[{"data":1,"prerenderedAt":191},["ShallowReactive",2],{"article:together-again-healing-in-community-in-nisha-platzers-back-home":3,"page:48":118,"page:321":154},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":29,"finalContentHtml":30,"creditsHtml":22,"pdfUrl":31,"vimeo":31,"contributorBios":32,"seo":37},1704,"together-again-healing-in-community-in-nisha-platzers-back-home","Together Again: Healing Through Community in Nisha Platzer’s back home","\u003Cp>Alex Jensen reviews Nisha Platzer’s 2022 film, \u003Cem>back home\u003C\u002Fem>, which premiered in Victoria, BC at this year’s Antimatter Media Arts Festival.\u003C\u002Fp>\n","2023-11-20T08:46:38",2023,"Nov 2023",[12],9,[14],"Review",988,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-splash.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-splash-768x235.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-splash-1536x470.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-splash.jpg 1920w",1920,588,"","data:image\u002Fwebp;base64,UklGRkQAAABXRUJQVlA4IDgAAACwAgCdASogAAoAPu1iqU2ppaOiMAgBMB2JaQAAeyAA\u002Fu+nHILqkWDJd3Ex2j28KhBmsBINdD4AAA==",[25],{"id":26,"name":27,"slug":28},1350,"Alex Jensen","alex-jensen","\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRpIAAABXRUJQVlA4IIYAAABQBACdASogABIAPu1kq0+ppSOmsBgIATAdiWUAACaE+5BhsXlnOGTul5GAAP01Ks\u002FtE7SZpZGCnpJusCNdCFmouhGvUpM9ThJeBKrkIR6\u002FnpcsUIbDVRSXJrbslqYIVq3wTNlu0RU7zAc4dC3NSgvgP7Ayp11lzki6cKhIIrwCY+FioeoAAA=='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-main.jpg\" alt=\"\" class=\"lqip wp-image-1705\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-main.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-main-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-main-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-main-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">Nisha Platzer, \u003Cem>back home\u003C\u002Fem> (2022), HD, 16mm, Super8\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">This year’s 26th Antimatter Media Art Festival featured the Victoria premier of Vancouver-based artist Nisha Platzer’s \u003Cem>back home,\u003C\u002Fem> which made its world premier at the Vancouver International Film Festival in 2022, and was selected for the \u003Cem>Docs-in-Progress Canadian Showcase\u003C\u002Fem> at the Cannes Film Festival 2022. Directed by Platzer and produced by Joella Cabalu, \u003Cem>back home\u003C\u002Fem> follows Nisha 20 years after her older brother, Josh, took his own life. Over the five-year process of filmmaking as a way to learn, process, and share Josh’s story, a “complex portrait emerges” through a “fragmented meditation on identity, grief, and loss.”\u003Cspan id='easy-footnote-1-1704'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-1704' content='Nisha Platzer, “back home,” \u003Cem>Nisha Platzer Melodious Image\u003C\u002Fem>, accessed October 24, 2023, https:\u002F\u002Fwww.melodiousimage.com\u002Fback-home.' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> Incorporating elements of documentary, abstracted hand-processed film, and reimaginings of the past, \u003Cem>back home\u003C\u002Fem> blends together hazy, dream-like visions of the past with recordings of Nisha’s present.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Washes of formal experimentation — created by processing 16mm film with seaweed and Josh’s ashes — appear throughout, grounding the film in its own materiality and transformative processes. These sequences also function as transitions; each time they appear, a scene fades from a clear focus to a dream-like state of abstraction — water, mountains, the beach, and a lone figure briefly appear like apparitions only to disappear just as quickly. During the first of these sequences, Nisha’s voice narrates, “…our feet are what ground us in this world. My older brother, Josh, left this earth with his feet suspended in the air.” As it so happens, Nisha is experiencing a persistent pain in her feet.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Nisha continues to narrate that she has returned home to Vancouver from Montreal to seek treatment for her chronic pain; she is prescribed a special type of yoga taught by Swan, the mother of Josh’s childhood best friends, Sam and Zac. This meeting leads Nisha to reconnect with Swan’s family, as well as Josh’s other high school friends, and she begins to learn more about her brother. Fate is portrayed as guiding the film’s progress, as Nisha’s reconnection with Swan is the first in a series of what she refers to as ‘synchronicities’. The journal that Josh kept as a teenager acts as another source of insight for  recurring discussions between friends and family. From it, we learn about the aspirations and dreams Josh had for himself and his loved ones: his “hair-brained” bank robbery scheme; his desire to study cinema after high school; his plans for his friends to throw his ashes off of the Golden Gate bridge in a cheeseburger (which Platzer fulfilled in September 2022); and some of his final thoughts towards the end of his life.