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The videos garnered a loyal following - the first one has nearly 200,000 views on Instagram - and were eventually acquired by the Museum of Modern Art and the Whitney Museum of American Art. Eventually, the lizards go out and protest.
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There are flashbacks to scenes of nights out with friends, a small gesture like the causal dipping of a finger into a shared dish of soy sauce becoming retroactively tinged with a terrible nostalgia. Barki’s character visits a cheetah friend on her stoop, tentatively placing an offering of a bag of grapes between them, and then they wait, tense, as a family of unmasked rabbits walks by. They lounge on a bed and watch vaguely sexy YouTube videos, Zoom birthday gatherings and newscasts of a pleading Dr. The lizards walk through an empty Times Square one day (a shot of a paper coffee cup with a lipstick mark, on which an animated butterfly is perched, is a metonym for the sudden cessation of street life and the return of nature) and comment wryly on the absurd decadence of the billboards blaring at a crowd of two. and the country has erupted into protests after the murder of George Floyd, heats up into anger. The surprising pleasures of the first weeks morph into anxiety verging on paranoia, which settles into languor as life indoors becomes repetitive and dreamlike, and eventually, after more than 100,000 people have died in the U.S.
BOARDWALK EMPIRE SEASON 2 EPISODE 1 WATCH ONLINE SERIES
Bennani and Barki captured the sense that isolation didn’t suit city people - that their pent-up energy and longing were spilling into the streets.īennani and Barki made seven more two- to five-minute videos over the course of the next four months - eventually titling the series “2 Lizards” - that chart the course of the pandemic like the stages of grief. There’s a moment, as the lizards look out over their city, when a camel on a neighboring rooftop spontaneously erupts on his trumpet into the jazz standard “ It Never Entered My Mind.” A sheep on another rooftop joins in on bass, while a dog on the pavement down below plays keyboard. When a friend texted the video to me, I thought it perfectly captured the mood of aimlessness and confusion, punctured by occasional magic, that defined New York in those early days of the pandemic. Eventually, there would be a supporting cast voiced by various friends: a hummingbird, a cat, a cheetah, a mouse and a raccoon.
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Bennani, who often creates animal narrators for her videos, found a file of 3-D animal models she had bought for a different project, and she and Barki chose two lizards with glossy copper-and-green skin and weirdly soulful black eyes for their avatars. They roamed their neighborhoods, filming street scenes with their iPhones. Barki would jot down her observations and feelings each day - how moved she was by the viral videos of Italians playing music on their balconies, or how disturbing it was to see medical gloves splayed on the pavement - and then she and Bennani would use these details to script a short story about what they were experiencing.
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She and the filmmaker Orian Barki, who were spending lockdown together between their Brooklyn apartments, conceived a series of short Instagram videos about the changes they were witnessing. But the first week of quarantine made her restless, and she wanted to create something immediate and raw that captured the way she was feeling. An animator and artist whose work sits at the intersection of homemade YouTube reality shows, hand-drawn cartoons and documentary film, Bennani was used to staying inside, funneling the world through her computer. IN MARCH 2020, when Covid-19 was ripping through New York and the city locked down, Meriem Bennani felt an impulse to make a video.