Spotlight on Chabrol

Claude Chabrol’s unexpected death in September 2010 meant the world lost a core director of the French New Wave. Jean-Luc Godard and Jacques Rivette are now the last remaining Cahiers du Cinema New Wave directors although Alain Resnais, Agnes Varda and Chris Marker remain from the Left Bank group. Chabrol started his film career during a rich period in global film-making through the late 1950’s and 1960’s when mesmerizing films emerged from all corners of the globe. Incredibly, Chabrol remained a prolific filmmaker throughout his career, directing more than 50 features. Chabrol directed his first film in 1958 (Le Beau Serge) and last in 2009 with Inspector Bellamy, meaning he had a staggering average of one film per year over a span of half a century. Not only was he a key filmmaker, he was also a film critic who helped champion other filmmakers via Cahiers du Cinema.

The seven films selected for this spotlight start a decade after Chabrol’s first feature and thus fall outside his New Wave period:

Les biches (1968)
La femme infidèle (1969)
Que la bête meure (1969)
Le boucher (1970)
Juste avant la nuit (1971)
Les noces rouges (1973)
Nada (1974)

In A History of the French New Wave, Richard Neupert notes:

Le beau Serge and Landru mark the beginning and the ending of Chabrol’s contributions to the New Wave proper.....
His first eight films helped make a New Wave, but film enthusiasts had to wait five years, until Les biches and La femme infidele (both 1968), for Chabrol to help truly remake the commercial French Cinema. page 160, second edition.

Adultery & Murder

Adultery is present in four of the seven films but in three of these films, cheating on a spouse is directly connected to committing a murder. In La femme infidèle, Charles (Michel Bouquet) kills his wife Hélène’s (Stephane Audran) lover in a gush of anger while in Les noces rouges the wife (Stephane Audran) and her lover conspire to kill her slimy husband. In La femme infidèle, Michel Bouquet plays the husband who was cheated upon but in Juste avant la nuit his character cheats on his wife (Audran) with their neighbour’s wife and kills his lover in a fit of resentment during a S&M episode.

Que la bête meure features an obnoxious husband Paul (Jean Yanne) who cheats on his wife with her sister but that infidelity is not the reason for Paul’s murder. At the film’s start, Paul runs over a child and drives away leading the son’s father to track down Paul for revenge.

Murder as a battle for Identity

Jean Yanne’s character Popaul/Paul commits gruesome murders in Le boucher where he plays the title character who cannot curb his inner demons. Popaul is not portrayed as a calculative serial killer but as a man who kills whenever his dark self takes over and pushes him to commit the sinister crimes. One side of his personality yearns to be helped and saved while his darker side forces his hands to drive the knife into his victims.

In Les biches, Frédérique (Stéphane Audran) invites a young street artist (Jacqueline Sassard) into her Parisian apartment and tries to seduce the young woman. The young woman never reveals her name so Frédérique names her Why. Frédérique takes Why to her villa outside the city and surrounds her with luxury in order to woo her. When Why pretends to show interest in Paul (Jean-Louis Trintignant), Frédérique gets jealous and pounces on Paul herself. Initially, Why is not taken with Paul but after Frédérique dates Paul, Why wants Paul as well and craves a threesome but Frédérique purposely keeps Why at a teasing distance. The sexual atmosphere that Frédérique creates results in Why losing her identity so much so that she starts dressing and talking like Frédérique in the belief that will allow her to win Paul. Eventually, Why realizes that she will always be a double unless she eliminates Frédérique to fully assume her physical identity.

Arrest as a release from guilt

In Les biches, no guilt is associated with the murder but in some of the other films, the main character is tormented by their reckless murders. Michel Bouquet portrays this guilt with a cold precision in both La femme infidèle (as Charles Desvallees) and Juste avant la nuit (as Charles Masson). In La femme infidèle Charles is relieved to be apprehended so that he does not have live a life of lie. Charles murders his neighbour and best friend François Tellier’s wife in Juste avant la nuit but is tormented by his guilt. He confesses his crime first to his wife Hélène and then to François. Incredibly, both tell him to forget the incident and move on. At first, François’s forgiveness seems to relieve Charles but eventually his guilt possesses him. He makes up his mind to turn himself in but is prevented in doing so by Hélène who cannot bear the humiliation of seeing Charles behind bars.