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRtYAAABXRUJQVlA4IMoAAAAwBQCdASogABIAPu1irVAppSQisBgIATAdiWcAA+VYpFevyni9Ts5DmEWZIjy7FLvTTAD+T3O1NFoaZnaa0hYjuENeTQj3zU8SXjvWGra57NuuAe5E+nj6SqX5y0t7dJMO+uEOINJ2bVjaBJkSCNH79tHzinseAo1nNUnDUto\u002FydPRPelNdOHYlCPJw5Pm+IgKLRd4VViemhmjb7FJ30mlGi+a8SB90jmEKl4WgbrlNcPspA10q1K2UXABefCACq5mzSSz6mRWwAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-second.jpg\" alt=\"\" class=\"lqip wp-image-1706\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-second.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-second-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-second-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fbackhome-second-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">\u003Cem>back home\u003C\u002Fem>, 16mm hand processed in seaweed and ashes\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">While Josh’s story is intrinsically connected with his hometown of Vancouver, Nisha’s home is moving elsewhere: following the treatment of her chronic pain, she decides to leave for Cuba to study film. It is through the process of embodied, communal mourning via the making of this film, that she is able to move forward. A series of reimagined scenarios function as a performative catharsis for Josh’s friends and family; shot on film in a ‘from the hip’ fashion, hazy with faces obscured, these moments anchor the memories of Josh’s loved ones to a way forward. Many scenes depict Josh and friends as teenagers on the beach, carefree and upbeat. Platzer’s decision to include these reimaginings further carries the film’s genre into a vulnerable and experimental process-driven work. These Vancouver-set reimaginings are later juxtaposed against Super8 footage of Nisha, Sam, Zac, and Sara reunited on the beach in Cuba — the two sequences perfectly mirroring each other despite the contextual shifts in time and place. Here, the past and present can no longer be differentiated as the group has reunited around a fixed and unmovable point in their lives.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">During the film’s emotional climax, the group recounts the night that Josh took his own life — the raw and heartbreaking story brings the viewer in to share the intimacy that has been building throughout. \u003Cem>back home\u003C\u002Fem> embraces vulnerability and truthfulness about the suicide of a loved one, while finding a narrative driven in optimism and love. Crafted around relationships, identity, and home, the film subtly and furtively makes reference to queerness; Nisha, however, never explicitly addresses this aspect of Josh’s identity. As she reads over Josh’s journal with his high school friend Sara, his thoughts on death as a means of ‘new beginnings’ — an escape, or a means to start something new — shed a new light for his loved ones seeking to understand his motives. “I guess he really didn’t believe that things necessarily ended,” Sara contemplates. Sara also brings up the effects of Josh’s medication on his mind, as reflected by his journal, as a symptom of a larger problem with an ineffective health system. She emphasizes the need to heal our spirit and communities — a key message of the film that is communicated reflexively through its making. While\u003Cem> back home\u003C\u002Fem> is heartbreakingly and heartwarmingly specific to Platzer’s experience through her perspective as a filmmaker, it also offers audiences an embodied method for finding connection from loss through the framework of filmmaking. Through collaboration with friends and family, \u003Cem>back home\u003C\u002Fem> enabled the participants to process their memories of Josh as a group and create something new, together.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>back home \u003C\u002Fem>will be screening next on January 17, 2024 as part of Cinematheque’s \u003Ca href=\"https:\u002F\u002Fthecinematheque.ca\u002Fseries\u002Fframes-of-mind\" target=\"_blank\" rel=\"noreferrer noopener\">\u003Cem>Frames of Mind\u003C\u002Fem>\u003C\u002Fa> series, in Vancouver BC. To find out more about \u003Cem>back home\u003C\u002Fem>, including its full crew credits and upcoming screenings, visit \u003Ca href=\"https:\u002F\u002Fwww.melodiousimage.com\u002Fback-home\" target=\"_blank\" rel=\"noreferrer noopener\">Melodious Image\u003C\u002Fa>.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>If you or someone in your life is experiencing crisis, call the BC crisis line at 1-800-SUICIDE (1-800-784-2433) to get help. For emotional support, information and resources specific to mental health, contact the Mental Health Support Line at 310-6789. Visit \u003Ca href=\"https:\u002F\u002Fcrisiscentre.bc.ca\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">crisiscentre.bc.ca\u003C\u002Fa> for more information.