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Friday, May 30, 2014

2014 Movie World Cup

32 Nations. 96 films. One epic movie showdown. Ladies and gents, presenting the 2014 Movie World Cup.

In the past, finding even a single film nation for the 2006 and 2010 Movie World Cup spotlights proved to be a challenge given the lack of film distribution from many competing soccer nations. Therefore, it was a tall order finding three films from all the nations taking part in the 2014 World Cup and a target that I didn't expect to reach. In fact, until last month, I was on track for 92 films. But thankfully, some films appeared in the nick of time. Although, some films also disappeared. DVDs of two films that I had originally planned for the spotlight went missing from the local library, forcing a change in selection.

The delay in finding a lot of the films has meant that not all the viewing will be completed by the start of the Soccer World Cup on June 12. Therefore, this spotlight is likely to run past the end of the World Cup on July 13.

The 32 Nations and their 96 films are divided into the same 8 groups as the Soccer World Cup.

Group A: Brazil, Croatia, Mexico, Cameroon

Country Film #1 Film #2 Film #3
Brazil Neigboring Sounds (2012, Kleber Mendonça Filho) Once Upon a Time Veronica (2012, Marcelo Gomes) Entranced Earth (1967, Glauber Rocha)
Croatia Buick Riviera (2009, Goran Rusinovic) Karaula (2006, Rajko Grlic) Witnesses (2003, Vinko Bresan)
Mexico El Violin (2005, Francisco Vargas) Post Tenebras Lux (2012, Carlos Reygadas) Presagio (1975, Luis Alcoriza)
Cameroon A Trip to the Country (2000, Jean-Marie Téno) Aristotle’s Plan (2006, Jean-Pierre Bekolo) Quartier Mozart (1992, Jean-Pierre Bekolo)

Group B: Spain, Holland, Chile, Australia

Country Film #1 Film #2 Film #3
Spain In the City of Sylvia (2007, José Luis Guerín) Blancanieves (2012, Pablo Berger) The Red Squirrel (1993, Julio Medem)
Holland Borgman (2013, Alex van Warmerdam) The Last Days of Emma Black (2009, Alex van Warmerdam) The Northerners (1992, Alex van Warmerdam)
Chile Tony Manero (2008, Pablo Larraín) Old Cats (2010, Pedro Peirano/Sebastián Silva) The Battle of Chile (1975-79, Patricio Guzmán)
Australia Snowtown (2011, Justin Kurzel) The Hunter (2011, Daniel Nettheim) The Last Wave (1977, Peter Weir)

Group C: Colombia, Greece, Ivory Coast, Japan

Country Film #1 Film #2 Film #3
Colombia Crab Trap (2009, Oscar Ruiz Navia) Dog Eat Dog (2008, Carlos Moreno) Oedipus Mayor (1996, Jorge Alí Triana)
Greece Unfair World (2011, Filippos Tsitos) Dos (2011, Stathis Athanasiou) Ghost of a Chance (2001, Vangelis Seitanidis)
Ivory Coast Adanggaman (2000, Roger Gnoan M’Bala) Black Diamond (2010, Pascale Lamche) Burn it up Djassa (2012, Lonesome Solo)
Japan Like Father, Like Son (2013, Hirokazu Koreeda) Why Don’t You Play in Hell? (2013, Sion Sono) When a Woman Ascends the Stairs (1960, Mikio Naruse)

Group D: Uruguay, Costa Rica, England, Italy 

Country Film #1 Film #2 Film #3
Uruguay A Useful Life (2010, Federico Veiroj) Bad Day to go Fishing (2009, Álvaro Brechner) Whisky (2004, Juan Pablo Rebella/Pablo Stoll)
Costa Rica Cold Water of the Sea (2010, Paz Fabrega) Gestacion (2009, Esteban Ramírez) Caribe (2004, Esteban Ramírez)
England Trishna (2011, Michael Winterbottom) Two Years at Sea (2011, Ben Rivers) If...(1968, Lindsay Anderson)
Italy Le Quattro Volte (2010, Michelangelo Frammartino) The Great Beauty (2013, Paolo Sorrentino) Il Posto (1961, Ermanno Olmi)

Group E: Switzerland, Ecuador, France, Honduras 

Country Film #1 Film #2 Film #3
Switzerland Das Fraulein (2006, Andrea Staka) We Are The Faithful (2005, Michael Koch) Signer's Suitcase (1995, Peter Liechti)
Ecuador Crónicas (2004, Sebastián Cordero) Qué tan lejos (2006, Tania Hermida) A Titan in the Ring (2002, Viviana Cordero)
France Holy Motors (2012, Leos Carax) Bastards (2013, Claire Denis) L'Argent (1983, Robert Bresson)
Honduras El Porvier (2008, Oscar Estrada) Amor y frijoles (2009, Mathew Kodath/Hernan Pereira) Mi Amigo Angel (1962, Sami Kafati)

Group F: Argentina, Bosnia and Herzegovina, Iran, Nigeria 

Country Film #1 Film #2 Film #3
Argentina Gone Fishing (2012, Carlos Sorin) Extraordinary Stories (2008, Mariano Llinás) Invasion (1969, Hugo Santiago)
Bosnia and Herzegovina Cirkus Colombia (2010, Danis Tanovic) Belvedere (2010, Ahmed Imamović) No Man's Land (2001, Danis Tanovic)
Iran This is Not a Film (2011, Mojtaba Mirtahmasb/Jafar Panahi) The White Meadows (2011, Mohammad Rasoulof) Taste of Cherry (1997, Abbas Kiarostami)
Nigeria Without Shame (2005, Lancelot Oduwa Imasuen) Ezra (2007, Newton I. Aduaka) Last Flight to Abuja (2012, Obi Emelonye)

Group G: Germany, Portugal, Ghana, United States 

Country Film #1 Film #2 Film #3
Germany Everyone Else (2009, Maren Ade) Gerhard Richter - Painting (2011, Corinna Belz) World on a Wire (1973, Rainer Werner Fassbinder)
Portugal The Strange Case of Angelica (2010, Manoel de Oliveira) Centro Histórico (2012, Pedro Costa/Manoel de Oliveira/Víctor Erice/Aki Kaurismäki) Ossos (1997, Pedro Costa)
Ghana The Perfect Picture (2010, Shirley Frimpong-Manso) Sinking Sands (2011, Leila Djansi) A Sting in a Tale (2009, Shirley Frimpong-Manso)
USA Blue Ruin (2013, Jeremy Saulnier) Blue Caprice (2013, Alexandre Moors) Faces (1968, John Cassavetes)

Group H: Belgium, Algeria, Russia, South Korea

Country Film #1 Film #2 Film #3
Belgium The Referees (2009, Yves Hinant/Eric Cardot/Delphine Lehericey) Eldorado (2008, Bouli Lanners) La Promesse (1996, Jean-Pierre Dardenne/Luc Dardenne)
Algeria Rachida (2002, Yamina Bachir) Outside the Law (2010, Rachid Bouchareb) Daughters of Keltoum (2001, Mehdi Charef)
Russia Alexandra (2007, Aleksandr Sokurov) The Edge (2010, Aleksey Uchitel) Stalker (1979, Andrei Tarkovsky)
South Korea In Another Country (2012, Hong Sang-soo) The Day He Arrives (2011, Hong Sang-soo) The Housemaid (1960, Ki-young Kim)

The Rules

Group Stage Points

In the Soccer World Cup, the maximum points a team can get from playing their 3 group games is 9. The same 9 points is also the maximum total that a country can achieve when its 3 films are pitted against other nations. The match-ups will be identical to the Soccer World Cup with the difference that Film #1 will only face another nation's Film #1, Film #2 will only go against another nation's Film #2.

