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Showing posts with label Uruguay. Show all posts
Showing posts with label Uruguay. Show all posts

Wednesday, August 18, 2021

Fantasia 2021

Fantasia 2021 runs from Aug 5 - 25th in a hybrid format. Unlike last year’s virtual edition, this year’s edition is showing films in cinemas along with a few on-demand.

The following are comments on five films seen virtually. Three films are refreshing upgrades on genre films while the main highlight was screening of a two decade old Uruguayan cult film!

King Car (2021, Brazil, Renata Pinheiro)

A few years ago, Bacurau showed the power of using genre (Spaghetti Westerns, John Carpenter’s films) to create a smart multi-layered political allegory. Renata Pinheiro taps into the same energy albeit via a different set of genre films, the Hollywood car horror movie from late 1970s-80s such as The Car (1977) and John Carpenter’s Christine. He also incorporates a few more car centric elements such as the talking car of Knight Rider with a fetish touch of David Cronberg’s Crash (difference is that the pleasure isn’t only one way). If that wasn’t enough, the film is layered with some social, environmental and political messaging. The overall mood and tone of film also reminded me a bit of Adirley Queirós’ Once There was Brasilia.


Beyond the Infinite Two Minutes (2021, Japan, Junta Yamaguchi)

The time loop movie has become a sub-genre within sci-fi films and its depiction has taken on many forms ranging from comedy (Groundhog Day), dark comedy (the recent Palm Springs) to action/thriller (Edge of Tomorrow) and even horror (Timecrimes). A majority of the films revolve around characters going back to a key event in their lives to save the world, save a loved one or even saving themselves. Unfortunately, a majority of these films get caught in their own repetitive loop and lose momentum after the nth repetitive scene. Therefore, it is such a joy to discover Junta Yamaguchi’s Beyond the Infinite Two Minutes, a charming, creative take on the time loop movie. In the film, the main character can only see 2 minutes into the future and this discovery happens when he leaves the cafe to go to his apartment upstairs. 

The 2 minute concept is lovingly expanded with plenty of humour and even though there is some saving involved, it is nowhere near as dramatic as most of the Hollywood repetitions. Also, the film shows that a talented filmmaker can add a loving dimension to this sub-genre with a limited budget. No need of millions for pointless explosions and car crashes.


Tiong Bahru Social Club (2020, Singapore, Tan Bee Thiam)

The happy peaceful suburbia concept has proved to be fodder for horror and dramatic films which have shown the darkness that hides behind the curtains of those oh so perfect looking white picket fences. David Lynch’s Blue Velvet is just one example but there have been many other films which have gone the full body horror route while some have gone the satire way (The Stepford Wives). The recent Vivarium combined satire, horror and sci-fi. Tiong Bahru Social Club shows that there is another possible way. The setting of Singapore adds a much needed splash of colour and the suburban houses are replaced with an apartment like community. The satire is quite visible and the location of Singapore ensures a clean sanitized version on screen at all times. There is a hint of an evil scheming plot that is turning the wheels in the background but even that is presented in the film’s overall pleasant tone. The end result is a film that shows it is possible to tackle existential ideas in a humorous manner without resorting to blood, gore and orgies.


Act of Violence in a Young Journalist (1988, Uruguay, Manuel Lamas)
Straight to VHS (2021, Uruguay, Emilio Silva Torres)

 

The highlight of the festival so far has been the double bill of Act of Violence in a Young Journalist and Straight to VHS. Manuel Lamas’ 1988 film Act of Violence in a Young Journalist is a curious beast. The low budget video production gives the film a grainy look which at times indicates an old fashioned B-grade film but that is doing the film a huge disservice. In some aspects, the film is well ahead of its time by mixing documentary style footage with some fictional aspects and having these two threads come together in a creative manner. The main character Blanca (Blanca Gimenez) is a journalist doing a thesis into what violence means and she goes about interviewing various subjects on the nature of violence. These interviews lead to some of the film’s best moments including a segment where a subject links the violence in Uruguayan society to that which takes place on-field in Uruguayan soccer games. This subject’s observations in a way predict the evolution of Uruguayan soccer over the last 2 decades and how the team has formalized violence in a formal framework within their game. Even today, the Uruguayan team of Oscar Tabárez is known for its grit, tough tackling physical side rather than a creative flair. Blanca’s work attracts the attention of a person who believes that the only way Blanca can learn about violence is experiencing it first hand. So he starts a series of killing with the intent of killing Blanca last. There are some creative camera movements that are often hidden by the film’s low budget production (editing, sound) but it is easy to see why this film became a cult phenomena.

Emilio Silva Torres tries to decipher this cult nature in his smart documentary Straight to VHS that also uses a creative touch of fiction to walk through the Lamas labyrinth.

