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there is always something (why I shoot film)

There are maybe ten shots left on the roll. Outside the metro, a collection of pigeons sit on minuscule ledges above two old men. They talk as all old men do, with operatic waves of their hands, sour expressions, belly laughs, eventually scratching their chins as they stare off at nothing in particular. I am pretending to take pictures of something near them, then swing across when they are not looking to shoot a few frames. At one point I surrender to the afternoon and move on.

And now, the courtyard that leads to the film lab. A great old building rests here, a school of architecture where students mill around dressed in black sucking on cigarettes with giant portfolios tucked under their arms. A young man approaches me. I am ready to tell him I have no idea what he is saying, but he wants to know where the film lab is. I jut my chin, telling him the door is just beyond a few bushes. He nods his thanks.

There are screens set up in a jagged line, sheathed in filthy white plastic to …

the immigrant and the exile


The expatriate remains patriotic - loving their country from a distance. Their loyalty does not waver.

The immigrant is a foreigner that works in another country as a result of some form of escape, some desperate act.

The exile does not love their country, and it can be said that their country rejected them.

Which one wakes up homesick?

Which one can shrug off the betrayal, the long shadow of the dream of a better life when it sours and fades?

There are days when  I see no difference between the immigrant and the exile, two sides of the same coin. The expat is a blind romantic, their decisions set as young men and women, their senses dulled to nothing. I have started to understand I am not an expat any more, as I do not love my country. I tolerate it.

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