Nation A, Film #1 vs Nation B, Film #1

A vote will be cast for a favorite film, thereby ensuring a 1-0 win. The winning nation will be awarded 3 points.

If both films are equally impressive and it is hard to pick a winner, a 1-1 tie will be declared, giving each nation 1 point each.

The top two nations will advance from each of the 8 groups.

If there is a tie for 1st or 2nd place, all 3 films from the tied nations will compete against each other. If after a head-to-head match-up, the nations cannot be separated, a coin toss will be used to pick a winner as a nod towards the Soccer World Cup which in the past used a coin toss as a tie-breaker.

Round of 16, Quarter-Round, Semi-Final, Final Criteria

The best film from all the 16 Nations advancing from the first round will be used in the Second Round.

A head-to-head match-up will be used to pick a winner based on either five or three categories.

Film A vs Film B [Five or Three categories]

If two Fictional films face each other, then the following five categories will be used:

Acting, Story, Cinematography, Direction, Production (Sound, Editing).

If a Documentary is put against a Fictional film, then the following three categories will be used for both films:

Cinematography, Direction, Production (Sound, Editing)

If film A is better than film B in a category, then film A will get 1 point and film B will get 0. If both film A and film B are equal in a category, then they each get 1 point.

If both films are tied 3-3 or 5-5 after all the scores are added up, the winning film will be decided by a subjective vote, which is similar to an emotional penalty shoot-out in soccer.

And finally..why a Soccer Film Spotlight

I first started a soccer film spotlight for the 2006 World Cup. Even though I never managed to find films from all the 32 nations, it was an exciting project which forced me to hunt for films from nations that are not often mentioned in film magazines or websites. For example, spending hours to hunt for films from Ivory Coast, Togo, Saudi Arabia, Ukraine helped shed a light on the state of cinema around the World and introduced me to many regional directors, whose work I could look forward to. The 2006 Movie World Cup helped fuel a love for cinema and opened my eyes to view films from any part of the world. In essence, it became a quest for Cinephilia and allowed me to believe a worthy film could come from any part of the World. As a result, I have been conducting these spotlights regularly not only for the World Cups (2010) but also for the European Championships (Euro 2008, 2012), Copa America (2007, 2011) and once for the African Cup of Nations.

Finding some films is certainly difficult but remarkably some films are easy to access but hidden away from plain sight. For example, the Ivorian film Burn it up Djassa is available to rent via iTunes Canada but it is not displayed anywhere in the Foreign films section. However, a search for the title on a hunch brought it up. Of course, if I was not searching for any films from Ivory Coast, I would have never been able to view this title. Already, I have seen one film that has reinforced the validity of this Movie World Cup. Jean-Pierre Bekolo's Aristotle’s Plan is love for cinema in all its 35mm glory and highlights the pull that filmmaking has for people. I have not come across a single critic who has mentioned this film yet this is a work that deserves to be praised and talked about. I hope to find many other such worthy films from this year's selection, especially those that the rest of the World wrongly ignores.

Tuesday, May 27, 2014

African Films

The 15 films from the 5 African Nations taking part in the 2014 Movie World Cup have been selected. Given the difficulty in finding African films, the year restrictions have been relaxed for Film #1 and #2 to be from the years 2000 - 2013 as opposed to 2005 - 2013. The following is the criteria for the three films.

Film 1: previously seen film from 2000 - 2013
Film 2: unseen film from 2000 - 2013
Film 3: film from 1960 - 2004

Algeria

Film 1: Rachida (2002, Yamina Bachir)
Film 2: Outside the Law (2010, Rachid Bouchareb)
Film 3: Daughters of Keltoum (2001, Mehdi Charef)

Cameroon: Two films by Jean-Pierre Bekolo are included. In fact, I was very close to picking all three films by him but A Trip to the Country has a relevant soccer segment making it a worthy selection.

Film 1: A Trip to the Country (2000, Jean-Marie Téno)
Film 2: Aristotle’s Plan (2006, Jean-Pierre Bekolo)
Film 3: Quartier Mozart (1992, Jean-Pierre Bekolo)

Ghana: Shirley Frimpong-Manso could have had all three films for Ghana but I have taken a gamble on Sinking Sands. Also, Ghana is the only nation to have two female directors represent all three films.

Film 1: The Perfect Picture (2010, Shirley Frimpong-Manso)
Film 2: Sinking Sands (2011, Leila Djansi)
Film 3: A Sting in a Tale (2009, Shirley Frimpong-Manso)

Ivory Coast

Film 1: Adanggaman (2000, Roger Gnoan M’Bala)
Film 2: Black Diamond (2010, Pascale Lamche)
Film 3: Burn it up Djassa (2012, Lonesome Solo)

Nigeria

Film 1: Without Shame (2005, Lancelot Oduwa Imasuen)
Film 2: Ezra (2007, Newton I. Aduaka)
Film 3: Last Flight to Abuja (2012, Obi Emelonye)

Sunday, May 25, 2014

10th anniversary

I started this blog back on May 10, 2004 with the following entry:

As things begin, so must this blog. Here we go.
History will remind us how special this week was:
1) Valencia crowned Liga Champions after an astonishing collapse by Real. Nothing fake about the win there -- pure hardwork.
2) Arsenal remained unbeaten after 37 games. Thanks to Reyes -- the Spanish connection.
3) Werder Bremen won the Bundesliga in the best possible manner, a 3-1 win away to defending champs, Bayern Munich. The result left no doubt about the best team in Germany.
4) Milan & Roma take dives. But will it be enough for Perugia?
5) 5 in a row. Zoom Zoom.
6) 3-2 overtime win for the red hot Flames. Sharks or no sharks.
7) Stand off. Enough said!!!


More than 10 years have gone by since this blog was started. Initially, the purpose of this blog was to share notes about recent films I was viewing with a few friends who were doing the same. Therefore, this was purely a web film log, fitting in perfectly with the definition of a blog (web log). However as things turned out, my film friends stopped maintaining their blogs and decreased their film viewing around 2005-06 but I increased my film viewing substantially going from seeing 100-150 films a year to a record high of 445 films in 2008.

As I stopped discussing films with one group of friends, along the way, I made many other cinephile friends through the internet. Thankfully, I have been lucky to have met some of them in person. But there are many other film lovers that I have interacted with over the years without even knowing their name or where they live. Of course, not knowing someone's name or what they look like has not gotten in the way of meaningful discussion because cinema has been a common bond for us, therefore no other formal introduction was required.

Since I started this blog, I must have seen anywhere from 3000-4000 films. 2000-2500 of those films have some notes/reviews or are simply logged somewhere on this blog. I have also been fortunate to have traveled to many international film festivals and helped program films for multiple film festivals as well, tales of those adventures are also etched on "Scribbles and Ramblings". It has been an absolutely incredible cinematic journey, one that I hope to be able to continue for many more years to come.

A huge thanks to all the people that have taken the time to read this blog and share their thoughts over the last 10 years. Special mention goes out to Sam Juliano, Norman Crane and Nitesh Rohit for being such regular readers. Plus, I will be always grateful to Michael Guillen for his wonderful website and friendship. I can't forget some wonderful cinephiles with whom I mainly talk via twitter even though I discovered them through their websites: JAFB, Zach, Filipe and Omar. And finally...Acquarello is no longer online but Strictly Film School was the first film website I discovered back in 1996. Acquarello's website was a huge help when I was hunting for foreign films on VHS tapes. Yes, VHS tapes. I have gotten many useful nuggets of advice from Acquarello over the years that I will always cherish.

