The films of Anita Rocha da Silveira

Double bill of Anita Rocha da Silveira’s features:

Kill Me Please (2015, Brazil/Argentina)
Medusa (2021, Brazil)

In Kill Me Please, a series of mysterious murders in Barra da Tijuca, a neighbourhood in the West zone of Rio de Janeiro, grab the attention of a few young girls who are curious about the murders and victim’s identities. However, 15 year old Bia (Valentina Herszage) ends up being more than just curious and digs deeper into the victim’s lives, causing her perception of reality to be altered.

Anita Rocha da Silveira’s extremely sharp debut film is a commentary on the new spaces created in Rio especially in time for the 2016 Olympics, such as the high-rise towers and housing blocks. Even though the film is set in Rio, there isn’t a beach in sight. The absence of a beach coupled with the focus on Rio’s new concrete jungle allows the director a vibrant platform to neatly mesh two genres, coming of age plus a horror genre with a splash of red. The end result is a film that depicts a varied contemporary side of Brazil, one where alienation and isolation complicates emotions related to sex and death.

Anita Rocha da Silveira’s second feature Medusa expands the canvas of exploring contemporary Brazilian society with another colourful mix of genres. There are attackers and victims in Medusa but this time, a group of young girls are the attackers. In the film, a group of eight girls wear a mask and hunt at night to beat up young women that are committing sin. 

The girl attackers are violent evangelists who demand that their female victim give up their sinful ways and come over to Jesus. The girls belong to a church group and inspired by their minister’s words use fear and violence to spread the message of love and peace. The ironic nature of their ways is fully intended as is evident by the film’s usage of satire to depict the girl’s lives. The main character Mari (Mari Oliveira, acted in Kill me Please) slowly starts to question her evangelist mission and struggles to keep her awakened feelings and desires in check.

The girl attackers are just one arm of the church while the other arm is led by a group of men (referred to as ‘The Watchmen’) who train military style and beat up sinners. The Watchmen are like a fascist group (think Elite Squad) without weapons and use their fists to enforce the word of God.

Like her previous feature, Anita Rocha da Silveira meshes up different genres with touches of horror, satire and a commentary on right-wing politics and religious fanaticism. The title of Medusa clearly touches upon the Greek myth but as per her Cannes interview, Silveira mentions that the film narrows in on Medusa’s scream:

“For me, it represents releasing this anger that women have been putting aside for years, for generations. We can release this anger that we have to keep inside because you’re told you can’t speak out loud, you can’t be crazy, you have to be this controlled woman that speaks in a low voice and doesn’t lose control,”…Variety

Screams are indeed heard in the film on many occasions, notably in the ending. The screams coupled with usage of a synthwave music soundtrack reminds of John Carpenter’s films. There were many sequences in the film where the soundtrack felt like straight out of Carpenter’s Christine. 

The film’s splashy colour evokes Dario Argento while the neon-lit evangelist church scenes reminded me of Gabriel Mascaro’s Divine Love (2019) but the underlying message in the film is dark and points to a radicalization of society and individuals. In the same Cannes interview, Silveira mentions the real life incidents that led to the film’s creation:

"Then I was also struck by reading news articles about girls ganging up to beat up another girl. There were a lot of these episodes happening in Brazil, and also in Argentina and Chile."

Anita Rocha da Silveira may only have two feature films to her name but both films ooze with creativity in depicting Brazilian society. I cannot wait her for next feature.

Top Scandinavian Films of All Time

Wonders in the Dark is having a top 20 Scandinavian films poll. The list of countries also includes Iceland, so in essence, it is a Nordic countries poll. That means the film output will primarily be from 5 countries - Sweden, Norway, Finland, Denmark and Iceland. One day, I hope to see films from Faroe Islands and Greenland.

As Sam Juliano pointed out, the challenge is restricting the number of Ingmar Bergman films for this list. I could have slotted half of this list with Bergman films. Instead, I restricted that number to 5 Bergman films or 25% of this list. In addition, I also managed to keep Lars von Trier entries to just 3 films.

