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Showing posts with label Brazil. Show all posts
Showing posts with label Brazil. Show all posts

Monday, October 12, 2015

She Comes Back on Thursday



She Comes Back on Thursday (2014, Brazil, André Novais Oliveira)

After 38 years of marriage, Maria José and Norberto are on the verge of separation. Norberto is having an affair while Maria José is questioning her life. Their sons André and Nato get caught up in all of this and are unsure how to react. The two sons can’t believe that after all these years their parents are going through a major life changing event. André and Nato have their own problems and are waiting for the next phase of their lives to start. However, instead of thinking about the start of their lives, the brothers are forced to think about the end of life and the end of relationships. As a result, the two brothers re-examine their own lives and start looking at things in a different light.

André Novais Oliveira makes his feature film debut in a remarkable manner by blending documentary with fiction. He acts in the film along with his parents and brother and all four use their real names in the film. However, the four of them are not playing themselves but instead are acting within the framework of fiction. Still, She Comes back on Thursday is constructed like a documentary, giving attention to tiny details about life and relationships. The close bond between the family members results in scenes which flow effortlessly allowing audience an intimate look at the characters. The everyday sounds that are allowed to flow in the frames recalls Kleber Mendonça Filho’s Neighboring Sounds but André Novais Oliveira has crafted his own unique path by opting to show a different side of Brazil from other Brazilian films. The setting of the film in the suburbs of Belo Horizonte showcases a Brazil that is not seen in cinema along with characters that don’t make an appearance in Brazilian films. Finally, the selection of the lovely music makes She Comes back on Thursday a beautiful poetic film about life, love, death and everything in between.

Sunday, June 02, 2013

Neighbouring Sounds


Neighbouring Sounds (O som ao redor) (2012, Brazil, Kleber Mendonça Filho)

This IS a film. Aided by a rich sound design & visuals, Kleber Mendonça Filho’s film ensures an immersive cinematic experience. A viewer gets a ringside seat in one of Recife’s neighbourhoods to witness the daily activities of the residents, including their morning and nightly routines. Depicting the everyday reality would have been good enough, but Kleber Mendonça Filho enhances the experience by adding layers of memories and nightmares with a few smart cuts. As a result, the multi-layered film contains a subtle sense of dread but in a much subtler note than Michael Haneke's Caché. This means that even when viewers witness harmless events in and around an apartment complex, there is a sense that something sinister is going to happen. The viewer can't be passive and is instead forced to examine each frame and its accompanying sound to know what the characters are up to.

The Recife setting of a closed off apartment complex echoes the gated colonies of New Delhi, another city where each street is constantly watched by a number of people, ranging from drivers, cleaners to night watchmen. In New Delhi, there is a tension between urban and rural because people leave their village and smaller towns for the city on a daily basis. As Neighbouring Sounds progresses, it also becomes clear that there is a link between some of the city residents and the countryside and their actions committed in a rural region will result in an opposite reaction in the city.

2012 ---- 2013

After I saw Once Upon a Time in Anatolia at the end of April 2012, I wondered if there would be another film in 2012 which would knock the Turkish film from the #1 spot in my best of the year list. In the end, only one film, Holy Motors, managed to place above Once Upon a Time in Anatolia. Now I feel the same about Neighbouring Sounds and wonder if any film in 2013 will remove it from my #1 spot for 2013's end of the year list. Of course, Neighbouring Sounds is a 2012 film and if I had seen it last year, it would have finished at #1, easily moving past Holy Motors. And Once Upon a Time in Anatolia is a 2011 and it would have surely finished #1 had I seen it in the year of its release. As it stands, for the second straight year, two worthy foreign films are pushed into another calendar year’s evaluations.

The rest of the world have 7 months to deliver an excellent film otherwise the Brazilian film Neighbouring Sounds will be #1 end of 2013.


 

Wednesday, November 07, 2012

Calgary Latin Wave Festival

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

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

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

1. Gone Fishing / Días de pesca

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

 

2. Heleno

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

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

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

 

3. The Student / El estudiante

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

 

4. The Towrope / La Sirga

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

 

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.