European Films

The 39 films representing the 13 European Nations taking part in the 2014 Movie World Cup have been selected. The three films from each nation follow the following criteria:

Film 1: previously seen film from 2005 - 2013
Film 2: unseen film from 2005 - 2013
Film 3: film from 1960 - 2004

Belgium

Film 1: The Referees (2009, Yves Hinant/Eric Cardot/Delphine Lehericey)
Film 2: Eldorado (2008, Bouli Lanners)
Film 3: La Promesse (1996, Jean-Pierre Dardenne/Luc Dardenne)

Bosnia: Two films by Danis Tanovic make the cut

Film 1: Cirkus Colombia (2010, Danis Tanovic)
Film 2: Belvedere (2010, Ahmed Imamović)
Film 3: No Man's Land (2001, Danis Tanovic)

Croatia

Film 1: Buick Riviera (2009, Goran Rusinovic)
Film 2: Karaula (2006, Rajko Grlic)
Film 3: Witnesses (2003, Vinko Bresan)

England

Film 1: Trishna (2011, Michael Winterbottom)
Film 2: Two Years at Sea (2011, Ben Rivers)
Film 3: If...(1968, Lindsay Anderson)

France

Film 1: Holy Motors (2012, Leos Carax)
Film 2: Bastards (2013, Claire Denis)
Film 3: L'Argent (1983, Robert Bresson)

Germany

The only nation to have three different formats for its film selection: fiction, documentary and TV Series.

Film 1: Everyone Else (2009, Maren Ade)
Film 2: Gerhard Richter - Painting (2011, Corinna Belz)
Film 3: World on a Wire (1973, Rainer Werner Fassbinder)

Greece

Film 1: Unfair World (2011, Filippos Tsitos)
Film 2: Dos (2011, Stathis Athanasiou)
Film 3: Ghost of a Chance (2001, Vangelis Seitanidis)

Holland

I have decided to put all the eggs in one basket by selecting all 3 films from Alex van Warmerdam. It could prove to be a costly mistake.

Film 1: Borgman (2013, Alex van Warmerdam)
Film 2: The Last Days of Emma Black (2009, Alex van Warmerdam)
Film 3: The Northerners (1992, Alex van Warmerdam)

Italy 

Film 1: Le Quattro Volte (2010, Michelangelo Frammartino)
Film 2: The Great Beauty (2013, Paolo Sorrentino)
Film 3: Il Posto (1961, Ermanno Olmi)

Portugal

Film 1: The Strange Case of Angelica (2010, Manoel de Oliveira)
Film 2: Centro Histórico (2012, Pedro Costa/Manoel de Oliveira/Víctor Erice/Aki Kaurismäki) Film 3: Ossos (1997, Pedro Costa)

Russia

Film 1: Alexandra (2007, Aleksandr Sokurov)
Film 2: The Edge (2010, Aleksey Uchitel)
Film 3: Stalker (1979, Andrei Tarkovsky)

Spain

Film 1: In the City of Sylvia (2007, José Luis Guerín)
Film 2: Blancanieves (2012, Pablo Berger)
Film 3: The Red Squirrel (1993, Julio Medem)

Switzerland

The only nation to have a short film in the competition. We Are The Faithful is such an appropriate film for a Movie World Cup that it was hard to ignore.

Film 1: Das Fraulein (2006, Andrea Staka)
Film 2: We Are The Faithful (2005, Michael Koch, short film 9 minutes)
Film 3: Signer's Suitcase (1995, Peter Liechti)

On paper, France, Italy, Portugal and Russia appear to be the strongest European representatives. Although, Belgium still have an excellent chance to go far. Picking three films from the Dardennes would have ensured Belgium a genuine chance at the Movie World Cup title but The Referees is present on merit as it finished #1 in my 2010 Year End List.

Tuesday, May 13, 2014

CONCACAF Films

When it comes to the Confederation of North, Central American and Caribbean Association Football (CONCACAF), USA and Mexico are head and shoulders above all the other nations. Both countries are expected to qualify for every World Cup. The two nations also have a healthy film industry which ensures there is no shortage of films to select from for these World Cup Film Festivals. On the flipside, there are always CONCACAF nations which have next to no film industry, making it hard to find even one film. Thankfully, that was not the case this year as the hard work of finding films from Honduras was done four years ago.

Costa Rica

Film 1: Cold Water of the Sea (2010, Paz Fabrega)
Film 2: Gestacion (2009, Esteban Ramírez)
Film 3: Caribe (2004, Esteban Ramírez)

Esteban Ramírez is the most recognizable name when it comes to searching for Costa Rican Cinema.

Honduras

Film 1: El Porvier (2008, Oscar Estrada)
Film 2: Amor y frijoles (2009, Mathew Kodath/Hernan Pereira)
Film 3: Mi Amigo Angel (1962, Sami Kafati, short film 31 minutes)

Mexico

Film 1: El Violin (2005, Francisco Vargas)
Film 2: Post Tenebras Lux (2012, Carlos Reygadas)
Film 3: Presagio (1975, Luis Alcoriza), based on a story by Gabriel García Márquez

USA

Film 1: Blue Ruin (2013, Jeremy Saulnier)
Film 2: Blue Caprice (2013, Alexandre Moors)
Film 3: Faces (1968, John Cassavetes)

For the US Film #3, the intention was to pick a film that fell outside of the studio system. John Cassavetes was an easy choice.

Friday, May 02, 2014

Asian Films

The 12 films from the Asian region of the 2014 Movie World Cup have been selected. Australia is now playing in the Asian zone and not Oceania for the World Cup. Therefore, its films are included along with the other three Asian nations.

The three films from the four nations are selected as per the following criteria:

Film 1: previously seen film from 2005 - 2013
Film 2: unseen film from 2005 - 2013
Film 3: film from 1960 - 2004

Australia 

Film 1: Snowtown (2011, Justin Kurzel)
Film 2: The Hunter (2011, Daniel Nettheim)
Film 3: The Last Wave (1977, Peter Weir)

Iran 

Film 1: This is Not a Film (2011, Mojtaba Mirtahmasb/Jafar Panahi)
Film 2: The White Meadows (2011, Mohammad Rasoulof)
Film 3: Taste of Cherry (1997, Abbas Kiarostami)

Japan

Film 1: Like Father, Like Son (2013, Hirokazu Koreeda)
Film 2: Why Don’t You Play in Hell? (2013, Sion Sono)
Film 3: When a Woman Ascends the Stairs (1960, Mikio Naruse)

South Korea

Film 1: In Another Country (2012, Hong Sang-soo)
Film 2: The Day He Arrives (2011, Hong Sang-soo)
Film 3: The Housemaid (1960, Ki-young Kim)

In contrast to previous World Cup tournaments, the Asian nations that have qualified have a good cinematic history. This will make for some excellent viewing.

On paper, out of the four nations, Iran appears to have the best chance of going furthest in the tournament. But there are a lot of films to watch. Plenty of chances for an upset or two.

Sunday, April 27, 2014

The Dictator Novel

The recent death of Gabriel García Márquez is a huge loss to the literary world, especially Magic Realism. I owe my knowledge about this style to Márquez's One Hundred Years of Solitude which led me down a path of Magic Realism and the discovery of many other global authors. Even though Márquez is associated with Magic Realism, he was also a big part of the Dictator Novel. I first learned about the Dictator Novel genre when I read Augusto Roa Bastos' I Supreme as part of the 2011 Copa America Spotlight a few years back. Many references to Márquez's The General in His Labyrinth and The Autumn of the Patriarch appeared when discussing the roots of this genre in Central and South American literature. It is these two books that have been foremost in my mind since I heard of Márquez's passing.