Thursday, July 28, 2011

Copa America 2011

Copa American 2011 Book & Film Spotlight results

On Sunday, July 24 2011 Uruguay won their 15th Copa America title with a 3-0 win over Paraguay. Also on sunday, I finally finished reading the last remaining book from my Copa America 2011 Book & Film Festival. All the individual country posts are up so now it is time to reveal the winning entries. But a quick listing of all the titles that were read and seen:

Country: Book, Film, [Bonus Film]

Argentina: Hopscotch, Crane World, Lion's Den
Bolivia: Aurora, Cocalero
Brazil: Zero, Black God White Devil
Chile: The Secret Holy War of Santiago De Chile, Tony Manero
Colombia: The Armies, Crab Trap, The Wind Journeys
Costa Rica: Cocori, Cold Water of the Sea
Ecuador: The Ecuador Reader, Cronicas, Ratas, ratones, rateros
Japan: Kafka on the Shore, Tokyo Sonata
Mexico: The Underdogs, Duck Season
Paraguay: I, The Supreme, Noche Adentro, I Hear Your Scream
Peru: Conversations in the Cathedral, Milk of Sorrow, Madeinusa
Uruguay: Body Snatcher, A Useful Life
Venezuela: Chronicles of a Nomad, El Don, Araya

Top three books

3) Chile: The Secret Holy War of Santiago De Chile by Marco Antonio de la Parra

Tito Livio has no idea how bad his day is going to get. He finds out that his father was a double agent for both God and the Devil, La Maga and Devil’s agents are after him and the fate of the World rests on his shoulders. A fun book that moves at a rapid pace and manages to pack in plenty of intelligent ideas, fascinating characters and even a political layer.

2) Peru: Conversations in the Cathedral by Mario Vargas Llosa

Past and Present beautifully flow together throughout the book, which jumps decades in a span of a few sentences. A few beers opens up a can of memories which still hurt and haunt the two main characters.

1) Brazil: Zero by Ignácio de Loyola Brandão

Incredibly creative and brilliantly paced account of life under a brutal military regime. The short segment chapters work like jump-cut scenes in a film by keeping the rhythm and tension moving along.

Top three films

3) Argentina: Crane World (1999, Pablo Trapero)

A touching portrayal of a man trying very hard to make ends meet. The grainy black and white along with the use of non-professional actors adds to the realism.

2) Uruguay: A Useful Life (2010, Federico Veiroj)

A beautiful tribute to cinephilia. A pure delight.

1) Chile: Tony Manero (2008, Pablo Larraín)

An incredible portrayal of a man’s transformation into a serial killer under the nose of a brutal dictatorial regime. Raúl Peralta (played wonderfully by Alfredo Castro) is certainly one of the most memorable characters to have been portrayed on screen in the last decade.

Books vs Films

Only Chile managed to overlap in both the top three book and film entries. Brazil, Peru, Argentina, Uruguay all managed single mentions.

Books vs Films vs Soccer

The top three teams in the Copa America soccer tournament were:

1) Uruguay
2) Paraguay
3) Peru

So stacking this with the top 3 books and film entries produces three countries with two mentions each:

Chile: 1st place film, 3rd place book
Uruguay: 1st place Soccer, 2nd place film
Peru: 2nd place book, 3rd place soccer

Brazil, Argentina and Paraguay round off with a single nod each. The most incredible thing is that both Brazil and Argentina failed to make the top 3 in Copa America, something that was unimaginable a month ago when both were expected to make the final of the tournament.

Final comments

This was a much more time consuming and draining spotlight than I had originally expected. A dozen entries would have made a film only spotlight quite easy, like the Copa America 2007 spotlight. So I added books to add a bit more challenge but I did not select books based on length or style. In the end, a handful of books required a good deal of investment because of the complex and imaginative writing style. Overall, reading all the books was a great experience and it proved that even the most difficult cinema does not come close to providing as many hurdles as a complex book.

Thursday, July 21, 2011

Copa America 2011: Uruguay

Entry #7 of the Copa America 2011 Book & Film Festival.

Book: Body Snatcher by Juan Carlos Onetti

The opening of a brothel in the fictional town of Santa Maria requires a few political favours to be called in to get approval from the city council. Once the project is approved, Larsen (aka the Body Snatcher) is on the verge of realizing his dream of becoming the perfect pimp. However, the brothel’s opening causes the town’s moral compass to spin out of control and results in the church stepping in to prevent things from getting ugly. Santa Maria contains many miserable characters who are clinging on the last shreds of sanity and the brothel ends up pushing them over the edge. Juan Carlos Onetti has used similar characters of Larsen and Diaz Grey in other novels while setting his books in the same town of Santa Maria. This appears to have allowed Onetti to explore each character fully and follow a character’s arc through multiple novels. Petri Liukkonen of the Author's calendar discusses Onetti's "Santa Maria trilogy":

The three-volume cycle of novels and stories, often called the 'Santa María Sagas', appeared in the 1950s. In La vida breve the narrator is Juan María Bransen, an employee in a publicity firm and a writer, who invents a fantasy existence for himself as Dr. Díaz Grey, the protagonist of a screenplay he is writing. Grey is usually a neutral observer, as grey as his name implies.  Los adioses (1954) had  a beginning, middle, and end, but also an unrealiable narrator, typical for Onetti fiction. In La cara de la desgracia (1960) a guilt-ridden nameless narrator accepts responsibility for the deaths of his brother and a deaf girl, whom he met at a seaside resort. The narrator is accused of her murder. 'El álbum' (1953), later collected in Para una tumba sin nombre, tells of Jorge Malabia, the son of a prominent Santa María family. Towards the end of the story he visits a brothel, but he is not the central character in his own tale: the prologues to his  sexual initiation occupy the greater part of the narrative. Díaz Grey, the listener of Jorge's confessions, claims that he is a bad storyteller, he is too slow.

