Waste Land, Directed By Vik Muniz
Documentary films are known to use a variety of methods, such as images, sounds, and different film techniques, in order to bring forth an argument. Many documentary filmmakers use their documentaries as an attempt to somehow change or improve society. The documentary, Waste Land, is directed by Lucy walker and features contemporary artist Vik Muniz, who is well known for creating art out of trash and recyclables. The film follows Muniz as he collaborates with five catadores (garbage pickers), making portraits of them out of the garbage they pick from the Jardim Gramacho, one of the world’s largest waste dumps on the outskirts of Rio de Janeiro. Waste Land is a film that reveals the power that art has in transforming something unwanted into
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The positive changes in the lives of the catadores leans towards the answer of the question to be “yes”. Doubts are also quietly revealed about what some may see as a questionable social experiment. Consciously, Muniz had a potentially transformative yet disruptive role as he introduces the catadores to art and an alternative life. He has faith in the artistic power of transformation, as one thing changes into another and garbage becomes art. The motive behind this documentary may possibly be exploitative. One of the catadores, Tiāo, was given the opportunity to go to London for the auction and the chosen catadores were able to go to a champagne opening in Rio, and are encouraged to believe they are worldwide famous. Muniz keenly believes that he is making a change for the better in the lives of his subjects by providing them with the opportunity to make art and see the world, even if they do not make it out of Jardim Gramacho. The documentary leaves its audience with many uncomfortable, ethnical questions concerning the catadores’ well-being; for instance, will this project mess them up? And are the catadores treated as human trash to be recycled into collectible art for the rich? Muniz merely answers these questions saying that it is inspiring and empowering for them, and that nothing could be worse than their current situation
The positive changes in the lives of the catadores leans towards the answer of the question to be “yes”. Doubts are also quietly revealed about what some may see as a questionable social experiment. Consciously, Muniz had a potentially transformative yet disruptive role as he introduces the catadores to art and an alternative life. He has faith in the artistic power of transformation, as one thing changes into another and garbage becomes art. The motive behind this documentary may possibly be exploitative. One of the catadores, Tiāo, was given the opportunity to go to London for the auction and the chosen catadores were able to go to a champagne opening in Rio, and are encouraged to believe they are worldwide famous. Muniz keenly believes that he is making a change for the better in the lives of his subjects by providing them with the opportunity to make art and see the world, even if they do not make it out of Jardim Gramacho. The documentary leaves its audience with many uncomfortable, ethnical questions concerning the catadores’ well-being; for instance, will this project mess them up? And are the catadores treated as human trash to be recycled into collectible art for the rich? Muniz merely answers these questions saying that it is inspiring and empowering for them, and that nothing could be worse than their current situation