In Les noces rouges, Lucienne Delamare (Stephane Audran) and Pierre Maury (Michel Piccoli) appear to get away with the perfect murder when they kill Paul Delamare (Claude Piéplu), Lucienne’s corrupt political husband. However, Lucienne’s daughter suspects wrong doing and writes a letter to the police which mentions her mother’s affair with Pierre. That letter leads Lucienne to accept her guilt and give herself up along with Pierre.

Political games & backstabbing

There is a tiny element of political manipulation shown in Les noces rouges where Paul Delamare (Claude Piéplu) is shown to be a shrewd politician who is willing to use people around him as pawns. Paul wants to use his mayoral position for personal profit and is even willing to allow his wife to have an affair with Pierre as long as Pierre assists in Paul’s profitable ways. However, Nada is the only true political film out of the seven which depicts a violent clash between police and a terrorist group over a hostage. The film also shows the sly political games that exist within the various arms of a government that can lead to back room deals and public scapegoats.

Familiar actors and names -- Charles, Paul and Hélène

Stéphane Audran was married to Chabrol from 1964 until 1980 and is the leading star in five of the seven films. In each film, her character is given a slightly different look but it is in Les noces rouges that her character is finally unrecognizable mostly because of her brown hair. Her character is named Hélène in three of the films. In four of the films her character has a passionate love affair whereas in the fifth film her character plays a quiet obedient housewife who stands by her husband even after he cheats on her and commits a murder.

Michel Bouquet gets a similar first name of Charles in La femme infidèle and Juste avant la nuit because both characters are cut from the same cloth of guilt and inner turmoil resulting from murder. Jean Yanne’s character is called Paul in both Le Boucher and Que la bête meure but his character is not entirely similar in the two films, which is why in Le Boucher his character is given an alternate name of Popaul. Claude Piéplu’s character of a corrupt politician in Les noces rouges is strikingly similar to Jean Yanne’s character in Que la bête meure, so it is not surprizing to see Claude Piéplu’s character is also named Paul. Interestingly, Michael Duchaussoy’s character who seeks revenge for his son’s killing in Que la bête meure is also named Charles and Paul's sister-in-law is named Hélène. A character of Paul is also found in Les Bitches but in that film the character is a passive observer of sexual games in between two women.

Dominique Zardi and Henri Attal get varying roles in five and four of the seven film respectively. Both get the most screen time in Les Bitches but after that, their roles get smaller yet both are easily prominent and recognizable in their few minutes of screen time. Zardi and Attal are also found in Juste avant la nuit, La femme infidèle and Nada with Zardi getting an extra appearance in Que la bête meure.

In closing...

Que la bête meure offers the most twist and turns in the planning and execution of a calculated murder. Charles wants to avenge for his son’s murder and plans for a long painful suffering of the murderer. Armed with an accurate theory about the criminal’s identity, a stroke of luck leads Charles to the killer’s sister in law Helene. Charles seduces Helene to get to Paul but once he meets Paul and his family, he realizes that everyone despises Paul, including Paul’s son. What follows is an elaborate game where even the son is involved in the killing of his father, thereby completing the murder cycle.

Chabrol was an admirer of Hitchcock and labeled a French Hitchcock by some for his use of similar motifs of murder and mystery. However, the films in this spotlight show that Chabrol was a bit more subtle than Hitchcock in his murder films and handled the turmoil and crime in a calmer manner. The killers do not panic after they commit their crime and none of them run away. So when police want to find the murderers in La femme infidèle and Les noces rouges, they simply go their homes and arrest the criminals with no fuss. Also, like Hitchcock, Chabrol uses music effectively to alert of impending danger but unlike in Hitchcock’s films, the music in Chabrol’s films is not heightened and does not draw too much attention to events.

Genie Awards 2011: Best of Canadian film

It is not surprizing to see that Denis Villeneuve's Incendies is one of the main winners at this year's Canadian Genie Awards, winning 8 awards in total. Barney's Version is the other big winner, with 7 Genies. It is remarkable that these two films won 15 out of the 19 awards eligible for fictional features, with The Trotsky winning two Genies. The Golden Reel Award for top grossing Canadian film at the box office in 2010 went shockingly to Resident Evil: Afterlife. Both Incendies and Barney's Version did not get a proper Canadian theatrical release until January 2011 but even if they were released in 2010, it is hard to imagine either of them grossing more than the $7 million that Resident Evil: Afterlife took in. In fact, Resident Evil accounted for 21% of the total Canadian revenue at multiplexes. One would not consider Resident Evil: Afterlife as a Canadian film but in this day and age of co-productions, the line does blur. Last Train Home, another Canadian co-production, won best documentary.

