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Showing posts with label Carlos Sorin. Show all posts
Showing posts with label Carlos Sorin. Show all posts

Sunday, December 06, 2015

New Argentine Cinema

New Argentine Cinema: Rebirth of a Nation’s Film Industry


The Calgary Cinematheque’s focus on 21st Century Argentine Cinema highlights a diverse collection of contemporary directors associated with the New Argentine Cinema. While films of the New Argentine Cinema were not part of a unified movement like the French New Wave or Brazilian Cinema Novo, they were united by a desire to depict original creative stories that broke away from the past yet still maintained a foothold in Argentine society. Famous Argentine directors such as Adrián Caetano, Bruno Stagnaro, Pablo Trapero, Martín Rejtman, Daniel Burman, Lisandro Alonso, Lucrecia Martel, the late Fabián Bielinsky, Carlos Sorin and Matías Piñeiro all started making their movies when Argentina was either in the midst of an economic crisis or just coming out of one. Powered by fresh new ideas, their diverse films helped restore Argentina’s cinematic identity both nationally and on the global stage.

The collective process of filmmaking in New Argentine Cinema did not happen overnight but took almost two decades as Argentine cinema had to rebuild itself after local cinema had lost its voice and the film industry almost ground to a complete halt in the late 1980’s-early 1990’s. Between 1976-83, Argentine cinema was restricted to a limited number of film productions per year under the rule of the military dictatorship. Once the dictatorship ended in 1983, the Argentine film industry was finally able to make works that examined the impacts of the dictatorship or the ‘Dirty War’, a term which described the subversive tactics used by the military to torture, assassinate or kidnap opposing political voices. The most famous of these films about the dictatorship, Luis Puenzo’s The Official Story (1985), won an Academy Award in 1986. Film production showed signs of recovery in the mid 1980’s but production hit a snag after the Argentine Currency crisis of 1989, an event that resulted in film production falling to numbers lower than even under the dictatorship years. However, a series of events in the early 1990’s ensured the seeds for a future awakening of cinema had been planted. Demetrios Matheou outlines three of these key events in The Faber Book of New South American Cinema. First, the establishment of the Universidad del Cine paved the way for future generations of film directors and many of the nation’s current top directors, such as Lisandro Alonso, Bruno Stagnaro, Pablo Trapero, Matías Piñeiro, graduated from there. Second, the creation of the 1994 New Cinema Law helped open up a new source of revenue for the newly created Instituto Nacional de Cine y Artes Audiovisuales (INCAA) ensuring independent films could be made. Third, the sponsorship in 1995 of a short-film competition, Historias Breves, resulted in many young directors getting a chance to make their short films and also establish connections with other like-minded filmmakers. It was at this short film competition that Daniel Burman, Lucrecia Martel, Adrián Caetano and Bruno Stagnaro met each other and started sharing ideas. Film production started to increase in the late 1990‘s although most of the films were Hollywood-inspired productions. However, just as the 1990‘s were about to end, a New Argentine cinema started to take flight, starting with Adrián Caetano and Bruno Stagnaro’s Pizza, birra, faso (Pizza, Beer and Cigarettes,1998) and Pablo Trapero’s Mundo Grúa (Crane World) in 1999. These young directors came with a unique perspective and their cinema broke away from the conventional mould that existed previously. Pizza, Beer and Cigarettes and Crane World were shot in extended takes and depicted characters and events in a vérité manner that bordered on documentary. These two films had roots in Italian neo-realist cinema and incorporated Argentina’s social and economic realities. The economic crisis of 1998-02 impacted Argentine society drastically and these films embraced the harsh reality and stitched it within their framework to depict youth and workers struggling to make ends meet. Adrián Caetano continued this examination with his 2001 film Bolivia which examined the simmering anger regarding unemployment and the distrust towards foreigners coming into the country. Caetano, Stagnaro and Trapero showed that their films didn’t exist in a bubble but were fully immersed in contemporary society. Once these directors took an alternate path, others followed and examined Argentine society with their own unique visions.