Top 20 Scandinavian films of all time list:

1. The Seventh Seal (1957, Sweden, Ingmar Bergman)
2. The Emigrants / The New Land (1971/1972, Sweden, Jan Troell)
3. Babette’s Feast (1987, Denmark, Gabriel Axel)
4. Ordet (1955, Denmark, Carl Theodor Dryer)
5. The Phantom Carriage (1921, Sweden, Victor Sjöström)
6. Wild Strawberries (1957, Sweden, Ingmar Bergman)
7. The Celebration (1998, Denmark, Thomas Vinterberg)
8. Songs from the Second Floor (2000, Sweden, Roy Andersson)
9. A Winter Light (1963, Sweden, Ingmar Bergman)
10. Dancer in the Dark (2000, Denmark, Lars von Trier)
11. The Man Without a Past (2002, Finland co-production, Aki Kaurismäki)
12. Shame (1968, Sweden, Ingmar Bergman)
13. Scenes from a Marriage (1973, Sweden, Ingmar Bergman)
14. Breaking the Waves (1996, Denmark, Lars von Trier)
15. Pusher (1996, Denmark, Nicolas Winding Refn)
16. Children / Parents (2006/2007, Iceland, Ragnar Bragason)
17. Show Me Love (1998, Sweden, Lukas Moodysson)
18. Force Majeure (2014, Sweden, Ruben Östlund)
19. Pelle the Conqueror (1987, Denmark/Sweden, Bille August)
20. Steam of Life (2010, Finland, Joonas Berghäll/Mika Hotakainen)

Films from different countries:

There are 22 films for the 20 spots.

Sweden (11): The Emigrants and The New Land count as one entry
Denmark (7)
Finland (2)
Iceland (2): Children and Parents count as one spot

Unfortunately, no film from Norway made the cut.

Best Films from China, Hong Kong and Taiwan

Wonders in the Dark is having a poll to determine the best 15 films from China, Hong Kong and Taiwan.

It is tough to narrow down just 15 films from China, Hong Kong and Taiwan especially since they all have a rich history of cinema going back almost a century to the 1920s-early 1930s. On top of that, there are many diverse genre films from this part of the world making it challenging to pit one film style against another. Ultimately, I opted for the following 15 films.

Best Films from China, Hong Kong, Taiwan

1. In the Mood for Love (2000, Hong Kong, Wong Kar-wai)
2. Yi Yi: A One and a Two (2000, Taiwan, Edward Yang)
3. Flowers of Shanghai (1998, Taiwan, Hou Hsiao-Hsien)
4. Platform (2000, China, Jia Zhang-ke)
5. Eat Drink Man Woman (1994, Taiwan, Ang Lee)
6. Election (2005, Hong Kong, Johnnie To)
7. Spring in a Small Town (1948, China, Fei Mu)
8. Raise the Red Lantern (1991, China, Zhang Yimou)
9. West of the Tracks (2002, China, Wang Bing)
10. What Time is It There? (2001, Taiwan, Tsai Ming-liang)
11. Chungking Express (1994, Hong Kong, Wong Kar-wai)
12. Infernal Affairs (2002, Hong Kong, Andrew Lau/Alan Mak)
13. Crouching Tiger, Hidden Dragon (2000, Taiwan/Hong Kong/China, Ang Lee)
14. Devils on the Doorstep (2000, China, Wen Jiang)
15. Ash is Purest White (2018, China, Jia Zhang-ke)

One surprising aspect of this list was finding out that I included 5 films from the Year 2000. That means 1/3 of all the films in this list came from one year. The stellar quality of these 5 films does indicate that 2000 was a strong year for Hong Kong, Taiwan and China.

In the Mood for Love (2000, Hong Kong, Wong Kar-wai)
Yi Yi: A One and a Two (2000, Taiwan, Edward Yang)
Platform (2000, China, Jia Zhang-ke)
Crouching Tiger, Hidden Dragon (2000, Taiwan/Hong Kong/China, Ang Lee)
Devils on the Doorstep (2000, China, Wen Jiang)

In the Mood for Love is one of Wong Kar-wai’s most iconic films. Yi Yi is considered one of Edward Yang’s best films while Jia Zhang-ke’s second feature, Platform, helped propel his name globally. Ang Lee’s Crouching Tiger, Hidden Dragon certainly established a new found love for wuxia in the West. Wen Jiang’s powerful 2nd feature Devils on the Doorstep got plenty of attention after it won the Grand Jury prize at Cannes 2000.

