(THIS ARTICLE IS ONLY MACHINE TRANSLATED by Google from Norwegian)
"I want to be like Superman," says the owner of a billiards hall in Guerrero toward the end of Julien Eli's documentary Dark Suns. For the past five years, he has spent his spare time looking for the body of his brother, who was kidnapped. Infrared super powers would have given him the opportunity to see through the soil layer and made the shovel and grip redundant.
But it is not the work of the search that worries him. Looking for a family member is dangerous; the number of Mexicans who have disappeared is so many that he risks excavating other remains than the brother he is looking for.
The remains belong to other families' dearly missed relatives, but for the corrupt people who have buried them, this is just unpleasant evidence – and the billiard hall owner is constantly threatened with life.
We see him find a shoe, with his foot inside. The shoe is size four or five and may not be the brother's, but belongs to one of the 32 other reported missing.
His longing for superpowers, an imagined and unattainable fantasy, underscores just how helpless he and other residents are, where they are trapped in a reign of terror between organized crime and the authorities.
In his back pocket he has a copper horseshoe, partly to bring him luck, and partly to allow the family to easily identify him if he too disappears.
He is one of several witnesses in this protracted and depressing film; an accumulation of suffering that, by its scale, shows how pervasive the threat of violence hangs over the people of Mexico.
Voices without Eco
Dark Suns is elegantly filmed in black and white, respectfully restrained and never sensational, and it allows the fear to build up in the spectator.
The film begins in Ciudad Juárez, one of the most populous cities in Chihuahua and is notorious for its brutal cartel-related crime. At one time it was the most violent city in the world, and since 1993 it has. . .
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