El astillero (1961), also set in Santa María, focused on the life of Larsen (alias The Bodysnatcher), the ex-owner of the illfated brothel, who works in a rusting shipyard. He plans to marry the daughter of its owner, but the shipyard becomes a symbolic landscape of his own ruin: "Erect, exaggeratedly strutting, he avoided pieces of hanging iron with shapes and names which rested imprisoned on a confusion of wires and penetrated into the shade, into the distant cold, into the reticence of the shed. He reviewed the desks, the threads of rain, the nets of dust and spider webs, the reddish-black machines which continued simulating dignity." Larsen appeared first time in Onetti's second novel, Tierra de nadie (1941). Juntacádaveres (1965) took Larsen back to a time when he was called to set up the whorehouse. Despite official support by the town councillor, the project is defeated by public opinion. The brothel is a threat to the values of Santa María and Larsen and the girls are expelled from the town. Noteworthy, Larsen is not the protagonist, Díaz Grey and Jorge Malabia are more important characters.


The Body Snatcher is a good stepping stone into the creative world of Juan Carlos Onetti and it will be interesting to explore his other works.

Film: A Useful Life (2010, Federico Veiroj)


The opening credits of A Useful Life mention that the film is a work of fiction and not a true depiction of a Uruguayan cinematheque. However, this brilliant feature does not feel like fiction at all but appears to be a documentary depicting the sad state of our times when cinephilia culture is on the verge of getting lost. The story centers around the closing of a cinematheque and how it effects people, especially Jorge (Jorge Jellinek), whose entire lives revolve around such a venue. Cinephiles and film lovers can certainly identify with some of the rituals and characters shown in the film. Also, one can associate the fictional shutdown of the cinematheque with real life closing down of art-house cinemas or places where film festivals took place. In a brilliant interview with Michael Guillen, Federico Veiroj indicates some reasons why audience might draw a familiarity with the film:

The other thing is that—now that I have seen the film as a spectator and received feedback from enthusiasts like yourself—La Vida Útil has something that makes the cinephilic audience feel they are part of the main character Jorge as well. We all have rituals we indulge when we go see movies we like at our favorite cinematheques and moviehouses. We all love to feel emotional watching movies. That's what we all want. Even in my case, though I am a filmmaker, I am first a spectator; that's what I like more. Maybe the intimacy is my fault? I made the movie about this subject, of course, but maybe the fault—and I mean good fault, right?—lies within you because maybe my film connects you with other films you've seen, other places you've been to where you've watched films, such that you can understand the plight in the film? You understand what is happening in the film. In my case, of course, I identify with all of the characters and there are little bits of me throughout the movie and I'm talking about a subject I know and like; but, I think for the film to work there has to be some similar contact within the person who is watching it. I love having that dialogue with someone who is watching the film. I appreciate it a lot.


Michael’s interview is a must read and A Useful Life is a must see film. In the future when all art-house cinems have shutdown outside of New York and foreign films can only be found via underground film sites, Federico Veiroj’s film might be seen with nostalgic eyes. Although A Useful Life does end on a positive note when the music and lighting in the final scenes evoke the French New Wave and show that Jorge has found his spirit back, thanks to films, of course.

Uruguay at Copa America

Uruguay arrived as the third favourite team at this year’s Copa behind hosts Argentina and Brazil. However, by the time the quarter-finals were concluded, Uruguay remained as the sole favourites to land the title. Uruguay started off slowly in the tournament but displayed plenty of technical flexibility and intelligent ball movement in their games. Even in their opening 1-1 draws against Peru and Chile, Uruguay’s trio of Forlan, Suarez and Cavani managed to find each other with precise passes, something that Brazil and Argentina rarely managed. A narrow 1-0 win over Mexico gave Uruguay second place in Group C and set up a fascinating duel with Argentina in the quarters. Uruguay then stunned Argentina by taking a quick 5th minute lead after Diego Perez sneaked in a goal. However, Argentina found their rhythm and Messi delivered a perfect cross for Higuain to finally score a goal in the 17th minute. Argentina were clearly on top after the equalizer and were running the show, so much so that Uruguay were forced to commit plenty of fouls. It appeared to be only a matter of time before a Uruguayan player would get sent off and Perez duly got his marching orders in the 39th minute. However, the sending off galvanized Uruguay who dug deep and reoriented their shape, as Forlan withdrew deep to form a great link-up player between the midfield and Suarez who was left up on his own. Suarez shielded the ball quite well and everytime an Argentine player kicked him, Suarez went to ground. An Argentina red card looked imminent so it was no surprize that Argentina were also reduced to 10 men when Mascherano was sent off in the 87th minute. Still, Uruguay had to ride their luck a bit and needed some crucial saves from Fernando Muslera, especially his wonderful double save in the 89th minute. Muslera also saved Carlos Tevez’s penalty thereby sending Uruguay to the semi-finals, where they defeated Peru 2-0, on the back of two Luiz Suarez goals.