The Dictator Novel is associated with Latin America given the number of dictatorships and generals that took power from the 1960's-70's but the genre can also apply to works about Africa. There are certainly similarities between Latin America and Africa in how some dictators rose to power and the ruthless methods they used to maintain their position. Yet, most of the official talk about this genre does not feature African literature or books about Africa.

Here are a few examples of books that highlight abuse of power in Africa and can be branched under The Dictator Novel, even though two of them are non-fiction.

1. Wizard of the Crow by Ngũgĩ wa Thiong'o;


Wizard of the Crow by Kenyan author Ngũgĩ wa Thiong'o is pure magic realism in depicting the myth around an African ruler's hold on power. The book is set in a fictional country of Free Republic of Abruria but it incorporates elements that could apply to many African countries.

2. The Last King of Scotland by Giles Foden

Giles Foden's book meshes fact with fiction in depiction of Uganda's Idi Amin and is told from the perspective of a doctor.

3. The Emperor by Ryszard Kapuściński 

Ryszard Kapuściński's book about Haile Selassie's reign in Ethiopia is non-fiction but his beautiful writing paints such a vivid picture that most fiction authors fail to achieve.

4. In the Footsteps of Mr. Kurtz: Living on the Brink of Disaster in the Congo by Michela Wrong 

Like Kapuściński, Michela Wrong's writing about Africa is essential reading. Her debut book highlights Mobutu Sese Seko in Zaire.

Saturday, April 26, 2014

Enemy

Enemy (2013, Canada/Spain, Denis Villeneuve)



Enemy transports José Saramago’s novel The Double to a David Cronenberg landscape and enhances the material with references to Kafka, George Orwell and Alfred Hitchcock. If that sounds overpowering, then rest assured it is not. The references don’t dominate proceedings but are appropriately stitched in the screenplay and don’t draw attention to themselves.

The entire film is a mystery that is quite open to interpretation yet there are enough clues to guide one along the way. One prominent clue is the repeated symbol of a creature at different points in the film. The others are the graffiti on the walls and the content of the lecture given by Adam Bell (Jake Gyllenhaal). Adam talks about dictatorship and that throughout history those in power kept the masses occupied with food and entertainment. The Romans he says used “bread and circuses”, words that mirror contemporary society and also the world depicted in the film. Adam comes to life when teaching his class but once he leaves the classroom, his life appears to follow a boring pattern. However, that pattern changes when a colleague recommends a locally produced movie for Adam to watch. Adam is captivated not by the movie but a few scenes where he notices an actor who looks just like him. It turns out that this actor Anthony lives in the same city. Adam manages to track him down and is shocked to see that this actor is an identical replica, right down to the voice. Adam wants to meet with Anthony and eventually convinces him via a series of phone calls but not before Anthony’s wife becomes suspicious of the phone calls. She manages to see Adam secretly from afar and is stunned to see the resemblance. But as she reveals to Anthony, there is a reason why Adam exists and puts the blame on Anthony. Her certainty about Adam’s existence furthers the mystery, something that is not fully solved out by the end.

The open nature of the ending has certainly fueled some of negative comments against this film, which is often the case for films that don’t explain everything. Also, some of the harsh criticism of Enemy is regarding the consequential nature of the plot where everything appears to be tied tightly together and follows one path after another. But that is not the case, especially since almost everyone in the film is a pawn while those in power hide in the shadows. Reading reviews about Saramago’s novel, it appears that the doppelgänger element is not fully explained either and instead the story is a recursive loop. Enemy is not a recursive loop but thanks to Javier Gullón and Denis Villeneuve’s screenplay, the film shifts into another genre altogether, thereby making it rich for interpretation. Nicolas Bolduc’s cinematography deserves a lot of credit as well because Toronto has never looked this sinister and terrifying. Also, shooting everything with grayish/brownish tints transforms the entire city into a futuristic world. The score by Danny Bensi and Saunder Jurriaans (both worked on Martha Marcy May Marlene and Ruben Östlund’s Play) also adds to the nail-biting tension.

Enemy is one of the most exhilarating films I have seen in a cinema this year. It is a 2013 film but has only gotten an official Canadian theatrical release in 2014.

Sunday, March 23, 2014

Best New TV Shows

After the success of 2013’s TV shows spotlight, it felt appropriate to do another spotlight in 2014 to catch up with more TV shows/series. The following six shows are part of this spotlight:

Justified, Season 4 (2013) 
House of Cards, Season 2 (2014) 
Orange is the New Black, Season 1 (2013) 
The Newsroom, Season 1 (2012) 
Six Feet Under, Season 1 (2001) 
True Detective, Season 1 (2014) 

With the exception of Six Feet Under, the remaining shows have been released within the last two years. The newest show is True Detective which concluded its 8 episode run on March 9, 2014 while all episodes of House of Cards Season 2 were released on Feb 14.

Justified Season 4 

Justified finished slightly behind Breaking Bad in last year’s TV show spotlight as the first 3 seasons proved to be quite remarkable. Since the ending of Season 3 offered a natural conclusion to the series, I didn’t see a relevance for Season 4. Therefore, it was not a surprise when the first few episodes of Season 4 turned out to be a let down. The structure of Season 4 certainly played a part in the disappointing start. In contrast to previous seasons, S4 consists of a single narrative arc and each episode gets one step closer to putting together all the pieces of a puzzle. The story revolves around an apparent accident that took place a few decades ago and incorporates present day events in unfolding an unsolved mystery around that incident. As the show focuses on elements of this older case, the first few S4 episodes don’t incorporate the dynamic office dialogues that lit up the first 3 seasons nor are key characters from previous seasons given much screen time.

Thankfully, half-way through Season 4, things finally start to pick up. Not surprisingly, the show gets intriguing when Raylan’s colleagues get involved and when Wynn Duffy (Jere Burns) enters the frame and brings the mafia with him. The presence of the mafia sets off a series of events which embodies similar momentum that the last few episodes of Breaking Bad’s S5 had when the show appeared to be heading towards an explosive conclusion. In the case of Justified, those anticipated mouth-watering sequences do arrive and even Limehouse (Mykelti Williamson, impressive as always) makes a vital appearance.

In the first 3 seasons, there were only 1-2 episodes that didn’t belong in the overall structure of Justified. However, Season 4 contains many throw away episodes which don’t add much to the overall story. Still, the show manages to end on a high note and partially redeems itself. Season 5 is currently underway and it will be a few months before I catch-up with that.

House of Cards Season 2
Season 1 of House of Cards was a slow burning chess match where Francis Underwood (Kevin Spacey) played his machiavellian moves in order to become vide-president, thereby putting him "one heartbeat away from the presidency". In S1, Underwood was always in control and ensured those around him acted according to his wishes. However, all that changes in S2 when everyone is aware of Underwood’s tactics. People can see right through him and start countering his tactics. On top of that, a powerful villain emerges in S2 who attacks Underwood from every single direction, including taking down Francis’ favourite rib joint. This villain Raymond Tusk (Gerald McRaney) had a small vital role in S1, but is the centre of all the action in S2.

The pace is relentless in S2 and episodes move at a breakneck speed with year/month long events unfolding in days. This quick unraveling of events is mostly because S2 condenses 2-3 seasons worth of material in just 13 episodes. As a result, there are many script jumps which require a huge suspension of belief. For example, Tusk is depicted as a man who bring down the entire nation whenever he desires. In order to demonstrate his power, Tusk shuts off power in an entire city with one phone call and takes America on the brink of international conflict with China. He also flows millions of dollars to either political party as he desires. Besides possessing incredible powers and an endless pot of money, Tusk is also omnipresent. Anytime someone calls his henchmen, no matter which part of the nation they are in, Tusk is present in the room. He also appears to know what exactly every character is thinking. Another example of a script convenience is a key live interview for Claire Underwood (Robin Wright) that goes on for hours, with extended breaks which allow swift resolution/action on topics that would normally takes days. There is a lot of material to cover so the script just cuts out the logical progression that would take place between two events.

