Nabi Film

[Mina Meiss]

Thefilm is a science fiction tale set in a near future Korea, where an "oblivion virus" which causes memory loss has become the centre of a tourist industry aimed at those who wish to forget the past. Anna Kim, a German woman of Korean descent, seeks the virus in order to erase painful memories and, along the way, develops a close bond with her driver and her teenage guide.

The film is set in an unnamed Korean city of the near future, a city plagued with acid rain, lead poisoning, and the "oblivion virus". People come from all over the world on guided tours of the city deliberately seeking the virus. Victims of lead poisoning are quarantined in sanatoriums for the protection of tourists, and forced abortions are carried out to prevent the births of deformed babies.

Anna Kim (Kim Ho-jung) is one such tourist who arrives in the city having booked a tour with the Butterfly Travel Agency. Anna wishes to become infected with the virus in order to forget the painful memories of her abortion. Her "virus guide", Yuki (Kang Hye-jung), is seven months pregnant and unwell, but needs the money to support herself and her unborn child. K (Jang Hyun-sung), their driver, is new to the agency and starting his first assignment. An orphan with no memory of his real family, he keeps an old photograph of himself as a child on the dashboard of his taxi; he picks up other passengers in the hopes that someone will recognize him, even though this is against agency policy.

After meeting Yuki and K at the airport, Anna is taken to a number of virus exposure sites, but their early attempts at finding the virus are cut short by acid rain storms. Finding out about Yuki's pregnancy and poor health, Anna requests a new guide. K, suspicious of Yuki's behaviour, reports her to the authorities as a suspected lead poisoning victim. Nevertheless, after Yuki treats Anna for exposure to acid rain, a bond starts to develop between them, and the three spend some time together. Anna cooks a meal for Yuki, and in return Yuki reveals her collection of personal items from previous clients, memories she is safeguarding should those people ever wish to remember their past again. After Anna leaves, Yuki is taken away by the city authorities.

Continuing without Yuki as a guide, K continues to drive Anna around the city. At first Anna is frustrated by K's efforts to learn about his own past, but they begin to understand each other as they spend more time together. One night, they are involved in a road accident and their taxi veers over the side of a bridge; Anna rescues K from the water below and manages to resuscitate him, though she later requires treatment herself.

Having recovered from the accident and with her time in Korea drawing to a close, Anna begins to make arrangements for her return home. However, she decides to track down Yuki and uses the last of her money to buy her release. They resume their search for the virus, but are cut short once again when Yuki's water breaks. Knowing that she will not survive the birth, Anna urges Yuki to put her own health first, though Yuki is adamant that she will have the baby. Unable to reach the hospital in time, Anna fulfils Yuki's wish to have a water birth, and, assisted by K, takes her down to the beach where she delivers the baby in the sea. Yuki later dies in hospital.

As Anna and K search through Yuki's belongings, they discover an old passport with Anna's photo in it, suggesting that this is not the first time she has been to the city in search of the virus. Having no memory of such a visit, Anna goes to the Butterfly Travel Agency headquarters where she demands answers, but as she has signed a waiver they refuse to divulge any information. Later, she tells K how she wanted to adopt Yuki's son in order to make a fresh start, but that she knows he needs the child more than she does.

Three years later, K is still working as a driver for the agency. No longer searching for answers to his past, he now keeps a photograph of Anna in his taxi, along with one of him and his adopted son.

Produced on a budget of $380,000,[2] Nabi was shot on digital video and later transferred to 35mm film.[3] Filming took place on location in Busan, South Korea, as well as Kobe and Osaka, Japan.[4]

Lisa Roosen-Runge was less glowing in her report of the 20th Vancouver International Film Festival for Senses of Cinema, saying, "I admit that the revelation about Anna's expired passport did not make any sense to me, and I was confused by the extra non-Yuki character played by the same actress. I also did not find the epilogue completely necessary. Still, [Nabi] is recommended as an unusual film despite the minor caveats."[6] Comments made in the San Francisco Bay Guardian were somewhat critical of Moon Seung-wook's direction, saying, "some of his favored technical tactics (in particular, camera work that lurches during moments of emotional upheaval) become heavy-handed", though Kim Ho-jung's performance was singled out as the film's "chief strength".[18]

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Ocean Master, a decommissioned container vessel, enters into a dialogue with several workers at the Gadani yards. The conversation moves between dreams, desires, places that can be called home, and the violence embedded in the act of dismantling a ship at Gadani.