Friday, May 13, 2011

Spotlight on José Mojica Marins

Before City of God came out in 2002, the only Brazilian films that were available for rent in my city were José Mojica Marins’ Coffin Joe films. I often picked up the eye-catching VHS covers with titles such as At Midnight I’ll Take Your Soul, or This Night I Will Possess Your Corpse but always put the videos back. Then after City of God was released, a slow influx of new Brazilian films starting appearing on DVDs. So Coffin Joe was no longer the only Brazilian choice available and I moved on. Yet, José Mojica Marins’ fictional character was never totally invisible from my eyes. Sometimes a clip from one of Coffin Joe’s films caught my eye on TV or some reference in a film magazine kept his name lingering around. Of course, his appearance was not easy to forget either -- the black top hat, the cape, the beard and those ultra long finger nails.
However, I had no desire to visit his work. All that changed when I came across Sight and Sound’s September 2010 Issue on Latin American Cinema.
In an insightful and wonderful article titled No Turning Back, Sergio Wolf talks about the Latin American cinema explosion in the last decade. The following lines stuck with me:

In Brazil, João Moreira Salles reinvented the international career of Eduardo Coutinho, who had been living in difficult circumstances and making television for many years until Moreira Salles helped him with the outstanding Edifício Master (2002). The documentary-maker Paulo Sacramento, meanwhile, rescued another Brazilian - José Mojica Marins, the John Carpenter of São Paulo - by producing Embodiment of Evil (Encarnação do Demônio, 2008) after Martins had endured almost ten years of inactivity.

If someone from a new generation of Brazilian cinema helped a filmmaker from another generation, then I just had to find out what was worth rescuing. So I decided it was time that I faced Coffin Joe in his full attire, nails and all.

This spotlight contains six films directed by Marins and one documentary on his work.

At Midnight I’ll Steal Your Soul (1964)
This Night I’ll Possess Your Corpse (1967)
Awakening of the Beast (1970)
End of Man (1971)
Strange Hostel of Naked Pleasures (1975)
The Strange World of José Mojica Marins (2001, André Barcinski/Ivan Finotti)
Embodiment of Evil (2009)

The Coffin Joe Trilogy

At Midnight I’ll Steal Your Soul, This Night I’ll Possess Your Corpse and Embodiment of Evil are the three films that constitute the Coffin Joe Trilogy. There are several other José Mojica Marins films where the director plays the Coffin Joe character but those other films features his character in different scenarios or limited roles where his character is mostly restricted to the opening credits to give speeches about the universe and purpose of life.

In the trilogy, the same character of Zé do Caixão (played by Marins) continues his obsessive search of finding the perfect woman to mate with so that he can have his perfect son. Zé wants a son because his believes he can achieve immortality by having his lineage continue through a heir. In his pursuit of that perfect woman, Zé rapes, tortures and kills many women, along with killing any men that stand in his way. His torture methods get more gruesome with each film and the body count of his victims increase. The extent of torture in the first two films is restricted mostly to having women in lingerie tormented by spiders and snakes. Such torture methods would not have sufficed for the third film because Embodiment of Evil was released in 2009 at a time when torture and gory films were no longer underground but openly shown in multiplexes, in 3D no less. So Embodiment of Evil is by far the most graphic of all three films and features naked bodies hung up by hooks and tortured repeatedly. Blood is on ample display and there are scenes which are meant for shock value only, such as a nude woman extracted from inside a pig’s body and covered in blood. Blood was not that much of a factor in the first two films mostly because of the lack of color. At Midnight I’ll Steal Your Soul is completely in black and white while This Night I’ll Possess Your Corpse is also in black and white except for a small segment near the end which features Zé descending into hell.

Overall, Embodiment of Evil is the weakest of the three films and features scenes of needless violence and torture. Although the film is also updated to represent modern times in Brazilian cinema and features police-gang clashes in favelas. At Midnight I’ll Steal Your Soul is made with the least budget and does a decent job of laying out the character and his motives. This Night I’ll Possess Your Corpse features an amazing opening credit sequence. The titles and crew names appear in shaky and vibrant letters against visuals of spiders and snakes crawling on women with a background score of screaming women. This combination produces a jarring effect and prepares one for a horrific cinematic ride.

Note: the image of Coffin Joe under the title At Midnight I’ll Steal Your Soul misled me. I believed those words were Coffin Joe's threats towards his victims but as it turns out, those words were meant for Coffin Joe. After he is cursed, he is told that he would die at the stroke of midnight.

Drugs and censorship

Awakening of the Beast depicts a drug culture and features a panel discussing the impact of drugs in corrupting the morality of ordinary citizens. The panel led by a doctor also debate the role of José Mojica Marins’ films in corrupting citizens. Marins is invited to the panel to present his side and also stands trial in a fake segment within the film to defend himself and his films. As part of his experiment to observe the effects of drug usage, the doctor administers LSD to five volunteers. The effect of those drugs causes the volunteers to slowly drift away from reality and land up in a nightmarish world where their fantasies and fears play out in a hellish setting. The visuals of this hellish world take up almost the last 20 minutes of the film and are similar in set design to the version of hell shown in This Night I’ll Possess Your Corpse. There are several dialog free sequences in the film, including a sequence where a woman high on drugs dances on a table in a room full of men. The woman’s dance sequence flows quite easily without any dramatic cuts and is one of the best extended scenes found in any of José Mojica Marins’ films.