[Updated List, May 11, 2022]

Best Films from China, Hong Kong, Taiwan

1. In the Mood for Love (2000, Hong Kong, Wong Kar-wai)
2. Yi Yi: A One and a Two (2000, Taiwan, Edward Yang)
3. Flowers of Shanghai (1998, Taiwan, Hou Hsiao-Hsien)
4. Platform (2000, China, Jia Zhang-ke)
5. Boat People (1982, Hong Kong, Ann Hui)
6. Eat Drink Man Woman (1994, Taiwan, Ang Lee)
7. Election (2005, Hong Kong, Johnnie To)
8. Raise the Red Lantern (1991, China, Zhang Yimou)
9. West of the Tracks (2002, China, Wang Bing)
10. What Time is It There? (2001, Taiwan, Tsai Ming-liang)
11. Chungking Express (1994, Hong Kong, Wong Kar-wai)
12. Infernal Affairs (2002, Hong Kong, Andrew Lau/Alan Mak)
13. Crouching Tiger, Hidden Dragon (2000, Taiwan/Hong Kong/China, Ang Lee)
14. Devils on the Doorstep (2000, China, Wen Jiang)
15. Ash is Purest White (2018, China, Jia Zhang-ke)
16. Spring in a Small Town (1948, China, Fei Mu)

The Films of Glauber Rocha

Films seen as part of this spotlight

Pátio (1959, short film, 11 min)
Barravento (1962)
Black God, White Devil (1964)
Entranced Earth (1967)
Antonio das Mortes (1969)
Der Leone Have Sept Cabeças (1970)
Câncer (1972)

Glauber Rocha’s name looms large over Brazil’s Cinema Novo movement. In the context of this movement, the titles that I had previously seen were 3 well known vital films: Deus e o diablo na terra do sol (Black God, White Devil), Terra em transe (Entranced Earth) and Antonio das Mortes. However, missing from my viewing was Rocha’s first feature film Barravento. When a new edition of Barravento became available in 2021, it helped fill a gap and gave a chance to revisit some of his older films.

Pátio (1959, short film, 11 min)
 
Pátio is described as an experimental short and that holds true as there is no conventional narrative element. A man and woman wake up on a chess board type of floor while their movements are accompanied by music. One can see the initial seeds of Rocha’s style in this film especially with regards to incorporating musical rhythms.

Barravento (1962)

Initially, the setting of Barravento in a fishing village on the coast of Bahia feels at odds with the parched rugged landscape in Rocha’s later films. But once the story progresses, it becomes clear the film contains themes and elements that became Rocha’s signature later on.

In the film, Firmino (Antonio Pitanga) returns home from the city flush with cash and stories of his success. Firmino is puzzled why the locals don’t fight for their rights against their rulers. He is also frustrated at the locals' customs and beliefs, including their Candomblé religion, which he scorns and finds backwards. Firmino goes about trying to incite change in a variety of ways even including the usage of traditional elements that he looks down upon himself. The film contains Rocha’s core themes of revolt and fighting for one’s rights which are explored further in Black God, White Devil and Antonio das Mortes. Barravento also captures the dance, rituals and rhythms of the villagers and in this regard the film is a dress rehearsal for Antonio das Mortes.

 

Barravento is a brilliant film and it is hard to believe that it is Rocha’s debut. The setting of the film in a fishing village reminded me of Paulo Rocha’s Change of Life (1966), Ritwik Ghatak’s A River Called Titas (1973) and even the recent The Salt in Our Waters (2020).

 

Black God, White Devil (1964, Glauber Rocha)

Rocha’s raw and savage Deus e o Diabo na Terra do Sol does not loosen its grip from the first frame until the last. In fact, the final images of the film depict rapid movement which indicate that the story will continue well after the fade to black.

 

Black God, White Devil depicts a corrupt lawless world where landlords, religious figures and outlaws jostle for power and control over the souls of innocent workers. As a result, innocent men and women are forced to align between various corrupt figures and that choice governs how long they will be able to avoid death. In the film, the married couple of Manuel (Geraldo Del Rey) and Rosa (Yoná Magalhães) are forced on the run after Manuel kills a rancher who was taking advantage of them. The couple believe they have found salvation under a powerful religious figure but they are forced into a much more violent life because of that meeting. The usage of black and white coupled with a remarkable musical score heightens the violent struggles and the dark corrupt men that roam it.

 

 

All the characters are memorable but Maurício do Valle’s character of Antônio das Mortes gets his own film later on.

Entranced Earth (1967)

Glauber Rocha’s Entranced Earth makes up a lot of ground depicting politics from grassroots all the way up to the presidential level. The film is set in a fictional country of Eldorado but the battle between ideologies could easily apply to many Latin countries.  In this regard, the film can be seen as a vital abstract depiction of how ideas can turn dangerous and power can blind men into cruelty.

The story is told from the perspective of poet and journalist Paulo Martins (Jardel Filho) who finds himself oscillating between supporting the right-wing candidate Porfirio Diaz (Paulo Autran) and Felipe Vieira (José Lewgoy) who is far from a moderate character.