It has been just over two decades since the establishment of the New Cinema Law and INCAA. The impact of these efforts have helped ensure that Argentine Cinema is no longer isolated from the world. In addition, the film themes have also evolved from purely Argentine stories to works that contain universal themes. For the last 15 years, many of the New Argentine Cinema works have screened at numerous international film festivals around the globe. Calgary has shown works of Daniel Burman and Carlos Sorin as part of either the Calgary International Film Festival (CIFF) or Calgary Latin Wave. However, their films were screened in isolation with no unifying thread to link the works with each other. There existed a need to finally shine the spotlight on New Argentine Cinema and present a collection of works from some of the more established names who are inspiring a new generation of directors around the world. In this regard, the Calgary Cinematheque’s four-film series offers a chance to closely look at some of these established directors. All the films selected were made in the 21st Century as Argentina was emerging from their economic crisis. The four films, Jauja (Lisandro Alonso), The Headless Woman (Lucrecia Martel), Bombón: El Perro (Carlos Sorin) and Viola (Matías Piñeiro), are by directors associated with different regions of Argentina. These directors themes and styles range from a vérité style to a cinema inspired by theatre and literature. Lisandro Alonso’s stunning visual style arises from his decision to set almost all films outside cities, away from the everyday noise and traffic of city life. Alonso’s films take place in nature, such as a farm (La Libertad), a forest/river (Los Muertos), snowy mountains/sea (Liverpool) and a desert (Jauja), allowing his camera the freedom to explore the natural surroundings thereby creating a beautiful visual language. The only feature film he depicted in a city, Fantasma, takes place entirely inside the Teatro San Martin, a Buenos Aires theatre, where the city is only visible via the giant glass windows in the lobby. Prior to Jauja, his films contained lonely male characters who made their way through nature, either going about their daily lives or trying to repair their past. However, Jauja is an exciting departure for Alonso as it highlights what a talented auteur can accomplish with a larger cast and a major star (Viggo Mortensen). On the other hand, Lucrecia Martel’s films are packed with multiple characters and are entirely city-based. In her case, the films take place in Salta, a city located in the North West region of Argentina where she was born. In her films, the settings are large houses and the stories depict class divisions in society with a witty combination of satire and drama. No one is spared in Martel’s films as she ensures the attentive camera captures all relevant details. Carlos Sorin is identified with Patagonia, located in the southern part of Argentina, a region where he has filmed four of his features, starting with Intimate Stories, Bombón: El Perro, The Window and his last feature Gone Fishing. Each film contains a beautiful layer of emotions while following fully developed characters on journeys across the picturesque Patagonian landscapes. Buenos Aires forms the backdrop for Matías Piñeiro’s films but one doesn’t really notice the presence of the city in his work. The characters may live in a city but the city does not impose on their lives. Instead, their lives revolve around art and theatre. In this regard, Piñeiro has skillfully created a world within a world in his films which are richly influenced by theatre and literature, something which sets him apart from the other contemporary Argentine directors. In his recent films, the influence of Shakespeare can be felt such as in Rosalind (Shakespeare’s As You Like It), Viola (The Twelfth Night) and his recent The Princess of France (Love Labour’s Lost). Yet, his films are not direct adaptations but show how text from Shakespeare’s plays can serve as creative inspirations.

The earlier works of New Argentine Cinema started off by holding up a mirror towards Argentine society and giving voices to people and stories that were previously suppressed. Newer works still have roots in Argentine society but are looking outwards toward the world and presenting stories that are universal. As a result, people from different parts of the world can relate to these Argentine films. For example, Lisandro Alonso’s films are undeniably associated with Argentine landscapes but the depiction of closure and redemption sought by his characters are universal traits. Similarly, Martel’s films examine class divisions in society but the behaviour and actions of her characters can take place in any country where there is a significant financial divide between people. Emotions play a big part in Carlos Sorin’s films which is why his films can evoke powerful reactions around the world. In Bombón: El Perro, Sorin depicts a tender relationship between a man and his dog and as a result, the film perfectly illustrates why a dog is such a worthy companion to humans. On the other hand, Piñeiro’s films captures the world of art and theatre. As a result, Piñeiro’s films could easily be set in any city where art and theatre flourish. The four films selected by the Cinematheque give a glimpse into Argentine society as well as highlight the unique filmmaking style of New Argentine Cinema. The initial films of New Argentine Cinema started with inspiration from neo-realist Italian cinema with stories born out of Argentina’s economy crisis. Now, newer Argentine films have developed their own film language and are in turn referenced in global film festivals. Any film set in Patagonia will be forever linked to Carlos Sorin while any film which features contemplative shots of lonely men walking in nature will be compared to the cinema of Lisandro Alonso. The Argentine works selected by the Calgary Cinematheque offers a unique chance to understand some of Argentina’s past while offering a glimpse into both contemporary and future cinematic trends.