The final conclusion of the doctor’s experiment is that drugs do not corrupt moral citizens but only awaken inner demons within humans who already have devilish intentions buried within their psyche. José Mojica Marins is also cleared of any wrong doings both by the panel and the fake trial. Such a conclusion and the scenes of drug usage were probably reasons why the military dictatorship in Brazil banned this film in 1970. The film was eventually released 20 years later.

A prophet emerges

The opening sequence of End of Man has a tiny glimpse of Coffin Joe but otherwise End of Man is the only film in this spotlight which is entirely free of the Coffin Joe character. Marins plays a man who emerges naked from the sea and goes about preaching to the locals and performing miracles. He develops a cult following and is considered by locals to be a prophet. It is only at the end of the film that the prophet’s true identity is revealed and that revelation is another poke by Marins on the blind faith that people have in religion. José Mojica Marins always questioned the value of religion and its rituals through his characters starting from At Midnight I’ll Steal Your Soul onwards and End of Man continues that trend, especially the ending.

Technically this is the weakest out of the six features and contains substandard acting, editing and camera work. In fact, watching this film reminded me of some of the worst Bollywood films from the 1970’s to 80’s, minus the nudity.

Note: A party sequence in End of Man where the crowd chants “everybody naked” is duly expanded in Strange Hostel of Naked Pleasures.

Strange Hostel of Naked Pleasures

The title says it all. A hostel where strange occurrences take place and where people are either naked or seeking pleasure, or both. The opening ten minutes of the film are almost dialog free and depict an elaborate dance ceremony which resurrects Coffin Joe from the dead. Coffin Joe then gives his customary speech about the universe, existence, fate and life before taking charge of this special hostel. All along Joe’s eyes see everything, the future and past of the guests arriving in the hostel to seek pleasure. In fact, a trailer of the film could be cut with Coffin Joe’s voice as such:

Ladies look at my eyes
now look at the room with naked people
now back to my eyes
look at another room where an affair is happening
back to my eyes again
now look at that room with people gambling
now back to my eyes again.

One can find repeated shots in José Mojica Marins’ films but Strange Hostel of Naked Pleasures takes that to an extreme with plenty of repeated closeups of Joe’s eyes, naked flesh and shots of the hostel in a dark stormy night with lightening.

A documentary to bring it all together

The Strange World of José Mojica Marins is a well made documentary that introduces us to the world of Coffin Joe and gives us as a closer look at José Mojica Marins. Marins love of film is apparent from this documentary and he relishes the fact that he is a self taught filmmaker. He mentions that he was literally born in a cinema as his parents owned a cinema hall and he grew up watching plenty of films and spending all his time in a theater. That love for film resulted in him making plenty of films at an early age. In fact, no opportunity was too good for Marins to pass up to make a film. When he went in for eye surgery, he had a camera crew in the operating room and directed them while being under the knife. His plan was to use the footage for a later film but that film was never completed. At the end of the documentary, we are told that there are another dozen or so uncompleted films by Marins. Since the documentary was released, Marins did finish his Coffin Joe trilogy with Embodiment of Evil and he may get a chance to make more of his films.

The film also shows what a wildly popular character Coffin Joe is not only in Brazil but internationally. Marins made many personal appearances dressed as Coffin Joe and attracted plenty of admirers. Unfortunately as per the film, Marins was never financially well off. No details are given but that fact becomes clear with the Sight and Sound article when Paulo Sacramento had to help produce Marins’ Embodiment of Evil, more than forty years after Coffin Joe first appeared on screen.

This is not the end...

The greatest trick the devil ever pulled was convincing the world he did not exist.

Slightly changing this The Usual Suspects quote:

The greatest trick Coffin Joe ever pulled was convincing the world he did not exist.

Because every time Coffin Joe is supposed to be dead, he comes back. He is left for dead at the end of At Midnight I’ll Take Your Soul but makes a remarkable recovery at the start of This Night I’ll Possess Your Corpse. He sinks to his demise in This Night I’ll Possess Your Corpse but through magical cosmic powers is resurrected several times until he finally materializes in flesh serving time in a jail cell at the start of Embodiment of Evil. The ending of Embodiment of Evil shows that Coffin Joe more than gets his wish after all, with not one son but multiple offsprings on the way. Coffin Joe always believed the only way he could be immortal was with a perfect son. So if there are indeed multiple sons of Coffin Joe on the way, then maybe he will be a cinematic presence for many decades to come.

Comments..

I had low expectations from this spotlight and there were many moments which confirmed those low expectations but there were also some aspects with surprized me. In a way, I agree with Neil Young’s assessment:

But the odd thing about the Mojica Marins pictures is that, despite their numerous individual deficiencies, they do cohere and combine into a whole that's much more effective than their separate parts….