Coming into the tournament, Argentina and Uruguay were tied with 14 Copa America titles each. Now Uruguay have a historic chance to win their 15th title against Paraguay in the final, that too on Argentine soil. The soccer rivalry between Argentina and Uruguay dates back to 1928 when Uruguay beat Argentina to win the Olympic soccer gold medal. Then in the inaugural world in 1930, hosts Uruguay beat Argentina 4-2 to win the first ever World Cup. Uruguay’s second World Cup came against all odds on July 16, 1950 when they beat Brazil in a packed Maracanã stadium in Rio de Janeiro. Uruguay’s defeat of Argentina at this year’s Copa America was exactly 61 years to the date from that famous 1950 World Cup win. Brazil and Argentina are powerhouses in South American and World football but both these giants have found themselves beaten by Uruguay at crucial times in footballing history. Now, it is Uruguay who are on threshold of creating their own history on Sunday, July 24.

Monday, November 15, 2010

2011 Copa America Film & Book Festival

An updated summary of the books and films selected for the 2011 Copa America Spotlight in lieu of the recently made draw for the South American soccer tournament:

Group A: Argentina, Colombia, Costa Rica, Bolivia
Group B: Brazil, Paraguay, Ecuador, Venezuela
Group C: Uruguay, Chile, Mexico, Peru

** Note: Costa Rica have officially replaced Japan at the Copa. However, I will still have a book and film representing Japan.

Books

Argentina: Hopscotch by Julio Cortázar
Brazil: Zero by Ignácio de Loyola Brandão
Bolivia: Aurora by Giancarla de Quiroga
Chile: The Secret Holy War of Santiago De Chile by Marco Antonio de la Parra
Colombia: The Armies by Evelio Rosero
Costa Rica: Cocori by Joaquin Guteierrez
Ecuador: The Ecuador Reader, edited by Carlos De La Torre, ***
Japan: Kafka on the Shore by Haruki Murakami
Mexico: The Underdogs by Mariano Azuela
Paraguay: I, The Supreme by Augusto Roa Bastos
Peru: Conversations in the Cathedral by Mario Vargas Llosa
Uruguay: Body Snatcher by Juan Carlos Onetti, ***
Venezuela: Chronicles of a Nomad by A.A. Alvarez

*** Note (May 9, 2011): these two were new replacement entries after English translated copies of the following two original choices were not readily available.
Ecuador: Huasipungo by Jorge Icaza
Uruguay: The Shipyard by Juan Carlos Onetti

Films

Argentina: Crane World (1999, Pablo Trapero)
Bolivia: Cocalero (2007, Alejandro Landes)
Brazil: Black God White Devil (1964, Glauber Rocha)
Chile: Tony Manero (2008, Pablo Larraín)
Colombia: Crab Trap (2009, Oscar Ruiz Navia)
Costa Rica: Cold Water of the Sea (2010, Paz Fabrega)
Ecuador: Cronicas (2004, Sebastián Cordero)
Japan: Tokyo Sonata (2008, Kiyoshi Kurosawa)
Mexico: Duck Season (2004, Fernando Eimbcke)
Paraguay: Noche Adentro (2009, Pablo Lamar, 17 min)
Peru: Milk of Sorrow (2009, Claudia Llosa)
Uruguay: A Useful Life (2010, Federico Veiroj)
Venezuela: El Don (2006, José Ramón Novoa)



[Update May 9, 2011]

Substitute / Bonus Films

I will be watching an additional number of South American films to compliment some of the above titles. This will mean at most one title from each country.

Argentina: Lion's Den (2008, Pablo Trapero)
Colombia: The Wind Journeys (2009, Ciro Guerra)
Ecuador: Ratas, ratones, rateros (1999, Sebastián Cordero)
Paraguay: I Hear Your Scream (2008, Pablo Lamar, 11 min)
Peru: Madeinusa (2006, Claudia Llosa)
Venezuela: Araya (1959, Margot Benacerraf)

Two films for Ecuador have been added courtesy of Michael C. and Pacze Moj.


The three countries missing films are Ecuador, Paraguay and Japan. There are no shortage of Japanese titles but it is the Paraguayan entry that will most likely be the last title to be picked. The one readily available Paraguayan film is Paraguayan Hammock but I already used that for the 2010 World Cup Movie Festival so I want to pick a new Paraguayan film but currently nothing appears to be on the horizon. If I am still stuck for a title come June 2011, then I will go with Paraguayan Hammock.

All entries should be judged prior to the soccer tournament's kick-off on July 1, 2011. So that means all books have to be read and all films have to be seen by June 30, 2011.

Wednesday, September 15, 2010

Calgary International Film Festival 2010, preview II

Taylor's Way

A quite incredible film that effortlessly switches gears between three different genres with considerable ease. The opening 15 minutes appear to be familiar territory (girl in a bad relationship is picked up by a guy at a bar) but then the film transforms into a road journey/self-discovery story which navigates the beautiful British Columbia countryside. Yet, amid the beauty and tranquility signs of darkness start to slowly filter through. However, the meaning of these signs is only revealed in the film's final moments. A must see film!

Pelada

Soccer is called the beautiful game. Now, that beauty may be hard to find on a professional or international game pitch but it does exist. Proof of that genuine beauty is provided courtesy of an American college duo who hit the road to play pick-up games in various countries. Their journey takes them to unlikely destinations such as a Bolivian prison, a slum in Kenya, a roof-top in Japan, a playing field in Iran and the streets of China. The end result is a magnificent documentary that highlights why the world loves this game and how the real passion of the game exists on the streets amid everyday people. Professional soccer players, their managers and FIFA should be forced to watch this film and lower their heads in shame. Because the ugliness of the World Cup and its negative play (4-5-1/5-5-0 tactics, dives, fouls) is ruining the game yet uglier the game gets, the more money these professional players make.