Saturday, December 29, 2012

Best Films of 2012

It goes without saying that an end of the year list depends on access to quality films from around the world. And my access to those quality global titles is getting harder each year with closure of arthouse/independent cinemas thereby delaying seeing foreign films in a timely manner. For example, only 4 of the 25 films (16%) listed below had a theatrical run of one week or more. The rest only played once or twice via a film festival/cinematheque screening. Since all film festivals don’t have access to the same films, that forces a wait of 1-2 years to see certain foreign titles. That is why this list, like all previous years, contains older titles.

Top 10 Films

1. Holy Motors (France, Leos Carax)



Leos Carax creatively captures the essence of cinema from the silent era to contemporary times while paying homage to key genres throughout. Pure Cinema!

2. Once Upon a Time in Anatolia (2011, Turkey, Nuri Bilge Ceylan)



A stylistic film that is packed with dry wit while depicting characters in the hunt for a murdered body over the course of a night. Also, the best shot film of the year which manages to use light and shadows to great effect. For example, the scene where the mayor’s daughter makes an appearance is pure cinematic bliss.

3. This is Not a Film (2011, Iran, Mojtaba Mirtahmasb/Jafar Panahi)

The film shows that in the hands of a talented filmmaker even a tiny confined space can be a liberating cinematic experience. The final moments capture those magical moments that Werner Herzog has claimed happen only when the camera is left recording just a little bit longer.

4. The Master (USA, Paul Thomas Anderson) 

5. Gone Fishing (Argentina, Carlos Sorin) 

A charming and relaxed film that contains plenty of contemplative moments in following a father’s (Marco played by Alejandro Awada) attempts to patch-up with his daughter. Such a story could have gotten a serious treatment in the hands of another director but Sorin smartly uses the visuals and pleasant score (composed by his son) to release any tension before it forms on the screen. When things are about to get serious Sorin ensures that the audience gets a nice reprieve either with a moment of humor or breathtaking beauty.

6. The World Before Her (Canada, Nisha Pahuja)



A perfectly balanced and insightful film that examines two very different camps of thought in India. The two camps, beauty pageants vs fundamentalism, contain the essence of issues that are dividing and ruining India. Given the recent brutal crime in Delhi, The World Before Her is one of the year’s most relevant films which should kick-start a debate about improving women’s rights in India.

7. Found Memories (2011, Brazil co-production, Lucia Murat) 

A mesmerizing film that deceptively appears as a contemplative piece but contains another layer beneath the surface. The ending, which puts a completely different spin on the overall film perception, haunts long in the memory because it forces one to rethink the lives of the residents and why they have continued to stay in a place cut-off from the rest of the world. One could easily classify this as an artful horror film!

8. The Bright Day (India, Mohit Takalkar) 

Mohit Takalkar makes his cinematic debut with a beautiful, poetic and hypnotic film. The visuals are striking as is the use of background music to enhance the film’s mythical tale. Plus, there are some smart touches such as using the same actor (Mohan Agashe) to play different characters that highlights how the main character Shiv perceives people around him.

9. Unfair World (2011, Greece/Germany, Filippos Tsitos) 

This smart Greek film shows how two cops’ efforts to save an innocent person leads to murder thereby forcing them to cover their tracks. Each frame is packed with absurd comedic moments which are slowly revealed as the camera movements act like a drawn out punch line. The film’s comedic style is reminiscent of Aki Kaurismäki, Corneliu Porumboiu (Police, Adjective) and the recent wave of Greek films directed by Giorgos Lanthimos (Dogtooth, Alps) & Athina Rachel Tsangari’s (Attenberg).

10. Sleeping Sickness (2011, Germany co-production, Ulrich Kohler) 

15 Honorable Mentions roughly in order of preference:

Teddy Bear (Denmark, Mads Matthiesen) 

An award winning body builder who not only lives with his mother but is afraid of her. Despite his hulk like appearance, he has no luck with love. So he decides to fly to Thailand to find a bride. This setup brings plenty of humor and credit to the director to allow events to flow naturally without any extra drama.