One can see the full cycle of action-reaction consequences cycle through the various Coffin Joe films where his mistakes come back to haunt him and further curse him.

Finally....Christoph Huber’s article on José Mojica Marins is worth reading.

Sunday, December 05, 2010

Recycle, Rob & Report

Waste Land (2010, Brazil/UK, Lucy Walker)

Beauty is in the eye of the beholder

That beauty can be a woman or a stunning painting. Or it could be a pile of garbage. Or it could be all of those things put together.


Luck Walker's wonderful documentary follows Vik Muniz on his quest to transform objects from Jardim Gramacho, the world's largest landfill located in Rio de Janeiro, into a work of art. The first images that he encounters in Jardim Gramacho are large piles of garbage but once Vik interacts with some fascinating garbage pickers, then the mountains of garbage fade into the background and the pickers take center stage. Vik's interactions with the garbage pickers enable some of his artistic ideas to take hold. However, Vik's goal is not to do the art on his own but he wants to involve the workers. Also, he plans to donate the money from the art sales to improve the worker's lives. As a result, his artistic collaborations has the potential to transform the lives of some of the garbage pickers. Waste Land is a beautiful touching film that gives voice to people ignored by society and also provides plenty of life changing ideas especially around garbage generation and recycling.
Inside Job (2010, USA, Charles Ferguson)

The art work pictured above in Waste Land ends being sold for 28,000 pounds at an auction where we don't see all the buyers but instead see their proxies following instructions via phone. Considering that there are paintings which are sold in this auction for more than a few million dollars, 28,000 is a drop in the bucket. But who are some of the people who can afford to buy such expensive works?

In Charles Ferguson's engaging Inside Job we get a glimpse of some people who have the luxury to throw millions at a single painting. Such rich people are never satisfied with just one expensive painting. They want to acquire more. For that they need money. Lots of it. And in that greed for generating money for personal benefit, they will go to great lengths, even at times at the expense of others. Such greed certainly contributed to the economic crisis of 2008. Yet, it would be too easy to blame the greed in the 2008 crisis on bankers and financial employees alone. The average person should also be held accountable for wanting to spend beyond their means. What if the average person didn't get a sub-prime mortgage? In the long run that unsigned deal would have meant one less foreclosure. On the other hand, there were cases when the average person was not greedy but just didn't know what they were getting themselves into. Inside Job gives one example of a couple who didn't speak English and signed up for a quick initial low interest mortgage to get their dream house but were then shocked to discover the real monthly payment amounts once the low interest period ended.

Inside Job lays out the step-by-step process by which banks and financial companies committed the ultimate heist. By documenting this robbery, Ferguson's film may be the only sense of justice for some people because the men who committed the financial crimes will get away with their wealth intact. In the film, the people responsible for dismantling the regulations are named yet these people are widely respected in American universities and media. You can be sure in a few years, some of these same people will be hailed as legends. The banks will always be bailed out and bonuses will never go away in the financial sector. And the huge bonuses will continue to be spent on bigger houses, cars, yachts, drugs and prostitutes. Some people are addicted to drugs while others are addicted to bonuses and financial rewards. If there are no laws to keep a check on irregular financial dealings, then financial fraud will continue.

Burma VJ: Reporting From a Closed Country (2008, Denmark co-production, Anders Østergaard)

As documented in Inside Job, the people who questioned the rash financial policies in America were ignored and their words were drowned out by "intelligent" men. If the truth can be plainly ignored in a democracy and financial crimes can still be committed, then one can only imagine how much crime can be committed in a nation where no truth is ever reported. Burma VJ chillingly shows how in a dictatorship reporting images of a peaceful march can be a matter of life and death. Like Inside Job, Burma VJ provides the background story to events that unfolded on television sets around the world. The images of thousands of monks marching on a street were widely seen on tv but the entire process of how those images made it out of Burma was not completely known.
We are supposed to be living in an age of instant information and round the clock news. But the news only seems to report events after they happen. And even then, most media outlets hardly seem to scratch the surface and dig deep to uncover the true story. There are some journalists who have freedom to write the truth but in most cases, one has to wait to read the full story until the journalists publish their books. So in this sense documentaries such as Inside Job and Burma VJ do an excellent job of filling a giant journalistic gap by providing details that often don't get reported via the global media.

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!

