Bongo
Visualizing false connections through an intimate encounter between two strangers
Directed by Reece Daniels
Interview by Tatevik Avetisyan
Where the innocent sees trust, the liar seeks an opportunity. Being caught up in the whirlwind of complex relations that requires understanding, there is always room for misbelief and forced validation, which might be a premise for toxic relationships. Misleading commitments, small lies, and pretentious love confessions are a part of current society. It is a ubiquitous notion that lays the ground for false connections – a theme that Reece Daniels, the director of an experimental dance thriller BONGO, has visualized in his short film.
Reece Daniels embarked on the journey of filmmaking with home videos shot on a camcorder for his YouTube channel. Through his persistent dedication to filming and ambitious plans for the future, he set in motion a production company, Kairon Pictures, with his business partner Jivensley Alexis. His latest work, BONGO, which appears as a hyperbolic representation of the complexity and dishonesty of human relations, is open to interpretations. It is a uniquely intuitive experience that “strikes a nerve,” as Reece describes it, closely considering the interpersonal relationship and betrayal as a core of the story.
The film revolves around a homeless Bongo drummer who encounters a passing dancer on an empty overground pedestrian crossing at night. Once they engage in play and dance performances, the story grows intense. This thriller-like atmosphere is brilliantly transmitted by Reece through colors and lights, adding to the tension that progresses swiftly as the characters attempt to keep up with each other’s rhythm and pace. Covered with face masks and dressed in suits, the strangers carry out an abstract dialogue that ends with an unexpected turn of events.
BONGO is a dance film for a good reason. Choosing dance as a communication language did not come to Reece as a mindful choice but rather a natural decision. Considering his love for dancing and conviction in the universality of this art form, BONGO bears a universal message that requires a language with no barrier. In our interview with Curation Hour, Reece Daniels reflected on his short film, the challenges behind the film’s production, and his future projects.
In one of your interviews, you said that you didn’t consider the film to be nihilistic, but a warning for what happens when we trust too much. Is the story based on something you’ve experienced or come across? And why did you feel it was important to share it with others?
I came up with the original idea during the summer of 2020. The events of that year inspired the film rather than any personal experience. At that point, and still today, we saw many people donating to fake causes, spreading misleading news around places like Facebook, and politicians spouting blatant lies. It all has a hand in the film’s thesis, and I feel that it is important to share films like this because the message may be clear, but it is not the film –the Dancer and the Drummer are the film. Nobody wants to be taught or told what to do; I want this film to guide them to safety, and to question the authenticity of the people they meet and the media they consume.
What were the challenges in making BONGO?
The biggest challenge was maximizing the tension. I am still unsure how successful the tension is because I can’t have a subjective view of the film. Yet, we did everything we could, including the intense cinematography, dynamic blocking, pacing, and sound design. We also had a challenge that we cut from the film, but I wanted to open the film with the train pulling into the station and some extras with bags on their heads exiting. We tried it almost every take, and every time the train was in a different spot. We practiced plenty, but I have accepted that the universe won’t go a day without giving me the finger.
“The intention was to depict how deceitful we can be to each other. ”
BONGO can be interpreted in multiple ways, including a socio/political reading. What was your message in the first place? Did you fear that the idea would be differently perceived by the viewer? And how do you feel about your work being interpreted differently from what you originally intended?
The intention was to depict how deceitful we can be to each other. I think it is a lot easier to be deceitful nowadays as we often have a buffer of digital anonymity, enabling us to be more careless and even cruel towards each other. I have heard a lot of different takeaways from different viewers, and I honestly prefer that people have their own interpretation of the film. Above all, my main concern is that the audience enjoyed it because then they will think more about it and reach an interpretation of some sort.
Take us into the logistics and technical aspects of the film; how did you decide on the place, time of the day, and using a free-moving camera?
It was all chosen to create an atmosphere that could incubate the tension I was aiming for. The empty, isolating location, the darkness of night, and the intensity of the camera – were all chosen to compliment the characters’ actions, and make the film as tight as possible, both visually and narratively. My DP, Kim Johnson, had a large impact in shaping the film’s visuals as I went with a very hands-off approach to directing the camera. My trust was well - placed; I love the choices she and camera operator Clint Pang made with the movements and camera blocking.
The story ends with the death of the bongo player. Can you guide us through other symbolism that you used in the story: rhythm, masks, suits, death, and dance?
To me, a lot of the choices you mentioned are less symbolic and more atmospheric. There are a few consciously implemented symbols in the film, such as the masks, which allude to digital anonymity, which I would define as the increasing ability to neglect the emotions of others without any consequences. The use of rhythm is more of a pacing device, allowing the film to get faster and faster, like a pot of water reaching its boiling point. Overall, I didn’t consciously choose most of the symbols and imagery in the film; they are simply a part of the film. They all have meaning, but I don’t want to posture as some maestro who methodically implemented every symbol into their work.
Are you currently working on new films, and with a growing list of festivals, what are your plans for Kairon Pictures?
We are currently working on a couple of music videos with some exciting artists, and we are wrapping up the year with a short film. It is called”Debts of Affection”, directed by my co- producer Jivensley Alexis, and it is essentially a film about having a very private conversation in a very public setting.
Director - Reece Daniels
Producer - Jivensley Alexis
Associate Producer - Aashish Joshi
Director of Photography - Kim Johnson
Camera Operator - Clint Pang
1st AD - Aashish Joshi
2nd AD - Keith Leung
Sound - Evan Lafemina
STARRING Kyle OBraitis as the Drummer, Jivensley Alexis as the Dancer