The Queen of Versailles (USA co-production, Lauren Greenfield) 

Even though Lauren Greenfield’s documentary looks at a single American family, the Seigels, the film is a case study of the excess spending that played a part in the American Economic crisis of 2008. The Siegels clearly spent beyond their means but they were not alone in doing so. After 2008, when easy access to money was shut down, the previously wealthy Siegels suffered the same fate as the average American of having to cut back and making drastic changes in their lives. Essential viewing!

Polisse (2011, France, Maïwenn) 

An unflinching look at a French police division dealing with children and juvenile crime cases. The verite style heightens the tension and shows that even the police officers dealing with the cases are not immune to losing control.

Reality (Italy, Matteo Garrone) 

A devastating case study of a man who is so blinded by his quest for fame that he starts to lose grip on reality and starts to throw his life away.

Killing Them Softly (USA, Andrew Dominik) 

Andrew Dominik makes a very good decision to adapt George V. Higgins’ 1974 novel Cogan's Trade to the 2008 American economic crisis. The original book is devoid of any political or economic elements but the film depicts the effects of financial strain on the characters in every frame. The opening shots of abandoned houses plus the non-stop sound bites of presidential debates highlight that even assassins and mobsters are feeling financial pressure in cutting back. The grayish look of the film also emphasizes the constant gloom that envelopes all the characters. As good as the film is, two stylistic scenes don’t mesh with the rest of the film’s look. The slow-motion car killing and the drug trip may look good on their own but they have no place in an otherwise tightly constructed film.

Arcadia (USA, Olivia Silver) 

A wonderful American film about a father’s road trip with his children to their new home. The strong start sets the tone of the father’s parental methods early on, which makes for a fascinating viewing. John Hawkes puts in a strong performance but the young actors also shine brightly and evoke tender emotions. This film is another one of those that belongs to the Neo-Realist American cinema category which depict genuine stories with a fly on the wall perspective.

Take This Waltz (2011, Canada, Sarah Polley) 

Perfectly etched characters depicted in a beautiful fluid manner. Plus, Leonard Cohen's title song elevates the film emotionally.

I’m not a Rockstar (Canada, Bobbi Jo Hart) 

Bobbi Jo Hart has edited over 4 years of footage to craft a documentary about the struggles and journey of a young girl, Marika Bournaki, to become a pianist. There are few scenes which show Marika’s natural talent but for the most part, the film shows her relationship with her father and the sacrifices the father makes for her success. This focus on father-daughter is why the film works so well as we get to know both of them better and even listen to things that we should not have access to. The subject matter applies to all arts in general and highlights pitfalls that can trip up young artists.

The Dynamiter (2011, USA, Matthew Gordon) 

A visually stunning film that belongs to the same category of New Realist American cinema such as Ballast and Wendy and Lucy, films that show a true slice of American life by focusing on characters completely absent from the big Hollywood productions.

The Student (2011, Argentina, Santiago Mitre) 

A razor-sharp political film that examines core issues at the heart of politics: tactics, strategy, managing & manipulating people.

Mallamall (Canada, Lalita Krishna) 

A highly relevant Canadian documentary that looks at India's economic rise via the countless malls being constructed there. The film also highlights a Canadian connection crucial in developing these mega stores, something that is hardly ever seen in any newspaper headlines.

Snowtown (2011, Australia, Justin Kurzel) 

A chilling work that shows how evil can slowly build up until it explodes with horrific consequences. Based on a true life crime, this Australian film shares some aspects of family & crime shown in 2010’s Animal Kingdom but Snowtown is far darker.

The Color Wheel (2011, USA, Alex Ross Perry) 

Alex Ross Perry and Carlen Altman’s vibrant script ensures that The Color Wheel stands apart from other American independent films by including dialogues and jibes that have a purpose in illustrating the character’s insecurities and personalities.

Heleno (2011, Brazil, José Henrique Fonseca) 

Jose Henrique Fonseca has created a devastating portrayal that perfectly depicts the self-destructive habits that led to the Brazilian soccer player Heleno de Freitas' decline. At times, it is painful to watch Heleno throw everything away but given his personality, his fall from grace seems inevitable. The music and black and white visuals nicely evoke the 1940’s-50’s and enhance the mood of the film.

Lowlife (Canada, Seth Smith)

And now for something completely different. This unique film follows two characters who get high on slugs. Their repeated usage of slugs blurs the line between reality and their slug induced nightmares. The drug visions are shown in black and white while reality is shown in color but as the film progresses that changes, especially with a jaw dropping ending.