Thursday, June 10, 2010

2010 Movie World Cup, Group G

Group G -- Brazil, Ivory Coast, North Korea, Portugal

Films: Almost Brothers, Adanggaman, North Korea: A Day in the Life, Colossal Youth


Brazil: Almost Brothers (2004, Lúcia Murat)

The film has an interesting setup in linking the Brazilian military junta's political imprisonments in the 1970's to a modern day depiction of favela gangs. The story starts off in the 1950's when two men from vastly different social backgrounds are brought together by their common love for music. Two decades later, their sons find themselves as cell mates during the military junta's crackdown. The two develop a frienship in the prison but find themselves on opposite sides after an experiment to treat all inmates as equals fails leading to a prison divided on racial grounds. And another few decades later, the two friends find themselves on opposing sides again, with Miguel a politician seeking to improve slum life and Jorginho stuck in prison yet running a slum gang remotely via phone. To complicate matters, Miguel's daugther is involved with a gang member who works for Jorginho.

There are some engaging prison sequences in the film and some interesting moments involving a friendship continously put to the test due to racial, social and political divisions but overall, it is a disappointing effort given the previously thorough depiction of Favela/gang life on film. The presentation of the story across decades with constant cuts disrupts any flow the film builds and weakens both the present and past portrayals.

Ivory Coast: Adanggaman (2000, Roger Gnoan M'Bala)

Adanggaman blends fact and fiction in its depiction of slavery from an African perspective in the 1600s. The film starts off with Ossei's clash with his parents over his refusal to marry as per tradition and their wishes. But after an attack on his village, Ossei finds himself on the run and is eventually captured to be sold as a slave.

North Korea: A Day in the Life (2004, Pieter Fleury)

A lot of credit must be given to Pieter Fleury for making an accurate film depicting state of things inside North Korea despite working under the watchful eye of the North Korean government. The government chose the family that Fleury could interview and probably limited where his camera could go. Still, despite being confined in a rigid framework, Fleury has emerged with a film that confirms what one reads about North Korea and its controlled environment.

The chosen family, from grandfather to the young granddaughter, utter anti-US messages every chance they get, thereby pleasing the North Korean officials who probably reviewed the footage. Besides filming inside the family home, Fleury also films in a factory, an office, a local school, an English language learning class and all these sites confirm people are working/talking under a watchful eye. The family and the office workers words don't ever seem genuine and thereby serve as evidence of the staged nature of the interview. In the factory, Fleury's camera is able to give a truthful view of the working conditions that exist. The employees have daily targets to meet and even if there is a power shortage (which are frequent and almost daily), it is up to the employees to work harder and faster to make up for the lost time.  Fleury is also able to capture a discussion among a group of school teachers about whether the lessons and stories they teach in school will accurately emphasize their great leader's generosity.  It is amazing to think that tiny footage could have escaped the North Korean censors as it clearly shows that only things related to the great leader are to be taught in the classroom.   There are also radio annoucements included in the film which convey the daily propaganda fed to the people about the great cause of their nation and beliefs.  And the film ends by giving us a good look at the great leader, naturally.

The film won a special Award for Best Documentary at Pyongyang Film Festival in 2004, so obviously the North Korean powers were pleased by the image the film presents. It is remarkable that the film manages to depict exactly what the government would have wanted to stop anyway. There are subtle things that maybe the government didn't pick up such as the office workers body language giving away the artificial nature of the interview.  The documentary comes off as a comedy in its observation of people's routines but ofcourse it is no laughing matter considering that these people have to spend each day under the watchful eye of the great leader and his followers.  Orwell's fictional 1984 is still a reality.

Portugal: Colossal Youth (2006, Pedro Costa)

Colossal Youth is a living breathing painting that lets us observe its beauty and allows us to listen in to the sounds flowing within the canvas.

The mesmerizing opening shot is an indication of the beauty that lies ahead.
The film completes the Fontainhas trilogy and picks up after most of the residents from In Vanda's Room have been relocated to pristine lifeless clean apartment complexes.

Vanda is back as well, along with her cough, but this time around it is Ventura who is the camera's main focal point. Here he goes looking for Vanda.
Ventura has to select his apartment but he is taking his time and is in no hurry. The clean walls of the apartment hold no joy for Ventura as his heart is torn in between Fontainhas and his dream Lava House in Cape Verde.
Fontainhas provides Ventura an opportunity to do most of his thinking from his red throne where he can view the disappearing neighbourhood.
And there is just one scene where Costa's camera gives a glimpse of life that exists beyond the two worlds of Fontainhas and the apartment complex. This scene shows lights glittering in the distance and is the first indication of a city's existence in both Colossal Youth and In Vanda's Room.
Otherwise, Costa's camera is only focused on the relevant details, be it alleys, walls or faces.

And finally, the music and words of the infectious liberation song that Ventura plays on the record player stay long in the mind even after all the credits have taken leave.