The film’s style is intoxicating with the inclusion of some jazzy notes and close-ups of the deranged and tormented characters. There are many dialogues which light up the screen. Here are just a few:

“The blood of the people is sacred.”

“History isn’t changed by tears.”

“We have to choose between electorate and commitments”

Antonio das Mortes (1969)

Maurício do Valle reprises his Antonio das Mortes character from Black God, White Devil where he went about killing outlaws and saving the land from evil. He continues his fight in Antonio das Mortes when he is hired as a jagunço to rid the village of a new evil Cangaço. However, as the film progresses, Antonio has his perspective changed and sees the class conflict in a new light. This was Rocha’s first colour film and the rich colour coupled with the music, dance sequences and creative camera work adds to a sensory overload.

Der Leone Have Sept Cabeças (1970)

Rocha’s themes of revolt and fighting for one’s rights are transported from the Brazilian landscape to Congo. As a result, the film highlights colonial and political themes which show how messy revolts can be and how alliances can shift. Religion and guns which are a key part in Rocha's films are included here as well. The film’s battles and inclusion of explosive characters recall Werner Herzog and Klaus Kinski’s film collaborations.

Other Reading

Ela Bittencourt's piece on Entranced Earth is vital reading as she dives more into the film’s themes and ideas.

Alonso Aguilar on Antonio das Mortes.

Best Films of 2021

After a global shutdown in 2020, including that of Cinema, it was widely expected that a reopening would happen in 2021. Society did open in varying degrees in 2021, film festivals did happen in actual cinemas, but things were far from normal. Delayed 2020 movies were finally released in 2021 including many new productions. However, many cinemas remained closed in some countries and numerous film festivals took place in a hybrid manner (virtual + physical cinema) while some stayed completely online. As 2021 progressed, it became clear that big studios would still prevail and be able to dump their product whenever they wanted and in whatever fashion. Meanwhile, independent and foreign films suffered as they were not able to depend on film festival buzz to gain traction. To complicate matters, some distributors insisted on purity of cinema and only wanted to show their film in physical cinemas. That immediately put many cities out of reach, including my city. So as 2021 is about to end, it is crystal clear that it is becoming very very difficult to legally see quality cinema while there is no shortage of means to see Hollywood films.

Still, it was heartening to see that good films continued to be made even though it was tougher to see them. I am fortunate enough to have seen the following films due to my various film programming roles or through online film festivals (thank you Fantasia, TIFF, Festival du nouveau cinéma). I truly hope that some of these films are widely released in 2022.

Top 10 Films of 2021

1. The Great Indian Kitchen (2021, India, Jeo Baby)

As the title indicates, there is food in the movie which will cause one to get hungry. The food preparation and techniques are shown in incredible detail but it becomes apparent that the film is more than about food. And the kitchen is more than just a space to make food. The difference in roles of the husband and wife are emphasized as are the expectations of a woman in some segments of society. Even though this film is rooted in South India, aspects about marriage and treatment of women are applicable to many other patriarchal societies around the world. Credit to the director Jeo Baby of how this depiction is shown, by repetition of the same tasks, which definitely produced a visceral reaction in me.

2. Wheel of Fortune and Fantasy (2021, Japan, Ryûsuke Hamaguchi)

The first of the two Hamaguchi films released in 2021 is pure cinematic delight. The playful structure, including abrupt zooms, reminds of Hong Sang-soo’s cinema but the honesty and mature stories are a continuation of what he explored in his earlier Happy Hour (2015). Another lovely surprise is the inclusion of an element that reflects our current pandemic world.

3. Întregalde (2021, Romania, Radu Muntean)

There are no vampires in this contemplative film set in Transylvania yet there are elements of morality and ethics that are relevant to our world today. Those elements centre around doing good for others at the expense of one’s needs.

4. The World After Us (2021, France, Louda Ben Salah-Cazanas)

A charming Parisian film that balances the sweetness of romance with the bitterness of a writer’s struggles.

5. A Night of Knowing Nothing (2021, India, Payal Kapadia)

Payal Kapadia’s beautiful poetic film shows that despite decades of progress, many things haven’t changed in India (or the world in general). In fact, some things are regressing including basic human rights.

6. Fire in the Mountains (2021, India, Ajitpal Singh)

A remarkable film which derives its power with a smart mix of dry humour and plenty of heart. In the hands of another filmmaker, this could have been a completely dramatic film but Ajitpal incorporates many light hearted touches and that elevates the film.