Full list of winners:

Best picture: Incendies
Direction: Denis Villeneuve, Incendies
Original screenplay: Jacob Tierney, The Trotsky
Adapted screenplay: Denis Villeneuve, Incendies
Lead actor: Paul Giamatti, Barney's Version
Lead actress: Lubna Azabal, Incendies
Supporting actor: Dustin Hoffman, Barney's Version
Supporting actress: Minnie Driver, Barney's Version
Art direction/production design: Barney's Version
Cinematography: Incendies
Costume design: Barney's Version
Make-up: Barney's Version
Editing: Incendies
Original score: Barney's Version
Original song: Already Gone (The Trotsky)
Overall sound: Incendies
Sound editing: Incendies
Documentary: Last Train Home
Live action short drama: Savage
Animated short: Lipsett Diaries (Les Journaux de Lipsett)
Claude Jutra Award: Jephté Bastien, Sortie 67
Golden Reel Award: Resident Evil: Afterlife

Incendies also had the honor of winning best Canadian film at the Toronto, Vancouver and Calgary International film festivals. Hopefully, all these awards means that more Canadians will bother seeing this film in its current limited theatrical run and eventual DVD release.

Popular award shows rarely get things right in awarding the best film, so it is good to see that in Canada a truly worthy film won the top prize. Overall, 2010 was one of the strongest years for Canadian films in recent memory. Besides Incendies, here are some of my picks for 2010 Canadian films which are worth a look:

Curling (Denis Côté)
Heartbeats (Xavier Dolan)
Taylor’s Way (Rene Barr)
Small Town Murder Songs (Ed Gass-Donnelly)
Fubar II (Michael Dowse)
A Simple Rhythm (Tess Girard)
Scott Pilgrim vs the World (Canada co-production, Edgar Wright)
Splice (Canada co-production, Vincenzo Natali)

Splice would have made my best of 2010 year list if the film had not gone overboard in the last 15 minutes. Still, the film deserves to be seen for the many interesting ideas that it contains. Plus, Splice never lets the viewer get comfortable with the material and constantly tries to unsettle its audience.

Fubar II was completely shutout from this year's Genies but the film is enjoyable and has a good heart. Seeing the first Fubar film is not a prerequisite for the second film but it does help in outlining the humor style and the characters. Also, Fubar II won the audience award at last year's Calgary International Film Festival and was easily sold out well in advance of its screening.

Copa America 2011: Venezuela

Entry #2 of the 2011 Copa America Film & Book Festival.

Book: Chronicles of a Nomad by A.A. Alvarez
Film: El Don (2006, José Ramón Novoa)
Bonus Film: Araya (1959, Margot Benacerraf)

Chronicles of a Nomad sheds a light on certain aspects of Venezuelan life in the late 1980's and early 90's such as corruption, political power games, the rise of Hugo Chavez and the banking crisis. Also, the book lays out the cultural jolt that an immigrant experiences upon arriving in a new nation by describing travels across three countries -- Venezuela, US and Greece. However, this self-published work could have certainly benefited from an independent editor who would have made some obvious corrections, helped trim some excess and provided a tighter framework. Example: another pair of eyes would certainly have caught the missing 'not' in the following line of a chapter's opening paragraph:

After Al Gore was elected president of the United States and George W. Bush entered the oval office, it started to rain on our little parade and apparently the country’s sweet economy was made of sugar; and it started to dissolve very rapidly.

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El Don is the story about a person’s rise to power and eventual downfall due to political and criminal elements. A proper description of the film is marred by the fact that the DVD copy of the film was without any English subtitles. Still, I was able to grasp bits of the overall structure due to the presence of familiar cinematic characters in the form of omnipresent television reporters, gangsters, and corrupt policemen and politicians. The presence of subtitles would not have elevated the film to a higher rating as the low budget production contains substandard technical aspects (cinematography, sound, editing) and melodramatic acting.

