Waiting for the Barbarians
If the across-continents meeting of these two artists — aptly enough, for a story itself set in an indeterminate desert nation that could exist in many a place and time — doesn’t quite bring out the best in either man, that’s not entirely surprising: Coetzee’s novel, with its measured, interiorized voice and sparse, incrementally devastating narrative, was never an obvious fit for film treatment.
This is complex, richly allusive material rife with thorny political conflicts and hypocrisies, entwined around an unspoken emotional baseline of desolate loneliness and guilt — though only some of these subtleties come through in Guerra and Coetzee’s somewhat muted, deliberate screen treatment.
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