\u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-1704\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Nisha Platzer, “back home,” \u003Cem>Nisha Platzer Melodious Image\u003C\u002Fem>, accessed October 24, 2023, https:\u002F\u002Fwww.melodiousimage.com\u002Fback-home.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-1704\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>Nisha Platzer, \u003Cem>back home\u003C\u002Fem> (2022), HD, 16mm, and Super8. Scene shot by Suzanne Friesen. Courtesy of Melodious Image.\u003C\u002Fli>\n\u003Cli>Nisha Platzer, \u003Cem>back home\u003C\u002Fem> (2022), 16mm hand processed in seaweed and ashes. Courtesy of Melodious Image.\u003C\u002Fli>\n\u003C\u002Fol>\n",null,[33],{"id":26,"slug":28,"name":27,"firstName":34,"lastName":35,"bioHtml":36},"Alex","Jensen","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Alex Jensen\u003C\u002Fstrong> is a queer multimedia artist and designer living and working on the unceded traditional territories of the Lekwungen peoples. His practice engages with the themes of memory, disability, queer identity, and media studies. He has worked with a number of organizations in various capacities, including Arnica ARC, the Art Gallery of Greater Victoria, Or Gallery, Xchanges Gallery, and IMAA. Alex also maintains an independent design practice.\u003C\u002Fp>\n",{"title":38,"robots":39,"og_locale":45,"og_type":46,"og_title":38,"og_description":47,"og_url":48,"og_site_name":49,"article_publisher":50,"article_modified_time":51,"og_image":52,"twitter_card":55,"twitter_site":56,"twitter_misc":57,"schema":59},"Together Again: Healing Through Community in Nisha Platzer’s back home - ReIssue",{"index":40,"follow":41,"max-snippet":42,"max-image-preview":43,"max-video-preview":44},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Alex Jensen reviews Nisha Platzer's 2022 film, back home, which premiered in Victoria, BC at this year's Antimatter Media Arts Festival.","https:\u002F\u002Freissue.pub\u002Farticles\u002Ftogether-again-healing-in-community-in-nisha-platzers-back-home\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2023-11-21T16:04:53+00:00",[53],{"width":20,"height":21,"url":18,"type":54},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":58},"5 minutes",{"@context":60,"@graph":61},"https:\u002F\u002Fschema.org",[62,77,79,93,108],{"@type":63,"@id":48,"url":48,"name":38,"isPartOf":64,"primaryImageOfPage":66,"image":68,"thumbnailUrl":18,"datePublished":69,"dateModified":51,"breadcrumb":70,"inLanguage":72,"potentialAction":73},"WebPage",{"@id":65},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":67},"https:\u002F\u002Freissue.pub\u002Farticles\u002Ftogether-again-healing-in-community-in-nisha-platzers-back-home\u002F#primaryimage",{"@id":67},"2023-11-20T16:46:38+00:00",{"@id":71},"https:\u002F\u002Freissue.pub\u002Farticles\u002Ftogether-again-healing-in-community-in-nisha-platzers-back-home\u002F#breadcrumb","en-US",[74],{"@type":75,"target":76},"ReadAction",[48],{"@type":78,"inLanguage":72,"@id":67,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":80,"@id":71,"itemListElement":81},"BreadcrumbList",[82,87,91],{"@type":83,"position":84,"name":85,"item":86},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":83,"position":88,"name":89,"item":90},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":83,"position":92,"name":6},3,{"@type":94,"@id":65,"url":86,"name":49,"description":95,"publisher":96,"potentialAction":98,"inLanguage":72},"WebSite","critical discourse for experimental art practices",{"@id":97},"https:\u002F\u002Freissue.pub\u002F#organization",[99],{"@type":100,"target":101,"query-input":104},"SearchAction",{"@type":102,"urlTemplate":103},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":105,"valueRequired":106,"valueName":107},"PropertyValueSpecification",true,"search_term_string",{"@type":109,"@id":97,"name":49,"url":86,"logo":110,"image":114,"sameAs":115},"Organization",{"@type":78,"inLanguage":72,"@id":111,"url":112,"contentUrl":112,"width":20,"height":113,"caption":49},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":111},[50,116,117],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":119,"slug":120,"title":85,"contentHtml":22,"acf":121,"backgroundBlur":124,"seo":125},48,"home",{"background_image":122,"isBlack":16,"header_text":123},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":126,"robots":127,"og_locale":45,"og_type":46,"og_title":126,"og_url":128,"og_site_name":49,"article_publisher":50,"article_modified_time":129,"twitter_card":55,"twitter_site":56,"schema":130},"Home - 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