Standings and Points (Maximum out of 9)

Colossal Youth: 9
North Korea: A Day in the Life: 7
Almost Brothers: 6
Adanggaman: 5

The big surprize has to be the North Korean elimination of Brazil who were the defending movie world cup champions from 2006. Since the Brazilian film In the Middle of the World had won my 2006 movie world cup, I had put some pressure on myself to ensure I got a good Brazilian film for a worthy title defense. After I failed to get my first pick of Garapa (José Padilha), I had little to choose between my 2nd pick of Margarette's Feast and 3rd pick Almost Brothers. In the end, I went with Almost Brothers by default because my 2nd pick was not readily available. Yet, I am sure I could have made a better selection than Almost Brothers.

Technically the North Korean entry is a Dutch film made by a dutch director. However, it is set entirely in North Korea and the work got the approval of the government so I see no problem in using it to represent North Korea in this movie world cup.

Soccer Group Prediction

This group was initially labeled as a Group of Death because of the stellar players on display for Brazil, Portugal and Ivory Coast. But this group does appear to be light weight with Brazil clear favourites to take top spot and advance along with Portugal in 2nd place.

Brazil might not play with too much flair and score many goals but they will get their 3 wins. Drogba's possible absence will be felt dearly by Ivory Coast who need his experience to muscle in some goals. Plus, it is hard to see what Sven-Göran Eriksson can accomplish with the limited time he has had with Ivory Coast. If Portugal's golden generation of Luis Figo and Rui Costa could not win anything for the national team, then it is hard to see the current squad do much at the world cup. Ronaldo will be busy doing his step-overs but they will amount to nothing. It will be interesting to see if Portugal can get rid of their diving and play acting. North Korea are an unknown entity but are unlikely to repeat the shock result of 1966 when they beat Italy 1-0.

Brazil, Portugal and North Korea are also tied historically to the 1966 World Cup. In 1966, Portugal were in the same group as Brazil and the two took part in an ugly game when the Portuguese players kicked Pele out of the world cup. Even today, it is hard to watch those images of Pele being repeatedly hacked and fouled in one of the earliest examples of ugly football. North Korea's last match in the World Cup was a Quarter-Final tie in 1966 against Portugal where they raced to a shock 3-0 lead before Eusebio took over and scored 4 goals en route to a 5-3 Portugese win. No repeat of that score line will take place when these two meet but atleast the North Korean team will be encouraged that a previous generation of national players scored three goals in the opening 25 minutes against Portugal.

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
  • Saturday, December 29, 2007

    Love and Music


    Love for Sale (2006, Brazil, Director Karim Ainouz): Rating 6.5/10


    The only reason I got Love for Sale (or Suely in the Sky) was because of Karim Ainouz. I had enjoyed Ainouz's previous directorial venture Madame Satã and his writing in Cinema, Aspirins and Vultures & Lower City. But I have to admit that after seeing 15 films in my Brazilian spotlight this year, Love for Sale was one movie too much. The story is reflected in other Brazilian films I saw this year, especially in Deserto Feliz.



    In Deserto Feliz, a girl leaves her village for Sao Paulo. But in the big cruel city, she is forced into prostitution to make ends meet and longs for an escape from Sao Paulo. In Love for Sale Hermila returns back from Sao Paulo to Iguatu with her young baby and moves into her mother-in law's house. Gradually it is clear that Hermila's 20 year old husband has no interest in looking after her and the baby as he stays in the city and does not attempt to make contact with her. So Hermila longs for an escape far away from Iguatu. But since she has no money, she comes up with a scheme to raffle off her body.

    Like most recent Brazilian films, the production values of Love for Saleare top-notch. I am a big fan of Walter Carvalho and as usual his cinematography perfectly captures the visuals of a hot Brazilian landscape. There are some neat camera techniques here but overall, the story had the air of inevitability that I had found in a handful of other recent Brazilian films dealing with such a topic.

    Music as escape from Poverty & Misery:

    Once (2006, Ireland, Director John Carney): Rating 7.5/10

    This charming Irish films shows two characters who live on the fringes of modern society's economic charts but can easily be found in any European city's core. The guy plays his guitar on street sides hoping to earn some money for his talent while the girl is an immigrant from the Czech Republic who roams the Dublin city core selling red roses.

    The smart usage of hand-held cameras give the movie an earthy feel and allows to us to experience these character's bitter sweet life. When things get tough, both the guy and girl find solace in music. The girl provides the inspiration for the guy to finally follow his dream of getting his music recorded.

    La Vie en Rose (2007, French co-production, Director Olivier Dahan): Rating 7.5/10

    In Once the guy sang on street corners while playing his guitar. In La Vie en Rose, Edith Pilaf (Marion Cotillard in a riveting performance) also stood on street corners to sing but she only relied on her soulful voice -- her powerful voice could stop traffic and lighten any wary heart. The film shows her rise to fame from a background of poverty to her performance at music halls in Paris and New York. The best parts of the film are where we get to listen to her booming voice.