As the workers recall the homes and families they left behind, the long work days mesh indistinguishably into one another, and they are forced to confront the realities of their work in which they are faced with death every day. How may they survive and look towards the future?

I started this film with these questions in mind. As I spent more time at the yard, I became interested in the non-human elements and stakeholders as part of this industry: the contamination of the water, the impact upon the shoreline, the movement of fish away from the shore and these waters, the air that was made heavy with the release of fumes while welding. It was the sum total of violence experienced by humans and other-than-human lives that caught my attention. The decommissioned vessels, the workers, and the environment are locked in battle with one another. What would a relationship of empathy between the ships and the workers who are both there not out of their own free will or choice, look like?

My intention was to document the yard as well as to facilitate a dialogue between the workers and their immediate environment, in making a film that moved beyond a workplace documentary. For this reason, I used a variety of forms, relying upon documentary, narrative and magical realism to create this work.

The shipbreaking industry in Pakistan is considered one of the most dangerous workplaces for its workers. When I arrived at the yards, I realized that the industry is not just dangerous for its workers, but also contributes to a complete ecological breakdown of the surrounding land and marine environment.

My film, All That Perishes at the Edge of Land, is set at the Gadani shipbreaking yards in Pakistan, and is a conversation between a decommissioned container vessel and the shipyard workers. I chose to have a ship in conversation with the workers to more fully explore the impact of this industry on the environment. This conversation is an opportunity to investigate toxic trade, slow violence, and imminent environmental destruction as felt by all the stakeholders - human and more-than-human bodies and objects. My film explores death and destruction, economic migration, material needs alongside dreams and desires, as well as slow violence and collapse. All That Perishes at the Edge of Land transcends the traditional workplace documentary because it considers all life forms affected by the shipbreaking industry.

Queen Watevra Wa'Nabi is first seen being created as a heart by Emmet after the DUPLO alien arrive in Bricksburg. Although Queen Watevra Wa'Nabi Did not appear in the first film, She was one of the characters that was not presented in the Master Builders. Queen Watevra Wa'Nabi's face wasn't seen at the end of the first film. Emmet uses Queen Watevra Wa'Nabi as a token of friendship to the DUPLO aliens until Queen Watevra Wa'Nabi was eaten by one of the DUPLO aliens, causing his LEGO requirements to move upward to the big DUPLO airship that is using an invisible laser line, allowing the DUPLO aliens to ask for more. More of the big DUPLO airships join in to release more of the DUPLO aliens, presumably letting them create her.

Queen Watevra Wa'Nabi makes her first physical appearance in The LEGO Movie 2: The Second Part as a pony. That meant Queen Watevra Wa'Nabi Was created by the DUPLO aliens During the events of the first film. Watevra appears like an evil tyrant, but she does her best to persuade the heroes that she is the complete opposite of a villain by singing a song about it. She manages to persuade the others by appealing to their interests (spaceships for Benny, colorful things and glitter for Unikitty, pirate stuff for Metalbeard and just appealing to Batman's ego). Wa'Nabi Is allowed to brainwash over Emmet's friends to give back all color of his home and wants Batman to marry her as his most popular way to connect the Lego and DUPLO words.

Queen Watevra Wa'Nabi is a shapeshifting, brick-built alien who is the queen of the Systar System. Her servants are very loyal to her, such as Sweet Mayhem. She is the love interest of Batman, and the two get married at the end of the second film.

She is an overall cheerful queen who wants peace between both worlds. Unfortunately, she is not the best at communicating and comes off as a very suspicious character. When the Apocalypseburg (Also known as the destructed city of Bricksburg) leaders arrive, she tries to appeal to them by offering gifts that suit their interests. After she sings the song "Not Evil", She starts to flirt a little with Batman and states that he'll be perfect for the matrimonial ceremony. Right before Wa'Nabi sings her second musical entry, General Mayhem informs her that Batman is lonely, and scared of commitmentship. She then immediately feels a connection with him.

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