The most memorable aspect of El Don is the presence of Édgar Ramírez who turned in one of the best performances of 2010 in Carlos. Ramírez does not have the main role in El Don but plays Alvaro, a young sidekick with an easy going appearance. Alvaro, who has long hair, wears blue jeans and is always chewing gum, is an ocean away from the smooth talking well dressed Carlos. It is only near the end of El Don that Ramirez's character shows a strong yet negative side in one scene thereby allowing one to draw a faint line from El Don to Carlos. Of course, Édgar Ramírez did not jump to Carlos directly from El Don but instead had multiple roles in films such as The Bourne Ultimatum, Vantage Point, Che: part One before landing up in Carlos.

Margot Benacerraf's Araya depicts the struggles and rhythms of workers who toiled for centuries working in salt mines in the Northern part of Venezuela. This 1959 black and white film contains many beautiful images but unfortunately they are ruined by non-stop narration, which ends up getting repetitive because the filmmaker chose to not let a few minutes go by in silence. The audience is always kept at a distance because at no point do we ever hear the workers talk in their own voices. The film could have certainly benefited from less narration and more use of local sounds and voices, thereby letting the audience get a closer look at the workers.

Comments

Normally one points to certain mistakes made by a filmmaker or an author when one comes across a disappointing work. However, in this case, I feel a bit guilty in the disappointing film and book picked. This is because I wanted to pick entries that represented each country very well in this Copa America spotlight. Also, since the Venezuelan soccer team usually finishes bottom of their group, I had hoped to find a book and film that ensured Venezuela had a decent showing. As things stand, both the Venezuelan book and film are on course to finish bottom in the 2011 Copa America Film & Book festival. One cannot imagine the Venezuelan soccer team to do much better in Argentina at the Copa America as they are in Group B alongside Brazil, Paraguay and Ecuador.

Lourdes

Lourdes (2009, Austria/France/Germany, Jessica Hausner)

Religion is a divisive element in the human race. It causes wars, divides families, heals and saves people while also leading them down a destructive path. There are struggles over whether God exists and then over which religion is the true path to salvation. Reincarnation is not accepted universally nor is the promise of afterlife. Yet, a majority of the human race still holds faith in some form of religion or God. Then there are those who do not believe in God but believe in an entity of some kind that holds sway over humans. The various faiths may differ but they are still united in their belief towards an omnipresent yet unseen force. The only substantial evidence comes in the form of a miracle, a sign that a higher power does indeed exist. This sign could be an act of a statue accepting a form of human devotion (example: the drinking of milk by Ganesh statues) or it could be an unexpected healing of a person.

Jessica Hausner’s film takes place in Lourdes, a place where millions flock every year to either get healed or observe a sign from a higher power. If people's intentions for making a pilgrimage to Lourdes is a selfish need, then it is inevitable that the small town will be buzzing with gossip and anticipation. The film shows that gossip spreads like wildfire because everyone believes they have an equal chance to get healed. One would expect a dedicated religious person to have better odds of observing a miracle but there are no rational answers as to who can get healed. In Hausner’s film, even the priests are forced to concede the often repeated statement “God works in mysterious ways”. As a result, each and every person who heads to Lourdes believes that a miracle is within reach.

The main character of Lourdes, a gentle and smiling Christine (played perfectly by Sylvie Testud), does not hold any bitterness in her heart, even though she is confined to a wheelchair. Christine also does not let her limited mobility get in the away of making various trips around Europe. Her conversations indicate that she often travels on pilgrimages and cites Rome as her favourite on the basis of the Italian capital’s cultural superiority over Lourdes. Christine has feelings for one of the male officers accompanying them on their pilgrimage trip but those feelings are only one way until Christine is touched by a miracle. The unexpected miracle brings some delight in people around Christine while arouses jealousy and distrust in others. The distrust arises because a miracle is portrayed to be like winning the lottery -- once someone is cured, then no one else can win the life changing prize on a particular trip.

Jessica Hausner brilliantly presents her film with dry wit and humour. The pilgrimage events are depicted documentary style while the script gently pokes fun at the beliefs, rituals and certain egoistic people seeking a miracle. The film does not openly satirize the characters but instead allows audience to derive their own sentiments. Such a vague and open ended presentation of faith and belief brings to mind the style of Todd Haynes’ Safe and Lee Chang-dong’s Secret Sunshine, two films that also present events in a straight forward manner while subtly eliciting laughs at the expense of people who blindly buy into someone else’s beliefs.