7. Faya Dayi (2021, Ethiopia/USA/Qatar, Jessica Beshir)

An immersive, hypnotic and poetic journey to Harar! With a photographer's soul, Beshir lovingly captures the myths and rituals around Khat along with its growth, sale and consumption.

8. Aleph (2021, USA/Croatia/Qatar, Iva Radivojevic)

Smartly uses a Jorge Luis Borges short story as a spring board to explore diverse stories in Buenos Aires, Greeland, Kathmandu, New York City and the Sahara. Easily one of the most creative films of the year!

9. Pebbles (2021, India, P.S. Vinothraj)

The film depicts the harness of the main character in an unfiltered brutal manner especially how he treats his son and wife. There is another aspect to this film which may not be apparent early on. It has to do with the impact of climate change on the environment, leading to extreme heat and lack of water. If this point isn’t apparent at first, it is hammered home in the final scene of the film which in a beautiful manner shows how bad things truly are in some parts of the planet.

10. Ancient Soul (2021, Spain, Álvaro Gurrea)

As most of the world shifted to comfortable online remote working, Gurrea’s film shows us the brutal reality of dangers some people face in their jobs. Ancient Soul shows the life of Yono, a sulphur miner in Java, as he navigates his dangerous job while dealing with the complex questions around why his wife left him. The mine shots evokes Michael Glawogger’s Workingman’s Death while some of the spiritual themes have a touch of Apichatpong’s style to them.

Honourable Mentions (alphabetical order):

Ahed’s Knee (2021, France/Israel/Germany, Nadav Lapid)

Azor (2021, Switzerland/France/Argentina, Andreas Fontana)

The City of Wild Beasts (2021, Colombia/Ecuador, Henry Eduardo Rincón Orozco)

Straight to VHS (2021, Uruguay, Emilio Silva Torres)

Taming the Garden (2021, Switzerland/Germany/Georgia/Holland, Salomé Jashi)

Best of Former Soviet Bloc films

Wonders in the Dark is having a “Former Soviet Bloc” film polling. The films can either be classics prior to the break-up of U.S.S.R or new contemporary works. That makes this a tough decision but here is my vote for the top 20 films.

1. Dekalog (1989/90, Poland, Krzysztof Kieslowski)
2. Underground (1995, Yugoslavia, Emir Kusturica)
3. Satantango (1994, Hungary, Béla Tarr)
4. Closely Watched Trains (1966, Czechoslovakia, Jirí Menzel)
5. Ashes and Diamonds (1958, Poland,  Andrzej Wajda)
6. Man Is Not A Bird (1965, Yugoslavia, Dusan Makavejev)
7. The Death of Mr. Lazarescu (2005, Romania, Cristi Puiu)
8. My Joy (2010, Ukraine, Sergey Loznitsa)
9. Revenge (1989, Kazakhstan, Ermek Shinarbaev)
10. Loves of a Blond (1965, Czechoslovakia, Milos Forman)
11. Daisies (1966, Czechoslovakia, Vera Chytilová)
12. Ikarie XB1 (1963, Czechoslovakia, Jindrich Polák)
13. 4 Months, 3 Weeks and 2 Days (2007, Romania, Cristian Mungiu)
14. Innocence Unprotected (1968, Yugoslavia, Dusan Makavejev)
15. Police, Adjective (2009, Romania, Corneliu Porumboiu)
16. Werckmeister Harmonies (2000, Hungary, Béla Tarr/Ágnes Hranitzky)
17. I Do Not Care If We Go Down In History As Barbarians (2018, Romania, Radu Jude)
18. The Turin Horse (2011, Hungary, Béla Tarr/Ágnes Hranitzky)
19. Mirage (2004, Macedonia, Svetozar Ristovski)
20. Cabaret Balkan (1998, Yugoslavia, Goran Paskaljevic)

On another note: this reminds me of a time long ago when I did a spotlight on Eastern European cinema and paired it with soccer.

The Films of Aleksey Balabanov

Earlier this year, mubi featured a spotlight on the films of Aleksey Balabanov. I first encountered a film by Aleksey Balabanov back in 2009 with the release of Cargo 200. I saw the film without knowing anything about the topic let alone the meaning of the title but the film proved to be a jolting experience. 

Cargo 200

 

The title Cargo 200 refers to the coffins in which dead Soviet soldiers from Afghanistan were sent. Cargo 200 stayed with me because it was the first film that I had seen that showed the death toll from the Soviet perspective. Until that time, I had only seen American films about Afghanistan and what was missing from the cinematic landscape was the perspective of the Soviet soldiers and their families. Balabanov’s film filled a missing gap but I didn’t get to see any of his other films until this recent mubi spotlight.

