Alison McAlpine’s “Perfectly a Strangeness” Nominated for Oscar for Best Documentary Short
Alison McAlpine’s enchanting short film, Perfectly a Strangeness, takes viewers on a mesmerizing journey through the rugged mountains of Chile’s Atacama Desert. Notably, the film features no star-studded cast and is devoid of dialogue. Instead, it follows three donkeys—Palaye, Ruperto, and Palomo—as they meander their way to a mountaintop astronomical observatory, showcasing the beauty and mystery of the cosmos.
Oscar Nomination for an Unexpected Journey
To the astonishment of the Montreal filmmaker, her imaginative exploration into the vastness of the universe has earned her an Oscar nomination in the prestigious Best Documentary Short category. Perfectly a Strangeness captivates audiences with its ambient soundscapes, including the rhythmic clop of hooves and the subtle twitching of the donkeys’ furry ears, conveying a compelling story without uttering a single word.
A Conversation Between Donkeys and Telescopes
McAlpine describes her film as a surreal dialogue between the gentle donkeys and the towering radio telescopes of an abandoned observatory. “It was such a mad idea,” she shares. “Many magical moments convinced me it was worth pursuing this quirky concept.” The film serves as a follow-up to her acclaimed 2017 documentary feature, Cielo, which was also filmed in the breathtaking Atacama Desert.
Journey Through the Atacama Desert
The cinematography allows viewers to immerse themselves in expansive mountainous terrains, both in daylight and under the mesmerizing night sky filled with the Milky Way. McAlpine recounts her first experience of witnessing the magical celestial movements above the Atacama Desert. “It’s visceral. I lay on the ground and felt like I was inside this universe, surrounded by extraordinary beauty,” she reflects.
Inside the Paranal Observatory
The film also features interior shots of the nearby Paranal Observatory, which operates at about 2,635 meters above sea level, managed by a consortium of European astronomers. McAlpine describes her aim to capture the essence and power of the observatory, showcasing the sleek domed-roof telescopes and imposing radio dishes that invite contemplation of the infinite mysteries of space.
Exploring Cosmic Themes
Through her lens, audiences see how the donkeys’ eyes dance with wonder, mirroring the stars that come alive when night falls. “When the sun goes down, and the stars come out, their eyes turn to the universe; they dance in the cosmic ballet of life,” she explains, referring to the “big metallic beasts” of radio telescopes that punctuate the landscape.
The Heartfelt Presence of Donkeys
Yet, Perfectly a Strangeness remains deeply anchored in the calm curiosity of its central characters: the three donkeys. Their expressive eyes reveal a sense of depth that McAlpine found captivating. “They were like galaxies inside, filled with colors and planets, and that was fascinating,” she recalls.
Patience in Filmmaking
McAlpine’s filming journey revealed an essential truth about donkeys—they operate at their own pace. In one scene, as she encouraged them to ascend a ridge, they proceeded in their own leisurely way. This blend of direction and spontaneity contributed to the film’s unique character, balancing documentary authenticity with elements of fiction.
A Reflection of Tenacity
McAlpine sees parallels between her artistic journey and the humble resilience of the donkeys. “If I truly believe this film deserves to be seen, I will persist,” she asserts. For her, the commitment to cinematic excellence in both visuals and sound is paramount, encapsulating the passion that drives her work.
As Perfectly a Strangeness continues to gain recognition on the film festival circuit, it stands as a testament to the power of storytelling through the lens of nature’s simple wonders. To learn more about the film’s journey and watch the enchanting visuals, check out more details on [Film Festivals](https://www.filmfestivals.com) and the [Academy Awards](https://www.oscars.org) official page.