    Wednesday, September 26, 2007

    CIFF: notable film comments

    I wanted to consolidate comments from my earlier posts regarding some note worthy films playing at CIFF this year. With the exception of Vanaja and Bushman's secrets, all the other films still have screenings over the next 4 days.

    Drained (2006, Brazil, Heitor Dhalia): Rating 10/10

    This is one of the most witty and original films I have seen this year. Credit for bringing these eccentric characters to life goes to Lourenço Mutarelli who wrote the novel and to Heitor Dhalia for bringing pitch perfect performances from his cast. The film can be described as a deadpan dark comedy but the main character Lourenco (Selton Mello) is much more dangerous than any character in a Jim Jarmusch or Aki Kaurismäki film.

    By profession, Lourenco collects people's antiques. But it is never clear whether he sells these antiques or simply keeps them for his collection. He decides the value of each antique himself and if he likes the story behind the item, be buys it. His office (housed in a warehouse) is always lined up with people waiting to sell their item by pouring their heart out to Lourenco. But right from the film's start, Lourenco's mind is preoccupied with two things -- Garconete's behind (a waitress played by Paula Braun) and the foul smell that comes from his bathroom. It would be unfair to give away any more details but the unique characters and scenarios make Lourenco's life hell.

    There are some audacious camera shots in the movie such as the opening sequence where the camera shamelessly glares at Garconete's behind -- we watch every swing as she gracefully heads to work. The film stands out from other Brazilian films because of its visual choices -- there are no bright colors saturating the screen but instead brownish colors are prominent. Also, there are no scenes of beaches or any other visual cues that could place this film in Brazil.

    Time (2006, South Korea, Ki-duk Kim): Rating 8.5/10

    Perfect beauty, the all demanding quest. Will perfection result in happiness and endless love? Even though the answer is obvious but humans still cling onto that dream. Such is the case with the main female character in Kim Ki-duk's latest film. At the start of the movie, we see a woman being cut open and transformed into a beautiful person thanks to the miracles of plastic surgery. The entire process is an ugly one and we are given a front row seat in the operation room to witness the surgery. But it takes about 6 months for the face to be fully healed. Until then, the woman has to cover herself and hide her scarred face from the public. After the surgery, the woman leaves the surgeon's office with her face covered carrying a picture of her old ugly self. A young sweet looking girl, Seh-hee, crashes into her and causes her picture to fall to the ground breaking the frame. See-hee is apologetic and runs to get the frame fixed. But the masked woman does not wait and leaves the scene. From then on, we get a look into See-hee's life. She is dating a handsome man, Ji-woo. Even though See-hee has him to herself, she can't help get jealous over his wandering eye -- everytime Ji-woo talks to a another woman, she gets angry. Unsure about her beauty, she goes to get her face altered. As part of her rebirth, she disappears from Ji-woo's life for 6 months ago.

    The sudden disappearance of See-hee causes Ji-woo some grief. After a period of 6 months, the newly touched up See-hee surfaces. But Ji-woo does not recognize her. So she goes about enticing Ji-woo and tries to erase his memories of the old See-hee. But much to her dismay, Ji-woo is still in love with the old See-hee. She is stuck in a lose-lose situation, because if he can't love the new See-hee, then her transformation was a failure. And if he does love the new look See-hee, that confirms her old fears about him not wanting the sweet old self.

    But things are not as straight forward as they seem. The concept of time is an important factor in the story. We are given clues from the start that we might not be getting the linear story we are seeing. Sure enough, a rift in time occurs when Ji-woo disappears himself in order to get revenge on See-hee -- he goes to get surgery done on his face as well in order to balance out See-hee's transformation.

    In the past, Kim Ki-duk focussed on individual human flaws. Films like Bad Guy, The Bow, 3-Iron, Spring, Summer.. had a touch of spirituality to them as the movies explored human weakness. This time around, he dispenses with spirituality and takes a stand against a society which places beauty over all other values. When humans chase only beauty, they lose a sense of themselves and ultimately spiritual connection. In that regard, the film's most memorable elements are 'space' and 'cleanliness'. Everything is framed in such a manner to give each character the maximum space which only heightens their sense of isolation. And everything appears white and pristine, as if life is completely clean. But by showing the ugliness that hides beneath the surface, we also get a sense of how false and illusionary the appearances are.

    This intense yet elegantly balanced film is probably Kim Ki-duk's most accessible film. And the on screen beauty balances out any of the ugly human nature on display.

    Armin (2007, Bosnia co-production, Ognjen Svilicic): Rating 8/10

    This is a tender film about a Bosnian father and son who cross the border into Croatia for the son's film audition. This is a multi-layered film which not only showcases a relationship between father and son but also addresses issues about exile and scars of a war. The movie also highlights how even if some people want to get on with their lives, others are ready to exploit them to make award winning documentaries/films. Wonderful performances as well.