On the positive side, Kevin Spacey owns the show like he did in S1. It is hard to imagine anyone else in the role of Francis Underwood. The characters of Doug Stamper (Michael Kelly) and Remy Danton (Mahershala Ali) are once again essential but even their characters are shown vulnerable in S2. The biggest addition to the show is Molly Parker whose character of Jackie Sharp demonstrates a blend of intelligence and grace. Jackie looks composed but can be ruthless if she desires. There are some motives about her character that are not revealed leading one to believe that she may be a key player in Season 3.

Many aspects of Season 2 of House of Cards are much more compelling than S1 but some of the events in S2 are a bit too ridiculous to digest.

Orange is the New Black 

Orange is the New Black is based on Piper Kerman’s memoir about her time served in prison for carrying a suitcase full of drug money. The opening minutes of Episode 1 catch one off guard in terms of expectations about a show set in a prison. Most prison TV shows or films show characters who are arrested, persecuted and transported handcuffed to prison. But in Orange is the New Black, Piper Chapman (Taylor Schilling) is dropped off to prison by her fiancee and proceeds to voluntarily check herself in. Of course, once she checks in, the harsh reality of prison life descends and erases any comforts that Piper once knew. Dealing with prison is complicated enough but her life is made even troublesome when she finds out her ex-girlfriend Alex (Laura Prepon) is in prison as well. It was because of transporting Alex’s suitcase that Piper is serving her jail term. Therefore, there are plenty of emotional and unresolved issues that Piper must navigate, in addition to understanding the power dynamics and hierarchy of prison life.

Orange is the New Black is one of the best balanced shows made in recent years where each character is given an equal voice and adequate screen time. Plus, the writing is very strong and balances the brutality of prison life with enough moments of humor and compassion that allows one to care for each character. Piper is the focus of the series but the show does an excellent job of giving other characters ample screen time. The flashbacks, which are used to fill in the backstory of the characters, help make this show so rich and layered. In the flashbacks, a different and much nicer side is shown for each character which contrasts with their rougher persona in prison. Such a contrast illustrates how prison life transformed their core personalities. The reason for each character’s presence in prison is not revealed right away but gradual episodes fill in a portion of their past. This allows viewers to guess possible crimes but sometimes, the truth is more shocking than one’s imagination.

Season 2 will be released in the summer of 2014.

The Newsroom (HBO show, not the Canadian one)

HBO’s The Newsroom takes a fabulous premise of filtering real life events via fictional characters. This means, certain key events from 2010-2011 are used to propel the dramatic tension in the show. We get to see the frantic chaos that could have unfolded when the BP Deepwater Horizon oil spill story first broke out. In a similar manner, the Egyptian Revolution and the capture of Osama Bin Laden are also given vital parts in the show. Also, The Newsroom deals with the ever present topic about how TV ratings impact coverage of relevant news and journalistic integrity. Of course, since this is an Aaron Sorkin show, it means characters talk without breathing and their words turn into actions even before the other person has processed the idea. Such back and forth snappy dialogues make for an addictive entertaining show but this method also distances the show from any semblance to reality even though the show’s goal is to depict real events.

Like House of Cards S2, the first season of The Newsroom packs too much in its 10 episodes. If some of the stories had been cut out, then the show could have taken the time to properly depict events. The show also tries to include a few romantic elements which really don’t any depth to the characters but instead weaken the show. There is much to admire in The Newsroom but sometimes the overblown ability of the characters to solve problems is hard to fathom.

True Detective
On the surface, True Detective looks to be heading down a path that has been covered by many films before: two cops with radically different personalities become partners to hunt down a serial killer. But after a few episodes, it becomes apparent True Detective is something entirely different. Even though the cops appear to be at polar opposites, the show takes time to outline their personalities. In addition, the show gives ample time to the swamp and other Louisiana surroundings making the locales a central character, something which takes away the focus from the two cops, Rust (Matthew McConaughey) and Marty (Woody Harrelson). As the season progresses, Rust and Marty appear to be minor characters compared to nature and become even smaller when the swamp area is viewed from above. Hints are given as to the larger scope of the show and this is clear near the end with talks of the universe and even a glimpse of a wormhole.

The entire show was shot on 35mm and that decision plays a vital part in the rich visual language of True Detective. It is quite rare to talk of TV shows from a visual perspective but True Detective extends beyond the narrow frames one finds in other TV shows. A perfect example of how the show shatters a normal TV show frame is depicted in Episode 4 with the now famous 6 minute tracking shot. Besides the tracking shot, episode 4 elevates the show to a higher level. This starts when Rust dives back into the underbelly of a criminal world, thereby plunging the show into dark territory. Interestingly, even though the show deals with dark material, for most of the episodes, it is daytime that appears to be terrifying. This point is hammered home in the nail biting finale where horror exists in the day while nighttime offers comfort.

Season 2 of True Detective will have a new director, new lead actors and likely a completely different setting. That is good news because whoever comes in to direct S2 can work from a blank canvas and not be tied down to events in Season 1. This gives the show much more flexibility than other TV Series.

Top Shows ranking 

Arranging the six shows in order of preference:

1. True Detective, S1 
2. Orange is the New Black, S1 
3. House of Cards, S2 
4. Justified, S4 
5. The Newsroom, S1 
6. Six Feet Under, S1 

As chance would have it, a show titled Six Feet Under lands up on the 6th spot. Six Feet Under S1 has plenty of witty dark humor and that is impressive given the grim setting of a funeral home. But the show premiered back in 2001 and feels more dated than the other shows.

In terms of story, Orange is the New Black is the best overall show but the visual language of True Detective is enough to edge it to the #1 spot. Plus, there are some irresistible moments of cinematic magic in True Detective.

Overall, best TV seasons 

As an experiment, I wanted to do a rough comparison of 29 complete seasons of the following 13 shows that I saw.

24, S1 and S8 
Boardwalk Empire, S1 
Breaking Bad, S1-5  
Game of Thrones, S1-2 
Homeland, S1
House of Cards (USA), S1-2 
Justified, S1-4 
Mad Men, S1-6 
The Newsroom, S1 
Orange is the New Black, S1 
Six Feet Under, S1 
True Detective, S1 
The Walking Dead, S1-S2 

Taking each season on its own and comparing the overall Excellence Per Minute (+EPM) & Soap Opera Moment (-SOM), the following is a rough preference order:

1. Breaking Bad, S4 
2. Mad Men, S4 
3. Breaking Bad, S3 
4. Mad Men, S1 
5. Breaking Bad, S5 
6. Justified, S1 
7. Justified, S3 
8. House of Cards, S1 
9. True Detective, S1 
10. Orange is the New Black, S1 

It is not a surprise that Breaking Bad (3 mentions), Mad Men (2) and Justified (2) occupy the top 7 spots in this list. House of Cards, True Detective and Orange is the New Black are excellent new additions to this list.

Next shows to be watched

The first half of Mad Men’s final season starts on April 13. Also, in the next month, I will be viewing the first two seasons of The Americans.

