“Strong performance of the two actresses Condola Rashad and Sarah Goldberg, extraordinary.
All of a sudden, the documented reality escapes its own reality. At one point, the documented object begins to document its own documentary team (with an old camera and low quality images, it captures nuances that were never seen before under the perfection shown by the high-quality lens). The object becomes self-conscious and becomes a subject. The object appropriates the film for itself; it appropriates the fiction about itself, the narrative about itself, the documentary about itself. It appropriates itself from the other. At another point, the object’s intimacy is scrupulously explored; at another point in
time the documented object is violated by the documentary crew (two positions that cannot be in a clash, that should be kept at a distance). Ironically, the documentary crew is omniscient and omnipresent showing up in the most unexpected moments, witnessing everything, starting from the illegal crimes up to the most intimate moments
Milcho operates with inverted positions all the time. At times, we have the feeling that the filmed objects are even ourselves. Inside the film, he plays around with the concept of a film crew that deconstructs the classical cinematographic language, by displaying, without any problem, the microphones, the cameras, the backstage, the whole cinematographic apparatus, production and editing; justifying it as an aesthetic concept of the eccentric director Trevor: “we like the mic”. He “tears down the curtains” several times, sometimes one inside the other; including during the disturbing and dramatic moments. The total subversion of the narrative language is reflected in the subversion of the instrumental language engaged by the film director Milcho Manchevski. As if he himself was susceptible to changing positions with his alter ego, the film director Trevor…. Film directorphilosopher”
(O Que Tem na Nossa Estante)
Documentary-fiction, "Bikini Moon" investigates society behind the cameras. As it unfolds, viewers begin to question what is true – and not only in relation to facts, but also to the very beliefs and desires of each character. Bikini, at first seen as crazy, ends up being the person whose world makes sense the most
The director revisits the classic philosophical conflict “To be or not to be” for the cinema.”