Bioscope

An engaging Indian film that demonstrates the hypnotic effect that cinema has on people. Some of the film’s strongest scenes are those where there is no dialogue and the beautiful haunting images (such as the recurring dream of a dead body washed ashore) flood the screen. The film is set in 1921 India when cinema was largely unknown in the country. So we witness villagers seeing cinema for the first time and observe how their views are shaped – some consider the device as ungodly while others are entranced by the images. And we even get to meet a character (Diwakaran) whose love for the new medium leads him to neglect everything around him and only focus on cinema. In fact, Diwakaran probably depicts the actions of the first cinephile in Indian history.

Cinema is such an integral part of modern Indian life that it is hard to imagine Indian society without movies. So it is fascinating to watch a film which shows how love for cinema started to make its way through Indian life.

At World's End

This humorous Danish film is a throwback to the 1980’s style of action/adventure comedies. In a way, it is refreshing to see an old fashioned film about adventure in an exotic land told with humor and a bit of political incorrectness. The actress Birgitte Sorensen steals the show and it wouldn't be a surprize to see her land bigger profile roles in the future.

Norberto's Deadline

Norberto is drifting aimlessly in life until he finds his true love in theater. However, if it was not for theater, then it is likely possible that Norberto would morph into either a Travis Bickle (Taxi Driver) or a Raúl Peralta (Tony Manero). It is to Daniel Hendler's credit that he allows us to closely observe Norberto in his moments of despair and misery so that we can better understand Norberto and comprehend how someone who is just one or two steps away from a complete breakdown can still find the courage to salvage their life.

Mundane History

Winner of a Tiger Award at Rotterdam, Mundane History is cut from the same cloth as one of Apichatpong Weerasethakul's films. Yet, Anocha Suwichakornpong is able to carve out an individual identity and demonstrate true talent in two mesmerizing sequences which break away from the 'mundane' everyday life scenes. The first sequence charts a journey all the way to the origins of the universe. And the second sequence charts events following the big bang towards a human birth and lands firmly in the main characters hospital room location, thereby putting the whole story into perspective. Patient viewers will be rewarded with a truly cinematic treasure.

Kosmos

Reha Erdem is certainly an intriguing filmmaker but at times he can be frustrating as well. While each of his last three films have improved their visual beauty, each successive work has had a slight dip in the story and character depiction. Times and Winds was a satisfying film where the cinematography was perfectly in sync with the coming of age tale while in My Only Sunshine the on-screen beauty overpowered the bleak tale. Now with his latest offering Kosmos, Reha Erdem has given us a delicious visual treat but the story is not as dark as the cinematography points to. There are hints of distrust about the magical healing powers of the outsider and a bit of cosmic interference (UFO) but the innocent love tale slightly halts the film's mesmerizing rhythm. Still, it deserves to be seen because it is one of the best shot films of the year.

The Famous and the Dead

Every now and then there appears a film that reminds everyone that there is more to Brazil than soccer, beaches, samba, favelas, poverty and crime. A few years ago, it was Heitor Dhalia's wonderfully bizarre Drained set in a warehouse that showed a Brazil devoid of these common symbols and now it is Esmir Filho's chance with The Famous and the Dead. There are no beaches to be seen in The Famous and the Dead and the film's depiction of suburban isolation and loneliness is more familiar material for American Indie cinema. Yet the setting of such themes in Brazil highlights how similar issues can take place in any part of the world, especially in a modern globally connected world where various social networking sites and blogs allow people to hide their true identities and assume another.

The film's chilly mood and atmosphere goes perfectly with the theme of death and suicide. In fact, in almost all scenes one can detect the presence of death hovering above the main character. The film also does a great job of integrating social networking sites, blogs, online videos within the story to highlight the main character's sense of isolation. Also, the transition from the web videos to regular footage is seamless. The end result is a work that is very much in tune with modern times, aspects that most current cinema seems to sidestep.

Note: The film's look and mood evokes the chilly winter conditions of Canada or Northern Europe. So in a way, the film is a perfect companion to the fall weather that greets CIFF every year:)

Family Tree

There have been quite a few films that have used a family gathering as a starting point to uncover a dark past about one of the family members (such as Celebration, Monsoon Wedding). So directors Olivier Duscastel and Jacques Martineau deserve a lot of praise for using this familiar template to make an intelligent and delicate film which manages to deliver an emotional punch. A son's funeral is the starting point for unwrapping a family secret that provides quite a shock when all is said and done. An incredibly moving film!

Tuesday, June 08, 2010

2010 Movie World Cup, Group A

Group A: South Africa, Mexico, Uruguay, France

Films: U-Carmen e-Khayelitsha, In the Pit, Gigante, Sans Soleil



South Africa: U-Carmen e-Khayelitsha (2005, Mark Dornford-May)

A creative interpretation of the Spanish opera Carmen set in a South African setting. The opera is moving at times but the real gems are the African music/dance sequences which are uplifting and a joy to watch. Besides these dance sequences, my other favorite moments are some of dialogue-less scenes where the memorable music forms a perfect companion to the beautiful images.

