2005, Germany / Lithuania
Documentary, Drama
Inspired by his own daughter’s experience, director Arunas Matelis captures tender moments at a children’s leukemia hospital in Lithuania. He initially froze these moments in time with powerful black and white photographs. These stills have now been integrated into the film, and he has expanded upon those seconds to deliver minutes from the children’s daily routines. However brief, these allotments of time will greatly affect those who view them and certainly those who experienced them.
Rather than present tragedy, Matelis focuses on the strength of the children. They are forced into a life of constant medicine and chemotherapy, and have learned to take it in stride. The parents do their best to hold themselves together and put on a brave face with quivering lips, but it is clearly and understandably tough on them. The children are not blind to this, and acknowledge that though they appreciated the initial protection of lies, it is ultimately easier to deal with the truth. One boy states that when he grows up he may want to become a doctor, but not one at a facility such as this because he would constantly pity the children. He empathizes with the caregivers, but has no sorrow for himself.
Though the stars in the film are the children, the families are unquestionably important. The director emphasizes the new life these loving parents create: sleeping by their children’s side, making financial sacrifices, living intensely in every shared moment. These changes are discussed by the parents, but there is more power in the silence and shared gazes (especially when the children are wearing protective surgical masks).
Though medical routines are demonstrated, children are not constantly shown in hospital beds. They spin around on drip stands, race down hallways and karate chop at sticks. Their world is carefully sterilized, and yet they do their best to find life in it. They behave as kids, not as patients. The children may scream from the ache of the intravenous drip, but they rarely discuss the pain. They prefer to focus on whether they will receive Lithuanian blood or if their hair will come back curly. They maintain joyful spirits and provide gentle comfort to one another. These brave children discuss the future without reserve.
As Matelis has experienced the delicate balance of this lifestyle, his respect for the families and caretakers is obvious. The subjects are not harassed and the film does not feel intrusive. The children are often seen in wonder of the cameras and talk with the camerapeople as if friends. In fact, the crew visited the hospital for two months prior to filming with no equipment, taking time to learn from the children and share in their lives. Filming took place for a year after that in order to create less than an hour of screen time. The experience became so important to the director that he had to have someone else edit the film, as cutting any image was too painful.
There is no voice-over narration and no summary page at the conclusion of the film. This poetic documentary provides a glimpse into their lives, not a chapter heading towards a certain ending. When questioned about the depicted children’s survival, Matelis carefully stated, "For me, all of them are alive, if you can remember them. Though sometimes as sunshine or wind." The film’s title refers to the interlude between heaven and earth, when the hospital becomes a sort of monastery before the children’s flight paths are determined. Matelis has beautifully captured the lives of these strong individuals, and no matter their physical fate, they will now live forever.
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