Spotlight on Christopher Doyle

I have often chased down films either by a particular director or country for the better part of the last decade. The only exception to this was from 2005-06 when I looked for films that cinematographer Christopher Doyle worked on. Ofcourse, Doyle is no ordinary cinematographer but is one of the top 2-3, if not the best, director of photography working in any film industry around the world. He is best known for his work on Asian films, especially his associations with Wong Kar-wai. In fact, it was Wong Kar-wai’s films that first led me to Doyle's vibrant and fascinating palettes. However, what really drove me to start hunting down other Doyle films was his work on Fruit Chan's Dumplings segment in 2004's Three...Extremes. The Dumplings segment was easily one of the best lit and shot films I had seen that year and that short forced me to seek out other Doyle filmed works. The quest led me to Thai director Pen-Ek Ratanaruang's hypnotic and mesmerizing Last Life in the Universe which naturally led me to the director's next film Invisible Waves. In the few years between 2002-2006, it appeared that anything that Doyle shot was worth seeing. Hero was a visual treat, 2046 was a seductive follow up to the cinematic treasure In the Mood for Love while The Quiet American was a brave political film made in a time of "us against them" policies which left no room for reason or diplomacy.

After Invisible Waves, I eased off on the film hunt and instead dove into various regional, directorial and soccer themed spotlights. Interestingly after 2006, Doyle also moved away temporarily from Asia to work with M. Night Shyamalan (2006's Lady in the Water), Gus Van Sant (2007's Paranoid Park) and Jim Jarmusch (The Limits of Control, easily the best American film of 2009). A perfect opportunity for a Christopher Doyle spotlight would have being in 2006 when his more famous and precious works could have been captured in a single umbrella. As a way to make amends, I decided to finally have an overdue spotlight on Christopher Doyle and use the opportunity to catch-up on some of his previous works which I missed, especially his directorial debut Away with Words which formed the starting point of this 5 film series.

In order of viewing:

Away with Words (1999, Hong Kong co-production, directed by Christopher Doyle)
Happy Together (1997, Hong Kong, Wong Kar-wai)
The White Countess (2005, UK co-production, James Ivory)
Ondine (2009, Ireland/USA, Neil Jordon)
Rabbit-Proof Fence (2002, Australia, Phillip Noyce)

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Images, Identity and the ocean

It is not surprizing to discover that Doyle's directorial feature debut is a film rich in visual language. The film does not do away with words as may be indicated by the title but instead the words do not provide a means to enjoy the film. Trying to depend on a narrative driven by dialogue will not lead to a satisfying feeling regarding this film. Instead, one must allow the stunning colors and unique point of view camera angles to form a guide through the film's flashbacks and loosely arranged sequences. The reason that dialogues are not a key ingredient in the film is because the film's three main characters are in a foreign land unable to communicate their feelings or thoughts accurately for variety of reasons.

Asano is a Japanese who finds himself in Hong Kong and is unable to speak the language while Kevin is an Englishman whose drunken episodes lead him to forget his surroundings (including the street name where he lives) thereby getting arrested by the police on a frequent basis. Kevin's girlfriend is also an outsider and tries to form a bridge between Asano and Kevin yet she is adrift in her own sea.

The interactions between the three form the crux of the narrative while Asano's flashbacks of his childhood provide the film's visual strength. Asano loves the sea and not surprizingly his memories are often associated with water. Throughout the film, different camera angles give a sense of the joy that Asano experiences as he mentally makes his way towards the sea. So the camera rushes down the path towards the sanded beach eventually pointing at the rich blue water. One of the film's most unique angles involves seeing the perspective from a tire racing down the street.

Note: Away with Words is co-written by Tony Rayns, the brilliant Asian film programmer responsible for ensuring that the Vancouver International Film Festival (VIFF) unearths promising works from Asian filmmakers around the world every year.

A different affair in Buenos Aries

A steamy affair, love, break-up, agony and seductive music. Welcome to life, Wong Kar-wai style. However, unlike other Wong Kar-wai films, the setting in Happy Together is not Hong Kong but is instead Buenos Aries and the love story involves two men, Lai (Tony Leung Chiu Wai) & Ho (Leslie Cheung). The sexuality of the characters does not matter too much as the relationship issues and arguments portrayed in the film apply universally to both men and women. As a result, the film forms a case study of a broken heart and the misery that loneliness can sometimes bring.