Mexico: In the Pit (2006, Juan Carlos Rulfo)

Cars. Gridlock. Congestion. Solution? Freeways. Congestion on Freeways. Solution? Building more freeways or adding another level to existing freeways.

Mexico City. Teeming with people. And the location of one of the world's longest and highest 2nd level freeway. The film starts on a tiny portion of the freeway construction site where we meet some of the people doing the hard work and the day to day physically grueling tasks. We learn about these people's beliefs, attitudes and even myths regarding the construction and Mexican life in general.

The film's true beauty shines through in the final overhead shot of the construction site which gives a glimpse into the enormous task. The extended view of the partially completed freeway puts the whole project into context and gives a magnitude of the thousands of people who toil in the sun to get the project completed on time. And then there the millions that will benefit once the construction is done.

We meet only a few people working on a small portion of the bridge but as the mesmerizing final shot shows there are many more stories waiting to be told.

A truly amazing documentary!!

Uruguay: Gigante (2009, Adrián Biniez)

Gigante is quite a treat and presents its pleasures in quietly developed moments. The film artfully mixes dry humour, beauty with a pinch of simplicity.

Jara is a lonely security guard who falls for a cleaning girl named Julia while working night shifts observing the supermarket monitors. His gazes gradually become obsessive and he starts stalking Julia. He believes she is flirting with another co-worker and follows her to a restaurant. But instead Jara finds her on a date with another man. So he then follows that man only to rescue him from a bunch of thugs. The two return back to the resturant to have some drinks and chat. Through their conversation, Jara learns that the man found Julia through an internet dating site and that she loves heavy metal. So naturally Jara goes about learning to love heavy metal in his bid to win over Julia.

There are plenty of charming humorous moments sprinkled throughout the film. Two interesting moments come in a restaurant and involve a soccer game on tv. When Jara follows Julia to the restaurant, he sits across the restaurant while looking over to observe her. In the meantime, the man next to Jara is busy watching the soccer game and chats about the game but Jara only looks on blankly.


Later in the night when Jara returns to the restaurant with Julia's date, they make small talk. Jara is only interested in getting some info on Julia whereas her date is busy watching the game. This time around, the waiter also chips in with his view about how the ref ruined the game.


It is interesting that everyone around Jara is interested in the soccer game but he shows no emotion whatsoever. The game on tv is a local league game but even if the match was a world cup game, you be sure that Jara would not pay attention. Unless someone told him that Julia liked watching soccer. Then Jara would become the biggest soccer fan in Uruguay.

France: Sans soleil (1983, Chris Marker)

A perfect choice for the movie world cup because this film does not set up roots in one place and is a travelogue that jumps in between Tokyo and Guinea-Bissau with a brief touch down in San Francisco. The film touches 3 continents and has ties to the current world cup and three of the past 4 world cups -- the film travels to USA & Japan, host/co-host nation of the 1994 & 2002 respectively; Chris Marker is French and France hosted the 1998 World Cup; the current world cup is in Africa which gets a decent viewing time courtesy of Guinea-Bissau.

The film features a series of letters read by a woman about a man's journey from the crowded streets of Tokyo to Guinnea. A memorable moment arrives in an African market when Marker's camera captures a woman's smile and beauty.

Ofcourse, the woman knows a pair of eyes (and a lens) are on her, so we see her look away yet she is still aware of the presence fixated on her face.

There are many other images which stay long in the memory.

Standings and Points (Maximum out of 9)

In the Pit: 8
Gigante: 8
Sans Soleil: 7
U-Carmen e-Khayelitsha: 6

It was a very tough decision deciding who got top spot as there is very little to seperate In the Pit from Gigante. My choice was made more difficult by the fact that I saw both films almost 6 months apart -- I saw In the Pit back in December and recently saw Gigante in May. In the end, I have to give a narrow nod to the Mexican documentary.

Soccer Group Prediction

I would not be surprized if like the film results both Mexico and Uruguay advance to the second round. On paper, Uruguay are the most capable team in changing their tactical formations with Mexico not too far behind in adapting to different styles. As is often repeated, no host team has failed to advance from its group. South Africa is not a very strong tactical team and a noisy home crowd may not be enough to power them through to the next phase. On the other hand, if South Africa can get an early goal, then there is a chance their spirits might be lifted by the home crowd. Also, South Africa's opener against Mexico presents them with a good chance of nabbing a win or atleast a draw.

As for France, I have no hope. France have been mostly inept, dull and uninspired under Raymond Domenech. Domenech is not entirely at fault though because he did inherit a pretty weak team after Euro 2004 but he has done nothing to improve the French game. The ultimate blame for France's failure should not rest on the players or Domenech but should be put on the French Federation's shoulders. They had a chance to put things right after a disastrous Euro 2008 but they did nothing. The French Federation know the team will fail which is why they were quick to name Laurent Blanc as Domenech's replacement well before the World Cup. The Federation did this to take away some of the anger that will be directed towards them once France stumbles and fails. The biggest surprize for me will be if France advances from this group. And I will be even more surprized if France manages to score more than 1 goal in any of the three group games.

For now, I am going to go with Uruguay and Mexico to finish 1st and 2nd in the group.