    Ahlaam (2005, Iraq, Mohamed Al Daradji): Rating 8/10

    This is a first, an Iraqi film! The story mainly takes place in 2003 during the American invasion and bombing of Baghdad. We see a few people in a mental hospital and with the aid of flashbacks, their tale is told. The flashbacks lead to 1998 when Iraq is bogged down by sanctions. Life is not that great, with people suffering from poverty. Ahlaam is on the verge of marriage, Hassan is having doubts about being in the army because he doesn’t believe in serving Saddam, Mehdi is troubled because he won’t be able to go for higher studies because of his father’s past. These are ordinary people suffering from enough problems already. And then, things get worse in 2003 when the American bombs fall.

    Ahlaam is not a happy movie, it can’t be. Things gets worse for the main character as the film moves along. First her marriage is ruined because her fiancée is taken by the Iraqi police. She is pushed to the ground which subsequently damages her mind. But over the years, her mental situation gets worse. The American invasion causes the looters to move into the mental hospital she and her fiancée are in. She escapes, but only to an unsafe deserted Baghdad. Her fate is unresolved at the end, but it is clear, it can’t be hopeful.

    There will be plenty of American movies based in Iraq over the coming years, but none will give voice to the Iraqi people. The truth is the Iraqi people suffered under Saddam and now without him, things are worse for them. The looting, the uncertainty, the lack of electricity, no water and a hostile world are all a few men's doing. This is their legacy yet the men in power will never admit their mistake. A country which was already backward would never have been a threat. And now it is more backward, except for the oil.

    Mukhsin (2006, Malaysia, Yasmin Ahmad): Rating 8/10

    Note: I pre-viewed this as part of the Calgary Pan-Asian Film festival back in Jan 2007.

    I have to admit that I am starting to like Yasmin Ahmad’s refreshing approach to families and love stories. I adored her 2005 film Sepet which was just wonderful. Mukhsin is the third film in Ahman's trilogy about the character Orked. Sepet featured Orked's first teenage love, Gubra was about marriage and adulthood while Mukhsin rewinds the clock to the start of Orked's childhood. Plenty of tender moments and a touching cameo from the love-struck Sepet couple. And Orked's warm and effectionate family are all back!

    Tambogrande: mangos, murder, mining (2006, Peru, Ernesto Cabellos & Stephanie Boyd): Rating 7/10

    North American corporations are busy carving up South America and stealing those countries natural resources. If it were not for a few documentaries, most of these crimes would go by un-noticed. Tambogrande joins a list of previous such eye-opening films and highlights land crimes in the Tambogrande region of Peru where a Canadian company wants to start a mining pit. The region's history, the people's struggles, the political corruption that exists and the power of money are all documented. The film also shows that if people are not willing to stand up and fight for their rights, they will get rolled over. Sometimes, just sometimes, ordinary people can actually make a difference against big money.

    Vanaja (2006, India, Rajnesh Domalpalli): Rating 8/10

    This beautifully shot South Indian film centers around a hushed up crime. 15 year old Vanaja comes from a poor family. Through her father's help, she gets a job in the town's leading dance instructor's house. Also, as an added bonus Vanaja gets to pick up a few tips to improve her dance. We see this young woman grow on screen. When we first meet Vanaja, she is an innocent girl. But gradually, we see her confidence grow. But just as things are looking good for her, she is raped by the dance instructor's son. The crime is hushed up and the pregnant Vanaja disappears until she has given birth. She returns back to society but is faced with a few difficult decisions.

    The film has won plenty of awards at film festival and it is easy to see why. The colorful visuals backed by a very strong performance from young Mamatha Bhukya make this film stand out.

    The Bushmen's Secrets (2006, South Africa, Rehad Desai): Rating 8/10

    This is a truly refreshing documentary on a topic hardly seen on screen. A long time ago man survived on herbal and natural remedies. But then the drug companies took over and produced a pill to cure every problem. After enough problems and side-affects started to appear, people yearned for simple herbal solutions. So the new money making idea was for drug companies to mass produce and sell herbal solutions. And such a scheme meant stealing generation old tribal knowledge and patenting it as their own.

    Rehad Desai travels to the Kalahari desert to see how the bushmen survive the desert like conditions. He is told of a plant, Hoodia, a cactus which is eaten by the bushmen because it suppresses their appetite and gives them nourishment to help in long treks across the hot barren land. Something that suppresses the appetite? Well here is clearly a giant billion dollar plant! So what happens next? Corporations descend in, steal the plant legally or illegally and start counting the money. Desai has done a creditable job with this film in showing the various aspects of marketing such drugs and also depicting how the local governments are to blame as well.