Sunday, February 23, 2014

Sundance Film Festival

2014 marked the 30th anniversary of the Sundance Film Festival, a festival that has been the launching pad for many exciting cinematic voices over the years. The festival’s importance in discovering new directors was nicely highlighted by the trailer shown before all the films which gave a glimpse of some of the stellar titles that played at the festival. The first Sundance was held in 1985 but it is acknowledged that the festival shot into the limelight in 1989 with Steven Soderbergh’s Sex, Lies and Videotapes which changed the perception of the festival. Besides being the launching pad for Soderbergh, Sundance ushered the discovery of many other American directors including Quentin Tarantino (Reservoir Dogs, 1992), Kevin Smith (Clerks, 1994), Kelly Reichardt (River of Grass, 1994), Paul Thomas Anderson (Hard Eight, 1996) and Darren Aronofsky (Pi, 1998). All of these directors, plus many more, have made the jump from Independent to Commercial cinema thanks to their discovery at Sundance. Even James Wan’s Saw premiered at Sundance before it transformed into a multiplex franchise. 

The success of certain Sundance films or genre means the media attention seems to gravitate towards a similar subset of the festival’s output. One hears plenty about how a certain work is a “Sundance film”, words which paint the festival in a single light. In recent years, that term has been associated with Little Miss Sunshine or Sunshine Cleaning, two films that seem to embody the kind of films that Sundance loves. But these films are not representative of the entire body of carefully programmed films that make up the Sundance film festival. Over the years, documentaries and a growing list of foreign films have premiered at the festival. Although, one would not know that from the media coverage. As this year showed, the films at Sundance represented a multi-tiered global outlook, not only in terms of the foreign film selections but the topics covered in many American films as well. Even though many films were American productions, they were shot in foreign locations or featured topics that were universal in theme. And as it turned out, through a series of intriguing choices, I ended up with many films which were tied together despite coming from different parts of the world. The 13 films I saw can be grouped together in the following 5 categories.

The Arab Spring 



Talal Derki’s Return to Homs embodies the characteristics of the “Direct Cinema” movement that originated in the 1950-60’s. Just like the pioneers of Direct Cinema, including Michel Brault, Derki shared the same quarters as his subjects and thereby put himself in harm’s way to get footage of the Syrian Revolution. Once the Syrian Revolution started in 2011, most of the Syrian media were not allowed in the country. Derki was a rare person who was able to capture the events which makes the footage essential in understanding what went on while the rest of the world continued to sleep. Derki and his crew continued filming even when bullets were fired in their direction. Such vérité footage results in many gut wrenching moments when people are on the verge of dying on-screen. By keeping the focus on a few key people, Return to Homs shows the human impact a revolution has on people. But one can also extrapolate these personal experiences to a larger scale and understand what motivates people to act the way they do. In essence, the film focuses on a few streets in a city but this microscopic focus helps shed a light on similar struggles going on in other streets not only across Syria but the rest of the Middle East.


While Return to Homs views the Arab Spring from a street level, We Are the Giant takes a few steps back and looks at the Arab Spring from a bird’s eye view not only in the present but even from the past. We Are the Giant inserts quotes and pictures from the past which frames the Arab Spring in context of past revolutions and the inclusion of tweets and social media footage shows the currency of protests. Social media is the new weapon of protest. Previously, the printing press allowed people’s revolutionary messages to be distributed but as We Are the Giant shows, social media manages to accelerate the revolutionary process by distributing live video with text to portray events in real time. And just like how the printing press threatened those in power, the same applies for tweets and blog posts. A blog post or a single tweet can land a person in jail and subsequent torture as shown by We Are the Giant. The film examines the Arab Spring from a larger scope but it highlights three stories about families from Libya, Syria and Bahrain whose loved ones are impacted. The stories are shattering but help one to understand the reason why the Arab Spring revolution started and why people are taking to the streets. We Are The Giant is the only Sundance film that I saw which got a standing ovation for its director, Greg Barker, which it rightly deserved.

Return to Homs and We Are the Giant pack a heavy emotional punch but both are essential viewing that allows one to see the world in a new light. In 2013, The Square, a documentary about the Egyptian revolution, premiered at Sundance. 2014 saw the world premiere of We Are the Giant while Return to Homs got a North American premiere. The programming of these three films shows a different side to Sundance, one that is going beyond the traditional media coverage to highlight relevant stories.

Neo-Noir: blood spilled to defend a family 

Blue Ruin (USA) and To Kill a Man (Chile/France) come from different countries but they compliment each other and present a complete picture of what happens in a society where the innocent are left to protect themselves.


An alternate title for Blue Ruin could easily be “To Kill a Man” because a killing takes place early on in the film. Dwight (Macon Blair) has no choice but to kill in order to protect his family. The killing dates back to a family feud and his murder is a further addition in a cyclic act of an “eye for an eye”. Blue Ruin wastes no time in jumping right into events and moves at a rapid pace while maintaining the tension on a knife’s edge for much of the film. A few moments of humor are sprinkled throughout the film which provide a welcome relief as the humor releases some of the tension. Blue Ruin is a perfectly realized neo-noir that depicts some of the same spirit that has made Justified such a worthy show. The film debuted in Cannes 2013 but will only get a wider American release in April 2014. As it stands, Blue Ruin is the best American film of 2013 that I have seen.


To Kill a Man can be called a precursor to Blue Ruin because the film shows the path a man is forced to undertake when contemplating murder. Jorge (Daniel Candia) is bullied and humiliated by a local gang to the extent that his family is no longer safe. The law cannot act fast enough and as a result, Jorge has no choice but to take matters into his own hands. To Kill a Man contains many sequences which defy belief and just when one expects the film to end, it continues and further astounds. When all is said and done, the words “Based on a true story” appear just before the closing credits. The decision to show these words at the end of the film is masterful as it manages to put the entire film in a different light. Without the appearance of those words, one would question the decisions that took place in the film. Yet those words lend reality to the events and instead manage to make the film a larger case study of what can happen in a society where the innocent can no longer be protected by the law, the same law which makes it easier for the guilty to always evade capture.

Hostile World, defending oneself 

Liar’s Dice and A Girl Walks Home Alone At Night, debut films directed by women, also depict a hostile world where women are potential prey to men. But the two films take radically different approaches in how the female characters handle their situation.


In Geethu Mohandas’ Liar’s Dice, Kamala (Geetanjali Thapa, mesmerizing) travels from Chitkul to Delhi in order to find her husband whom she has not heard from in 5 months. She takes her daughter and their family goat along the journey. However, a woman traveling without a male companion in India, especially in Delhi, is never safe from men’s constantly prying eyes; a fact that has gained a lot more exposure in the last 2 years with the huge number of documented rape cases. Kamala meets a completely untrustworthy stranger (Nawazuddin Siddiqui) but the film shows that given the dangerous setting, even this stranger becomes a rope to cling on. Liar’s Dice manages to stay away from the usual romantic attitude that Bollywood and foreign films depict India in. Instead, harsh reality is allowed to filter in. The cinematography is breathtaking and shows snowy parts of Northern India rarely seen on screen. The acting is also memorable with Geetanjali Thapa properly expressing her character’s anger and fear while Nawazuddin plays his dishonest persona to perfection.


A Girl Walks Home Alone at Night beautifully turns the table from a girl who could be an easy prey and makes her the hunter instead. As per the title, a girl does walk alone but she is not the one in danger. Instead, every man in her sight is. This is because the black and white Iranian film is a contemporary take on a Vampire story. The fact that the girl wears a hijab when attacking men can clearly be read as a subtext on the treatment of women not only in Iran but the Middle East. But instead of being subdued by the men, the girl bites back. Ana Lily Amirpour’s film is seductive and features a pulsating soundtrack which combined with the Californian setting gives the entire work an American feel, except that it is in Farsi and takes place in a fictitious place called “Bad City”. Plenty of touches of Jim Jarmusch can be found plus a nod towards early David Lynch as well.