Brother (1997, Russia)

Brother emits a similar raw gritty energy to that of Nicolas Winding Refn’s Pusher trilogy while making terrific usage of location. Interestingly, the first Pusher film came out in 1996 just one year before Brother. That comparison to N.W. Refn is only on the surface because as it turns out, Brother’s shooting technique has rules which share some intentions with that of Dogme 95:

Balabanov was one of 13 signatories of a 1996 statement proposing a set of rules for filmmakers who were intent on making small-budget films without state assistance (hardly forthcoming in those years in any case): a shooting schedule limited to two or three weeks; filming exclusively on streets, in courtyards and in the apartments of friends and relatives; crews working gratis, with payment contingent upon any profit the film might make. — John Mackay, Senses of Cinema

In Brother, Danila (Sergey Bodrov) is a newly discharged ex-soldier who is back from the first Chechen war and immediately finds trouble in his village. With no clear job perspective, Danila heads off to St. Petersburg to look for his brother Viktor (Viktor Sukhorukov). As it turns out, Viktor is seeped deep in crime and that works nicely for Danila who is able to put his cold blooded killing to good use. And whatever money Danila gets, he spends on music cassettes (yes, those good old walkman tapes).

After slaying all the dragons in St. Petersburg, it is only natural for Danila to move to a bigger city for a larger crime net. That opportunity comes courtesy of Brother 2 in 2000 when the brothers find themselves in Moscow. In the sequel, Danila also makes his way to Chicago.

The two Brother films nicely establish Aleksey Balabanov’s raw style and show that he isn’t afraid to depict sensitive topics like racism and ethnic conflict. Also, the scenes of the local market in Brother are refreshing and show the importance of using location in film. There are some market shots that made me think of Sergei Loznitsa’s cinema.

Considering that Sergey Bodrov’s character Danila returned from the first Chechen war, it isn’t surprising that Balabanov’s follow-up to Brother 2 is War (2002) set against the backdrop of Chechnya. These films are part of Balabanov's crime/violent movies but early in his career, he tackled Kafka with 1994’s Zamok, based on Kakfa’s The Castle.

In recent years, I have associated Russian cinema set in Caucasus with that of Kantemir Balagov (Closeness) but Aleksey Balabanov was there first.

Kiro Russo’s Bolivian Cinema

One of the most lovely cinematic debuts I came across in 2016 was that of Kiro Russo’s Viejo calavera (Dark Skull).

Dark Skull (2016)

The film shed a new light and perspective on the lives of Bolivian miners. While there are a handful of documentaries about Bolivian mines, there is a shortage of fictional films about the hard working people who work themselves into the ground in these dark places. Russo’s Dark Skull goes a long way in addressing that imbalance.

Dark Skull is a work of immense creativity that uses the darkened settings of the mines to play with light/darkness. The story follows Elder (Julio César Ticona) who starts working in the mines after the death of his father. Elder isn’t really interested in working in the mine and would rather hunt for his next alcoholic high. However, his father’s death changes the trajectory of his life leaving him with no choice but to work.

Kiro Russo’s film shows us the routines, rituals of the miners and how they try to make the best of their situation.

Dark Skull plays with the technique and impressively uses a Sergei Eisenstein montage to emphasize the machinery used in the mines. There is also a surprising presence of pulsating music which elevates the film.

After such an impressive debut, I looked forward to Russo’s next film and thankfully, it arrived few months ago at the Venice Film Festival.

El Gran Movimiento (The Great Movement) can be considered the next chapter in the life of Elder (played again by Julio Cezar Ticona) after he leaves the dark mines of Dark Skull for the city life of La Paz. The visual contrast between the two films is impressive. Dark Skull shows us the dimly light underground mines while El Gran Movimiento takes us to the dizzying high altitudes of La Paz. Instead of the rhythms of the mines, Russo now shows us the rituals and rhythms of the local market where Elder finds a job. 

The sights and noises of the market are astutely captured and overload the senses in a remarkable sequence near the end of the film, a montage like segment which now appears to be Russo’s cinematic signature. Another Russo signature looks to be the usage of pulsating music including an eye catching dance number that unexpectedly drops in the film. El Gran Movimiento takes on a very relevant contemporary urgency when Elder starts coughing near the end of the film. His disease is unknown as is the cure. While Elder is at the local clinic, we hear the news recounting case counts in other Bolivian cities. That is when we realize what Elder has. Immediately following that sequence, we see crowded streets and markets. An invisible clock hovers over the frame with the audience knowing that it is only a matter of time before everything will shut down. We don’t to get see the fate of the market but instead we get to see what happens with Elder when a faith healer is brought in to cure him.