Sunday, September 07, 2008

Spotlight on South America

Machuca: Chile, 1973

Early on in the film, two friends, one rich (Gonzalo) and the other poor (Pedro Machuca), cross a soccer field packed with local kids playing the beautiful game.

Near the film's end, Gonzalo is seen cycling through the same soccer field but it is empty. We know from the political events outlined earlier in the film that there is a reason there are no kids playing in the field.

In the scene immediately after Gonzalo hurriedly cycles past the empty soccer field, we see poor people rounded up at gunpoint and taken away. A solider mistakenly tries to take away Gonzalo but he shouts that he is not one of ‘them’ and points towards his imported German sneakers. The solider looks at Gonzalo’s white shoes and backs off. Meanwhile, the two friends eyes meet. Machuca knows the fate that awaits him and so does Gonzalo.

Final Scene: Gonzalo is standing in front of an empty soccer field, looking at the sun setting over the mountains in the background. We know that this soccer field will never have kids or even adults play on it. Not for a while at least.

In a way the four scenes highlight how people disappeared in Chile. Did the rest of the world know? Even if they did, would they have cared?

1973. A dictator comes into power. Who helped him? Look closely. You will see men lurking in the shadows. And among these men are some economists who offered advice in 'helping' the Chilean economy.

The Year My Parents Went on Vacation: Brazil, 1970

A boy standing with a soccer ball in his hands. The image is taken from the backseat of a car driving away. The car contains his parents who are apparently going on "vacation". But his parents are not going on "vacation". Unfortunately, 1970’s in South America saw a different form of vacation. People normally plan their vacations, inform their loved ones where they are going and when they will come back. But in 1970's South America, certain people believed that they were privileged enough to offer free vacations to their nation’s citizens. The citizens went on vacation, never to return back.

The world did not know of this vacation policy until much later. In the meantime, Brazil danced to the 1970 World Cup victory in some style, playing possibly the best football the world has seen. In 1978, Argentina won their first ever World Cup title, although the rumours about their 6-0 victory over Peru will never go away. Were the Peruvians bribed? Or did the Peruvian players have one look at the government in charge of Argentina and decide that losing 6-0 was better than getting a free unlimited vacation?

Men sitting in offices. Talking with dictators, discussing economic reforms. Privatize everything, open the country up. All will be well. Oh and while you are at it, hand out some free vacations. Things will eventually work out.

Have things worked out yet? The playgrounds are not empty anymore. But if one stands on those grounds, one can hear voices in the distance. Voices that cry out, wanting the world to listen. But the world cannot listen. It has moved on. Yet those voices continue to haunt soccer fields, not only across South America, but Asia and Africa as well.

Bolivia: Argentina, present day

At the start of the film Bolivia, we see a televised match between Argentina and Bolivia. After Argentina jump to an early lead, the Argentinean commentator remarks that Argentina were more alert. After the third goal goes in, he mentions that the Bolivian defense is terrible, just terrible. A few harmless words mask the hidden superiority of Argentine football.

If one had any doubts to the intention of those words, then the rest of the film just confirms the idea of a supposed superior Argentinean identity, an identity that exists even when the soccer game is over. An illegal Bolivian works in a local cafe/pub. Some of the local patrons include taxi drivers, including one who dislikes the Bolivian. Everything the Bolivian does is wrong. For example, when he brings a bottle of beer from the freezer, he is scolded for not bringing a cold bottle, even though he returns and brings a second bottle from the exact same freezer. When someone dislikes another person, no matter what the other person does is wrong. Simple fact of life. It is equally true in any part of the world.

It appears to be only a matter of time when emotions will boil over and they eventually do. Beautifully shot in black and white, Bolivia gives a glimpse of the frictions that exist in daily life. While the Clashes are started by government decisions regarding employment and immigration, the prices are always paid by ordinary citizens. If a poor nation shares a border with a richer nation, then illegal border crossing will occur. But if the apparently rich nation does not have enough jobs for its own citizens, then anger is directed at the newly arrived persons. The newcomer is always blamed for the misfortunes of a nation. Amazingly, one can walk the streets of Canada or USA and hear similar sentiments.

Bolivia is shot in Argentina but it may take place in any part of the world.

Adios Momo: Uruguay, 40 day Carnival

Obdulio just wants to play soccer but he does not have time as he has a daytime job delivering papers. One night he encounters a man who promises to educate him. Inspired by the man’s writing, Obdulio spends his nights witnessing the magic of a carnival where artists entertain the audience. As a result, he is often tired in his daytime job.

The charm of the carnival is flushed out in detail but the story also maintains a dream like nature of the events shown. And near the film’s end, clues are provided which indicate that the carnival is a happier mask over the sinister events of disappearance of children from the city, a la Pied Piper.

A Titan in the Ring: Ecuador, 2001

The film takes place in a small town where religion and wrestling are the equal source of people's interests. Both events are not compatible and some locals are caught between both. A local priest comes up with an interesting solution in the hopes of reaching out to the people. But his choice is at odds with what he preaches.

A man quietly sits listening to his radio on a bench while around him the complicated lives of the characters revolves. As it turns out, the man is mostly listening to soccer games. And just before the screen fades to black, the radio commentator is busy celebrating Ecuador’s first ever qualification to the Soccer World Cup (2002). The joyous message is meant to soothe over the not so happy events that the town has had to face depicted in the film.