Wednesday, November 07, 2012

Calgary Latin Wave Festival

The Third Annual Calgary Latin Wave Film Festival ran from Nov 2 - 4, 2012 and featured an excellent line-up of films. The following nine were shown this year:

The Delay (2012, Uruguay, Rodrigo Plá)
Distance (2011, Guatemala, Sergio Ramirez)
Gone Fishing (2012, Argentina, Carlos Sorin)
Habanastation (2011, Cuba, Ian Padrón)
Heleno (2011, Brazil, José Henrique Fonseca)
Juan of the Dead (2011, Cuba, Alejandro Brugués)
The Student (2011, Argentina, Santiago Mitre)
The Towrope (2012, Colombia, William Vega)
Violeta Went to Heaven (2011, Chile/Argentina/Brazil, Andrés Wood)

I had originally planned to see atleast six films but I could only make it out to four. Here are some brief comments on the films in order of preference.

1. Gone Fishing / Días de pesca

Marco (Alejandro Awada) heads to stunning Patagonia to find and patch-up with his daughter. With a little bit of work, he manages to find her but she is not in the mood to forgive him. The film doesn’t give anything away about his past but it is implied that his alcoholism and marriage break-up played a part in him not being there for his daughter when she was growing up. So naturally the daughter has scars that won’t heal overnight. Such a story could have gotten a completely different and more serious treatment in the hands of another director but Sorin smartly uses the visuals and pleasant score (composed by his son) to release any tension before it forms on the screen. When things are about to get serious Sorin ensures that the audience gets a nice reprieve either with a moment of humor or breathtaking beauty. Gone Fishing has a pleasant relaxed tone throughout even though there are some strained issues beneath the surface. However, those troubled issues never bubble to the surface but enough is depicted about the issues to allow audience to fill in their own version of events. Overall, Gone Fishing is a charming and thoughtful film that allows for plenty of contemplative moments.

 

2. Heleno

The name of Heleno de Freitas is not that well known in international soccer mostly because he didn’t play in a World Cup but also since his goals came in an era before television. But in his time, Heleno was a star who scored goals freely for his beloved Botafogo club. Those goals brought him fame, money, alcohol and women. Such a combination of temptations is never a healthy thing especially for a man whose career depended on being in top physical and mental shape. Also, Heleno had other characteristics, such as his ego, which also played a part in alienating him from those around him.

Jose Henrique Fonseca has created a devastating portrayal that perfectly depicts the self-destructive habits that led to Heleno de Freitas' decline. At times, it is painful to watch Heleno throw everything away but given his personality, his fall from grace was inevitable. Rodrigo Santoro has put in an incredible performance and plays the arrogant and fragile sides of Heleno perfectly. Also, a lot of credit goes to Angie Cepeda and Aline Moraes who light up with the screen with their presence. The music combined with the black and white visuals nicely evoke the 1940’s-50’s and enhance the mood of the film.

Heleno’s story also contains shades of Garrincha who was truly a great soccer player. Like Heleno, Garrincha also played for Botafogo. In fact, both played roughly the same amount of games for Botafogo, Heleno with 235 & Garrincha with 236. Both were stars in their own time but alcohol and women sped their decline. At the height of their powers, both players were rich but were completely broke near the end of their careers. The one difference between the two is that Garrincha played in 3 World Cups and won 2 while Heleno could never fulfill his dream of playing in the World cup.

 

3. The Student / El estudiante

Santiago Mitre, writer for Pablo Trapero’s Carancho and Lion’s Den, makes a stunning directorial debut with The Student, a razor-sharp film that examines core issues at the heart of politics: tactics, strategy, managing & manipulating people. Even though The Student is set in Argentina (University of Buenos Aires), it is universal in showing negotiations & backroom deals part of any political process. Mitre’s films also shares some sentiments with The Storm (Kazim Öz) & Haasil (Tigmanshu Dhulia) in depicting political fires lit in universities.

 

4. The Towrope / La Sirga

At first, the isolated house in La Sirga appears as a peaceful retreat far from the chaos of the cities. But as the film progresses, that isolation appears less as an escape but more as a trap. In this regard, Vega’s film like Crab Trap depicts how an isolated picturesque part of Colombia is not immune to strains of conflict taking place elsewhere.