. With a smile on his face that belies many of the bleak images he shares, he outlines what is, perhaps, an early chapter in the "ecological medical journal" that must be written to save our planet. The characters in Waste Land by far overwhelm this 'preachy' review, and are 1,000 times warmer, to boot -- go see it before it's gone -- to NETFLIX -- As proceeds from your ticket save lives!

Following in the path of Edvard Munch who said, "I will paint living people who breathe and feel and suffer and love," artist Vik Muniz travels from his studio in Brooklyn to Rio de Janeiro to "give back" to the people of Brazil where he was born and raised. In Lucy Walker's (Countdown to Zero) inspiring documentary, Waste Land, winner of the Audience Award for World Cinema Documentary at the Sundance Film Festival, we are taken inside the squalid landfill known as Jardim Gramacho on the outskirts of Rio to see the largest garbage dump in the world where 7,000 tons of Rio's trash is deposited every day. The film is seen through the eyes of the "pickers," called catadores who live and work in this squalid environment, eking out a living of $20-25 U.S. a day.

The catadores, who number in the thousands, work under burning hot sun and overpowering odors collecting and selling recyclable materials such as bottles, plastic, and metal to wholesalers and middlemen who turn them into such resalable items as buckets or bumpers for automobiles. Vic Muniz' plan is to select and paint a group of six catadores to pose as photographic subjects that will mimic such classic paintings as "The Death of Marat" by Jacques-Louis David. Money from sales of the resulting art will go to the pickers association for the benefit of the workers. The project included Tiao, the leader of ACAMJG (Association of Collectors of the Metropolitan Landfill of Jardim Gramacho) who went on a hunger strike to dramatize the conditions of the pickers and built an organization that helped create a skills-training center and a medical clinic for the workers.

There was also Zumbi, a member of the association, who began a library from his home from books that had been discarded, Irma, a cook who makes stews and roasts from edible meat to feed the workers, Suelem, an 18-year old girl who has been working in the garbage dump since she was only seven years old, and Valter, an elderly man who entertains with stories and songs and who decides to participate because he believes that "it will raise awareness of all us pickers." Once the initial photographs are made, Muniz projects an enlarged version of each photo onto the floor of his studio and hires the pickers to add refuse from the landfill onto the canvas, photographing the result from overhead. This then becomes the finished art work, ready to be exhibited at auctions and museums around the world with the pickers traveling to such cities as London and New York, the first time they have ever left Gramacho.

Waste Land is not only a biography of an artist, but a look at the artist in the context of the community in which his art is created. Muniz reveals the courage and resilience of the people in spite of their grinding poverty and depressing environment. Many are former middle class residents of the suburbs who chose the life of the picker rather than becoming prostitutes or drug dealers and are happy with their choice. Though Muniz's goal was, "to be able to change the lives of a group of people with the same material that they deal with every day," he never dreamed that his work would impact the lives of the people so dramatically.

Through his efforts, many of the residents who worked for him have changed their life and either reconciled with their families or gone on to more rewarding jobs. Modernization has also begun to take shape at Gramacho. A recycling plant has been built and the workers have been separated into categories for more efficient organization. Though admittedly just a beginning, Muniz has demonstrated that the power of art is available to all people regardless of their circumstances, allowing them to experience their inner beauty and believe in themselves in a new way. Not succumbing to the temptations of melodramatic excess, Waste Land has been shortlisted for an Oscar for Best Documentary and fully deserves to be among the finalists.