Making ends meet

In A Titan in the Ring, we are given a glimpse into how unemployment can lead to certain youth heading down the criminal path.

In Pizza, Beer and Smokes, a few young kids go from one criminal activity to another just to gather some cash. The problem with such activities is that a person can be roped into believing that all they need is just one big job to ensure financial freedom. After that one big job, people believe they can easily walk away from crime. But as one knows, it is never that easy. So the tragedy that eventually takes place in Pizza, Beer and Smokes can be seen from the first few frames.

A few friends enjoy hanging out and pulling off pranks on their neighbours in Montevideo in 25 Watts. Shot in Black and white, the film evokes shades of Clerks in certain segments but unfortunately lacks the energy that made Clerks such a joy to watch.

The favelas of Rio once again form the background in the well shot City of Men which explores the tale of two friends who dodge bullets as the gang turf war wages on around them. Juggling between their jobs and women, the two find their friendships stretched as they unravel past events which pits them on opposite sides of the warring gangs.

Sao Paulo is the venue for the Brazilian pic Antonia which features four women hoping to make it big with their hip-hop routines in order to etch out a better life.

A job interview

Even when one has a job, the need arises to find a better job. But switching jobs is not often an easy task. An interview is a key part of the job hunting process and sometimes when people spend a long time working in one company, they may be out of touch with the challenges required out in the industry.

The Method shows a cut-throat interview process designed to weed out any unwanted candidates. After a series of 2-3 interviews, the short listed candidates are all put together in one room. They are all surprized to learn that their final interview will require them to face off against each other in the board-room while the hiring manager is hidden among one of the candidates. Each person has to guess who the hiring manager is and one by one, a candidate will be eliminated based on a series of ethical and technical exercises. As the interview progresses, the real personality traits of the candidates are exposed. Based on a play, the film is a fascinating watch.

Colombia -- A myth retold in a modern setting

Oedipus Mayor cleverly resets the ancient Greek tale of Oedipus Rex into a modern day Colombian town setting. Not having read the short story (by Gabriel Garcia Marquez) that the film is adapted from, I cannot comment on how faithful the adaptation is but overall the film does a very good job at unfolding the mythical tale of murder and incest one layer at a time.

Passing the time away by watching tv or just staring at the clock

The hilarious Peruvian film El destino no tiene favoritos shows the obsession that day time tv commands while poking fun at the cliched story-lines of most soaps.

El Nomindo takes the concept of reality tv shows such as Survivor and Big Brother to extremes. Contests are locked up in a bunker underneath the snow-capped Andes mountains, completely cut-off from civilization. Cameras record all their movements with the contestants voted out by viewers. But things go horribly wrong when a contestant is murdered. Instead of stopping the show, the cameras continues rolling as the game is tailored to guess who will be killed next. A decent idea is wasted as the film ends up being yet another slasher film.

In La Espera, Sonja looks after her elder bed-ridden mother. But she is frustrated by her mother’s constants demands which eliminates any chance of a social life that Sonja may have. So all she can do is wait, patiently wait for her mother to pass away.

The River as a means to escape and explore

Los Muertos

Forests, empty landscape, rivers. Observing nature up close, far from the chaotic Buenos Aries city life. This is not the Argentina often seen in films.

I thought about Carlos Reygadas while watching Lisandro Alonso’s Los Muertos. A beautiful film which features haunting shots of the surroundings. A man on a boat, drifting effortlessly through the backwaters. The man has just been released from prison after serving his murder conviction. He heads to the river to track his past and even to escape.

1888 el extraordinario viaje de Jules Verne

A journey to track down a hidden treasure with a fictional Jules Verne. Along the way, a love triangle is explored while an adventure unfolds by the banks of the Amazon.

Ratings out of 10

  • Bolivia (2001, Argentina, Adrián Caetano): 9



  • The Year My Parents Went on Vacation (2006, Brazil, Cao Hamburger): 9



  • Machuca (2004, Chile, Andrés Wood): 9



  • The Method (2005, Argentina co-production, Marcelo Piñeyro): 8.5



  • Los Muertos (2004, Argentina, Lisandro Alonso): 8.5



  • City of Men (2007, Brazil, Paulo Morelli): 8



  • Oedipus Mayor (1996, Colombia, Jorge Alí Triana): 8



  • El destino no tiene favoritos (2003, Peru, Alvaro Velarde): 8



  • Antonia (2006, Brazil, Tata Amaral): 7



  • Don't Tell Anyone (1998, Peru, Francisco J. Lombardi): 7



  • La Espera (2002, Uruguay, Aldo Garay): 7



  • Pizza, birra, faso (1998, Argentina, Adrián Caetano/Bruno Stagnaro): 6.5



  • Adios Momo (2006, Uruguay, Leonardo Ricagni): 6



  • Un titán en el rincón (2002, Ecuador, Viviana Cordero): 5



  • 25 Watts (2001, Uruguay, Juan Pablo Rebella/Pablo Stoll): 5



  • 1888 el extraordinario viaje de Jules Verne (2005, Venezuela, Alfredo Anzola): 3



  • El Nominado (2003, Peru, Nacho Argiro/Gabriel Lopez): 3