Elder in El Gran Movimiento (2021)

It was a 5 year gap between Russo’s two films. I hope the wait for the next movie isn’t that long as he is clearly a creative director with a unique voice.

Best Latin American Films of all time

Wonders in the Dark is doing a Best Latin American Cinema list. Of all the Best of Cinema lists, this one is the toughest for me as Latin American Cinema is dear to my heart. Had I done this list 10 years ago, it would have been quite different. But I am going with emotion, to keep some Latin sentiment beating, in making this list.

Best 25 Latin American Films of all Time

1. Zama (2017, Argentina co-production, Lucrecia Martel)

2. Black God, White Devil (1964, Brazil, Glauber Rocha)
3. Los Olvidados (1950, Mexico, Luis Buñuel)
4. The Official Story (1985, Argentina, Luis Puenzo)
5. The Battle of Chile (1975, Venezuela/France/Cuba, Patricio Guzmán)
6. Memories of Underdevelopment (1968, Cuba, Tomás Gutiérrez Alea)
7. Extraordinary Stories (2008, Argentina, Mariano Llinás)
8. Pixote (1980, Brazil, Hector Babenco)
9. El Topo (1970, Mexico, Alejandro Jodorowsky)
10. Barren Lives (1963, Brazil, Nelson Pereira dos Santos)
 

11. Invasion (1969, Argentina, Hugo Santiago)
12. The Exterminating Angel (1962, Mexico, Luis Buñuel)
13. The Pearl Button (2015, Chile co-production, Patricio Guzmán)
14. The Motorcycle Diaries (2004, Argentina/Brazil co-production, Walter Salles)
15. Amores Perros (2000, Mexico, Alejandro G. Iñárritu)
16. City of God (2002, Brazil co-production, Fernando Meirelles/Kátia Lund)
17. Liverpool (2008, Argentina co-production, Lisandro Alonso)
18. Neigboring Sounds (2012, Brazil, Kleber Mendonça Filho)
19. Pan’s Labyrinth (2006, Mexico/Spain, Guillermo del Toro)
20. Y tu mamá también (2001, Mexico,  Alfonso Cuarón)
 

21. Nostalgia for the Light (2010, Chile co-production, Patricio Guzmán)
22. Cocote (2017, Dominican Republic co-production, Nelson Carlo de Los Santos Arias)
23. Jauja (2014, Argentina, Lisandro Alonso)
24. Bolivia (1999, Argentina/Holland, Israel Adrián Caetano)
25. Japón (2002, Mexico, Carlos Reygadas)

Top 10 by Country:

Argentina: 3
Brazil: 3
Mexico: 2
Cuba: 1
Chile: 1

I have assigned The Battle of Chile to Chile even though no Chilean funding was used due to obvious dictatorship related issues.

Top 20 by Country:
Co-productions made this difficult which is why both Argentina and Brazil are tied at 5.5 because I couldn’t allocate The Motorcycle Diaries exclusively to one of these two nations. Hence, Mexico wins this round by increasing its total to 6.

Mexico: 6
Argentina: 5.5
Brazil: 5.5
Chile: 2
Cuba: 1

Top 25 by Country: 

Argentina narrowly wins the Copa courtesy of Liverpool (Alonso's version not Klopp's)  and Bolivia.

Argentina: 7.5
Mexico: 7
Brazil: 5.5
Chile: 3
Cuba: 1
Dominican Republic: 1

Best Canadian Films of All Time

Wonders in the Dark is running a Best Canadian film poll where each participant is required to submit their top 15 Canadian films.

My Top 15 Canadian Films of All time

1. One Day in the Life of Noah Piugattuk (2019, Zacharias Kunuk)

The film documents a historical encounter in 1961 Baffin Island between a Canadian government agent and the Inuit leader Noah Piugattuk. The agent wants Piugattuk to send kids from the Inuit communities to schools in a city/town. The film shows a conversation with no violence but it is clear that the next encounter will involve force. Given the recent discovery of children’s remains buried around residential schools in Canada, it is clear that the implications of a ‘friendly conversation’ in Kunuk’s film extended beyond the confines of Baffin island and tragically impacted all parts of Canada.

