As Louise Muller observes, “The film calls up questions about the concept of 'white' (oburoni) in the Ghanaian context.
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There is a film in which we hear her voice and observe a scene described by an animated camera, from which she is absent.
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The relation between reality, the representation of reality and we the observers/actors, has to be established over and over again.
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In My lifetime (Malaika) and in her other works Zdjelar often uses the camera to closely observe bodies that are speaking, acting, or performing.
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In My lifetime (Malaika) and in her other works Zdjelar often uses the camera to closely observe bodies that are speaking, acting, or performing.
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It is starkly descriptive and recalls a neutral observer, while the content suggests a person who is dramatically involved in the scenes described.
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All the artistic aspects - the creative process, choice of media, the presentation/context and above all the observer - play an important role in this.
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Against the background of intimate, domestic or dreamlike environments, the unambiguously male figures expose themselves freely and easily to observers.
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Some maintain a certain distance and regard the city and urbanity as if they were something being observed from outside, like an avatar in a video game.
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Some maintain a certain distance and regard the city and urbanity as if they were something being observed from outside, like an avatar in a video game.
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