Natural Resources: Corporations, Cycle of Boom and Bust 

A few films highlighted the methods that corporations go about in extracting natural resources from nations and the impact it has on local residents of a city/nation.


In Marmato, the gold mining methods in a small Colombian town are shown and how the Canadian corporation’s decisions play a part in the resident’s lives. The town residents have been gold miners for centuries and they live close to the mines on the mountains. However, the corporation wants to instead use an open mining technique which would level the mountain, thereby displacing the residents. The residents try to fight the corporation but their plight faces a tough political battle as depicted by the film. One could easily replace gold with oil, shale, silver or any other natural resource and the film would still be relevant in the unfolding of events.


We Come as Friends examines the newly formed nation of South Sudan and depicts how colonialism still exists but hides in a new mask related to resource exploitation. In the film, the resource in question is oil which governs the level of foreign interest in the nation. One can imagine that the rest of the world would not have have cared about what happened if there was no oil.

The cycle of boom and bust related to resource discovery has been repeated throughout history and many films have shown towns that fall in either categories. The Overnighters shows the impact on the local economy when an influx of workers arrives. Williston, North Dakota is the site for a new gold rush to speak, that of shale gas. The town cannot accommodate the hundreds of new arriving workers who have no place to sleep. On top of that, the residents of Williston are wary and fearful of the strangers, who are Americans moving from different states.


A local pastor, Jay Reinke, puts up as many workers in his church as possible and helps find accommodations for others. But some of the workers are ex-convicts or felons which causes the town residents to fear them more. Reinke goes out of his way to treat every worker equally but that puts his reputation on the line. As the film progresses, the pressure of the town and the overnighters takes its toll on Jay Reinke, who is almost on the brink of losing everything, his faith and reputation. In fact, events threaten to make Reinke an overnighter as well. The film shifts from the larger focus of the town to a personal story about the pastor’s life because what happens is not foreseeable. The film was awarded a Special Jury Prize for intuitive filmmaking and that is justified as events take an unexpected turn but director Jesse Moss trusted his instincts and continued filming. Also, Jay Reinke and his family deserve credit for allowing the camera to stay on in their households even though many personal conversations were taking place. In many moments, Moss achieves a Direct Cinema style of intimacy and the camera becomes one with Reinke’s household. When all is said and done, The Overnighters leaves one shaken at what they have just witnessed. Such was the case with many audience members at the sold out show.


Young Ones shows a future when water has become a scarce resource and where humans fight for every drop of water. The film is sci-fi but the desert surroundings and theme of revenge evoke a Western genre. The story unfolds in three chapters, with each chapter highlighting a key character. Michael Shannon stars as the father, who is willing to fight for his family’s benefit, a theme shown in other films at the festival. The film highlights the battle of survival that ensues when a society is on the verge of collapse.


Cutter Hodierne’s Fishing Without Nets shows a Somali village where all jobs have dried up and the only real money that can be made is by piracy. The film covers a similar topic to Captain Phillips and A Hijacking but Fishing Without Nets is told entirely from a Somali perspective. The feature film is an expansion of Cutter Hodierne’s award winning 2012 short film by the same name which also debuted at Sundance. It is a wonderful time in cinema when three films such as A Hijacking, Captain Phillips, Fishing Without Nets can exist in a similar timeframe. The three films are directed by men from three separate countries but they present a 360 degree view of events. There are many scenes where the three films directly reference each other and show an opposing perspective. For example, in Captain Phillips, events are seen from Tom Hanks’ character’s point of view such as when he sees the pirates approaching on boats and boarding the ship. In Fishing Without Nets, the camera is instead in the pirate boats and events unfold from the pirates’ perspective when they are climbing onto the ship. Another example is regarding the negotiations between the pirates and the shipping company. A Hijacking shows the parent ship company offices when the pirates phone to demand ransom while in Fishing Without Nets, only the pirates are shown talking on the phone and we never get to see the company on the other side. Therefore, these three films paint a complete picture of the entire piracy operation including the men who fund the process and provide supplies to those who kidnap the hostage and those that make the deals.

Portrait of an Artist 


Tim Sutton’s Memphis is a beautiful contemplative film set in the city that has fulfilled many musical dreams. However, the film is not about an artist who is on the verge of discovery. Instead, it looks at an artist’s life when the lyrics stop. Willis Earl Beal plays a famous musician who is struggling to finish his new album. He is told by his agent that he needs to come up with something but as Willis indicates, lyrics escape him. He is suffering from the equivalent of a writer’s block and as a result, the film applies to any artist struggling to produce a work. Willis procrastinates, wanders the city and manages to find solace among the unemployed people who can barely make ends meet. Yet, Willis has a talent. A close friend advises him that Willis has a responsibility to God, to realize his artistic duty. Willis has the keys to the kingdom, he is at the state that thousands other want to be. But he decides to turn in his keys to the kingdom and goes on a less traveled but difficult journey. Casting Willis is quite the coup as the film shatters the boundary between reality and fiction. The film is not autobiographical but there are some moments which depict Willis’ working methods regarding his music recording. The decision to withhold music for most of the film is also smart because that makes one thirst for Willis’ songs. And when we finally listen to Willis’ voice, it is magical! The music and words of “Too Dry to Cry” are sprinkled throughout the film, elevating the film and giving the entire work a soulful momentum. Memphis is a worthy addition to Contemporary Contemplative Cinema and is one of the most original American film in years.


Mr. Leos CaraX is a documentary that demystifies Leos Carax and allows a window into his style. The film is an ode to the director and includes plenty of clips and interviews which help shed a light on Carax’s references and usage of citations. Denis Lavant is featured prominently and his interview is quite useful in understanding his growth as an actor over the years in working with Carax. Kiyoshi Kurosawa, Harmony Korine, Richard Brody, Kent Jones, Gilles Jacob also provide insightful critical analyses. Tessa Louise-Salomé’s documentary makes one want to revisit Carax’s films while eagerly awaiting his new work; which hopefully is not another decade away.

Top 5 Films: a tie for 5th means 6 films

1. Return to Homs (Talal Derki)
2. Memphis (Tim Sutton)
3. Blue Ruin (Jeremy Saulnier)
4. We Are the Giant (Greg Barker)
5. The Overnighters (Jesse Moss) and A Girl Walks Home Alone at Night (Ana Lily Amirpour)

I missed many other wonderful films due to scheduling conflicts or sold out shows. Whiplash (winner of both Jury and Audience Award for US Dramatic film), Imperial Dreams (Audience Award, Best of NEXT) and The Green Prince (Audience Award, World Documentary) were high on my see list. Discussing with dozens of other cinephiles, there were a few common titles that popped up on many other top lists. Richard Linklater’s Boyhood was #1 on many lists as was Mike Cahill’s I-Origins, talking about which made some people giddy with excitement. I-Origins was the winner of Alfred P. Sloan Feature Film Prize, a prize which Cahill also won at Sundance back in 2011 with his first feature Another Earth. Raid 2 was #1 on few lists and almost everyone was certain that the film’s extreme violence meant the film would not be released without some cuts in North American cinemas. Other films that got plenty of buzz were E-TEAM (Winner of the Cinematography Award: US Documentary), Wetlands, Watchers in the Sky (Winner of two awards for Animation usage and Editing), Alive Inside: A Story of Music & Memory (Audience Award for US Documentary) and Happy Christmas. We Are the Giant is the only film from my list that featured on two other’s list at #1.