2. The Body Remembers When the World Broke Open (2019, Kathleen Hepburn/Elle-Máijá Tailfeathers)

3. A Married Couple (1969, Allan King)

4. Atanarjuat: The Fast Runner (2001, Zacharias Kunuk)

5. Les Orders (1974, Michel Brault)
6. The Barbarian Invasions (2003, Denys Arcand)
7. The Sweet Hereafter (1997, Atom Egoyan)
8. Montreal Main (1972, Frank Vitale)
9. Incendies (2010, Denis Villeneuve)
10. Fire (1996, Deepa Mehta)
11. The Red Violin (1998, François Girard)
12. Vic + Flo Saw a Bear (2013, Denis Côté)
13. Videodrome (1983, David Cronenberg)
14. Mon Oncle Antoine (1971, Claude Jutra)
15. The Forbidden Room (2015, Guy Maddin)

Honourable Mentions:

Bollywood Bound (2002, Nisha Pahuja)
I Killed My Mother (2009, Xavier Dolan)
My Winnipeg (2007, Guy Maddin)
The World Before Her (2012, Nisha Pahuja)
Waydowntown (2000, Gary Burns)

Female Assassin Movies

One of the most enduring action sub-genres has been that of an assassin movie. Each year, there are many examples of both male and female assassin movies that continue to be made no matter what the state of world is. There have been many female assassin movies made in different parts of the world so people could have started at a different place depending on their specific cinematic journey. One early starting point is Japanese cinema with Toshiya Fujita’s Lady Snowblood (1973).

Lady Snowblood

For others, the starting point could be female assassins that exist in wuxia films. Wong Kar-wai explored this world in Ashes of Time (1994) while Hou Hsiao-Hsien covered this in his beautiful film The Assassin (2015).

The Assassin

The more famous of these wuxia films in North America is Ang Lee’s Crouching Tiger, Hidden Dragon (2000).

At the turn of the century, for some the starting point may have been Quentin Tarantino’s Kill Bill (2003-04), which in turn was inspired by Lady Snowblood among its many inspirations.

Kill Bill

However, for me the starting point for female assassin movies was France with Luc Besson’s Nikita / Le Femme Nikita (1990) starring Anne Parillaud. 

 

Nikita

 

Of course, Besson also went on to direct one of the most brilliant male assassin movies a few years later with Léon: The Professional (1994) starring Jean Reno and a very young Natalie Portman making her acting debut. But Besson has returned to the world of female assassins more frequently and directed Lucy (2014, starring Scarlett Johansson) 

Lucy

and the recent Anna (2019, starring Sasha Luss). 

Anna

He also co-wrote the script for Colombiana (2011) staring Zoe Saldana as a ruthless assassin going by the name of Cataleya.

Woman with one name or a nickname

Tarantino’s Kill Bill and Olivier Megaton’s Colombiana stand apart from other films in this sub-genre because the film’s title is not the woman’s name or her descriptor. Instead, Tarantino’s film title is the target of the killer. If the film had been called The Bride, it would have fit with other such films in this category such as Lady Snowblood (1973), Atomic Blonde (2017), The Villainess (2017), Red Sparrow (2018), Black Widow (2021).

Colombiana is a title pointing towards the killer’s origin location. If the film had been called Cataleya, then it would have been right at home with other one name titles such as Nikita (1990), Hanna (2011, directed by Joe Wright), Lucy (2014), Anna (2019), Ava (2020, directed by Tate Taylor), the recent Kate (2021, directed by Cedric Nicolas-Troyan).

Common Framework

Back in the day, the story mattered when it came to these films. Now, the story isn’t relevant. The framework of these films is the same and the backstory is quickly dispensed with or told in flashbacks such as that in Kate.

The story often involves a young girl trained to be a killing machine because her parents were killed and she is orphaned and wants revenge. In these films, the girl turned killer woman is ruthless, cold-blooded, has an incredible ability to survive bullets, fights and can leap from buildings without ever getting a scratch. She is essentially a video game character come alive. On top of that, the female assassin can easily cross borders like a ghost, change her identity at the drop of a hat and never be caught unless the script demands it. Since these movies are all aware of other such films in the sub-genre, the goal of each subsequent movie is to increase the action, the gore and body count. At times, scenes from these movies are hard to distinguish. Segments from Anna, Kate and Red Sparrow could have been spliced together and one wouldn’t have noticed.

Like horror films, these assassin movies are churned out and follow a specific template. The only variation is the body count continues to increase as is the gruesome manner of killing. In the male assassin cinematic world, John Wick and its copycats will continue to be made while the same is true of the female assassin world. The recent news that a female spin-off of John Wick will be made called Ballerina isn’t a surprise. In a way, these assassin movies run in a parallel universe to the comic book hero movies yet are all part of the same studio roller coaster.