An overall festival experience is made or broken by one’s choices. In this regard, almost all my choices delivered, which helped! Of the 5 films that I bought advance tickets to, 3 won top prizes. To Kill a Man won the Jury Prize for World Cinema Dramatic category, Return to Homs won the Jury prize for World Documentary while Fishing Without Nets bagged the Best Directing prize. Along with Return to Homs, Memphis, Blue Ruin and A Girl Walks Home Alone at Night were on my must-see list before the festival started. Therefore, it was especially delightful to discover that these films were worth attending.

The only disappointments were Young Ones and We Come as Friends, but only because the films could not build on an early impressive setup. In the case of We Come As Friends that is understandable as the film was clearly impacted by the degrading situation in South Sudan. The film won a Special Jury Prize for Cinematic Bravery which recognizes the effort of director Hubert Sauper who tired to cover as many different angles to the South Sudan nation creation story as possible. We Come As Friends shows that making a documentary in a dynamic and constantly changing landscape can be challenging. This was also demonstrated in Marmato when the situation of the town residents worsened. However, Marmato ends before the tensions rose to a boil. One of the producers mentioned that they had to leave the country when there were concerns about their safety, something which helped give the film a natural ending. In the case of The Overnighters, the reason why the change in direction worked was because the main subject Jay Reinke was part of the film early on. As a result, he provided a continuation thread when the film changed course.

Return to Homs, We Are the Giant, We Come as Friends and Marmato depict a window into current events which are getting worse and changing constantly. As a result, these films don’t offer a natural conclusion because the ending of these struggles has not yet been written. But these films are essential because they serve as a living breathing digital document.

Sundance is interchangeable with American cinema and will always be a place where new American directors will be discovered. However, as this year’s festival showed, Sundance is giving a peek into the wider world outside of American shores by including films which are relevant and timely. No matter what category a film was programmed in and how different it was, it still fit in the overall program and showed that there was careful attention paid to ensuring all the films had a purpose.

The festival gets a lot of attention for its distribution side along with the celebrity presence. There are many private parties around the festival which feature celebrities and grab a lot of media coverage. This gives the appearance of a large closed-off film festival. But that is not the case as the festival has successfully managed to bridge its larger media aspect with a smaller independent feel. This is evident not only from the film selections but from some of the panels. I attended the Film Church on the final day of the festival where the Festival Director John Cooper and Director of Programming Trevor Groth talked about their festival highlights. Both John and Trevor were candid about some of their programming decisions and challenges that took place. The panel made it hard to believe that Sundance is the media crazy festival that some publications make it appear. Instead, Sundance felt like an intimate festival that is open to film lovers from all walks of life. This is also reinforced by talking to many of the volunteers and other festival patrons. There were many volunteers and patrons who have been attending for decades and shared a zest for cinema. In fact, every single volunteer I came across was a bona-fide cinephile, something I have not seen at another festival. One of the volunteers was a documentary maker and I learned that many of the volunteers working at one of the venues also worked regularly at the Toronto International Film Festival. Overall, Sundance proved to be a more open and inviting festival than I expected. And the variety of programming choices meant the festival balanced both artistic and commercial cinema while keeping its ears tuned to global events.

Cross-published at Wonders in the Dark.

Monday, January 13, 2014

South American Films

The 18 South American films of the 2014 Movie World Cup have been selected. The three films from the six nations follow the following criteria:

Film 1: previously seen film from 2005 - 2013
Film 2: unseen film from 2005 - 2013
Film 3: film from 1960 - 2004

Brazil

Film 1: Neigboring Sounds (O Som ao Redor), 2012, Kleber Mendonça Filho
Film 2: Once Upon a Time Veronica (Era Uma Vez Eu, Verônica), 2012, Marcelo Gomes
Film 3: Entranced Earth (Terra em Transe), 1967, Glauber Rocha

As hosts of the 2014 World Cup, Brazil are expected to win the soccer tournament and anything other than first place would be seen as a failure. Keeping that in mind, I tried to pick three films that should give Brazil a very good chance to win the Movie World Cup title. Neigboring Sounds is an excellent film that finished #2 in my 2013 film list while Glauber Rocha's film should be a strong candidate. Marcelo Gomes' Cinema, Aspirins and Vultures was my favourite 2005 film, which is why I have high hopes for his 2012 film.

Argentina

Film 1: Gone Fishing (Días de pesca), 2012, Carlos Sorin
Film 2: Extraordinary Stories (Historias extraordinarias), 2008, Mariano Llinás
Film 3: Invasion (Invasión), 1969, Hugo Santiago

Argentina won the 2010 Movie World Cup thanks to Lisandro Alonso's Liverpool. Alonso's 2008 film was certainly eligible to be picked as Film #1 but I opted for Carlos Sorin's film because it enhances the lonely man aspect from Alonso's film with a bit more emotional weight making it a worthy selection.

On paper, one of the strongest films in this competition could be Extraordinary Stories. It is a film that has received high praise in many quarters. I have to thank Allan Fish for his review that ensured this film stayed in my memory.

Completing a strong selection for Argentina is the stunning 1969 film Invasión. I had not heard of this film until recently but once I found out that this film was co-written by Jorge Luis Borges and Adolfo Bioy Casares, then it was an automatic selection.

Chile

Film 1: Tony Manero, 2008, Pablo Larraín
Film 2: Old Cats (Gatos Viejos), 2010, Pedro Peirano/Sebastián Silva
Film 3: The Battle of Chile (La batalla de Chile), 1975-79, Patricio Guzmán

Tony Manero won the 2011 Copa America Book and Film Spotlight and was an automatic selection. It is certainly the best of Pablo Larraín's trilogy which includes Post Mortem and No.

Selecting Old Cats is a bit of a gamble as I know very little about this film but I wanted a Sebastián Silva film in this competition and this was easily available from his three recent films.

The Battle of Chile was also an easy selection. Currently, I plan to watch all three parts as part of this Movie World Cup but I may only use one part for the competition scoring.

Colombia

Film 1: Crab Trap (El vuelco del cangrejo), 2009, Oscar Ruiz Navia
Film 2: Dog Eat Dog (Perro come perro), 2008, Carlos Moreno
Film 3: Oedipus Mayor (Oedipo alcalde), 1996, Jorge Alí Triana

Crab Trap is one of the best Colombian films I have seen in the last few years and it made my honorable mention list in 2010.

Ecuador

Film 1: Crónicas, 2004, Sebastián Cordero
Film 2: Qué tan lejos, 2006, Tania Hermida
Film 3: A Titan in the Ring (Un titán en el rincón), 2002, Viviana Cordero

There was a possibility that all three Ecuadorian films could have been from Sebastián Cordero. I have previously viewed Crónicas and Ratas, ratones, rateros while his last film Europa Report and 2009 feature Rage are readily available. However, Europa Report and Rage are foreign co-productions that are not from Ecuador which is why I opted for Qué tan lejos (How Much Further).

Uruguay

Film 1: A Useful Life (La vida útil), 2010, Federico Veiroj
Film 2: Bad Day to go Fishing (Mal día para pescar), 2009, Álvaro Brechner
Film 3: Whisky, 2004, Juan Pablo Rebella/Pablo Stoll

Whisky won the 2007 Copa America Film Spotlight and it is a film that has stayed in my memory for the last few years. I have not revisited this film since 2007 which is why I am excited about having this film compete in this spotlight.

Prediction

On paper, Brazil and Argentina appear to have the strongest selection of films. This feels appropriate as Brazil won the 2006 Movie World Cup while Argentina took the 2010 Movie World Cup. A Movie World Cup final between these two nations would indeed be a dream contest. However, there are a few other nations which have a strong film line-up and might cause an upset. That being said, as a minimum, I expect one of Brazil or Argentina to reach the 2014 Movie World Cup final.