Happy Together starts off in rich black and white before switching over to color around the 20 minute mark. There are 2 moments of color spliced in between the black and white footage and one of them has to do with the dreams of Lai's quest to head to Iguazu Falls. The journey to the world famous waterfalls ends up becoming a defining marker in the relationship between Lai and Ho. The two get lost en route and never make it to the falls while their fight during their drive starts the process of a gradual break-up. Even though Lai and Ho's relationship is shown to be turbulent and has endured many previous split-ups, the fallout from the long car drive is more serious. The film then depicts the sorrow that engulfs a broken heart. A person with a broken heart cannot enjoy anything around them, no matter where they are. In one case, it appears that Lai is asleep during one of the most fierce and noisy derby games in the world -- River Plate vs Boca Juniors. Only a person gripped by depression and misery could sleep in such a hostile environment.

In another case, Lai attempts a common therapy for misery -- alcohol. Naturally, Quilmes is on display as it is the popular beer available around Buenos Aries, or where ever an Argentine soccer game is played for that matter.

The real star of the film ends up being Doyle's camera which injects life in a familiar tale of love & anguish. The camera pushes and prods in confined spaces ensuring that dullness does not fully descend onto the work. A few personal favourite sequences involve the soccer game that employees at the restaurant indulge in during their breaks. The camera ensures the audience feels like another player in the game, trying to play the ball and even receive a pass. In one instance, the game is heard without any background noise but in another case, music blurs out the sounds of the players and the camera slows down to give a poetic look at Lai in the foreground while the sun and the players occupy the background.

War, Love and a perfect bar

The White Countess is set in 1936 Shanghai against the backdrop of an impending Japanese Invasion and a World War. Although, one would not know much about the political situation in the world if it were up to Todd Jackson (Ralph Fiennes) as his dream of a perfect bar/club is a place where politics is left outside and patrons can mingle freely without their ideologies. The sentiment is noble and at first it succeeds in attracting clientele to his new club. However, as the threat of a Japanese invasion increases, attendance in the club declines. A Japanese businessman Matsuda (Hiroyuki Sanada) suggests that Todd Jackson needs to slowly introduce some political tension in the club that would then influence more people to attend. Matsuda’s words ring true but by the time the crowds return, the invasion is on the doorstep leading to a mass exodus of people from the city.

The film tries its best to keep any politics elements off the screen which results in a work free of any tension and appearing quite sterile. The dramatic exodus at the end feels at odds with the film's overall calm rhythm and comes too late to make a difference to a movie that produces no lasting sentiments.

A mythical tale dressed up in reality

The enchanting selkie. The lady from the sea. Full of beauty and mystery. Although in modern day, such a lady would arouse more distrust than enchantment. Neil Jordon takes a mythical celtic tale and adds a layer of present day political sentiment about distrust of emigrants and foreigners.

Christopher Doyle's camera perfectly captures the grayish skies and always rain tinged atmosphere that exists in a small Irish town. Interestingly, Doyle came to this film after having worked on M. Night Shyamalan's Lady in the Water, which was a different take on a mythical mermaid tale.

The long journey home

Rabbit-Proof Fence is based on a real life story of three young Aboriginal girl's journey to return home to their mother from the correction camp they were placed in by the Australian government. The camps were created to separate mixed blood children (white & native) from their parents in a government backed experiment meant for the “good of the people”.

The film is a worthy yet rare return for Doyle and Noyce to their native Australia to shoot a film. Doyle’s camera captures the sheer vastness and heat of an unforgiving Australian landscape perfectly.

Auteur theory

The films in this spotlight show that Christopher Doyle has the ability to work with multiple directors in different countries and still provide the necessary look to assist in the filmmakers varying visions. In this regard, the films are a perfect example of seeing an auteur theory at work as the same DOP produces vastly different results depending on who the director is. For example, nothing about The White Countess gives a clue that Christopher Doyle is the DOP as the film looks and feels like a Merchant Ivory Production. On the other hand, Happy Together feels like a Wong Kar-wai film even though it is shot in a completely different continent and culture from other Wong Kar-wai films. A director may be the final authority in the film’s final vision but he/she does depend on a good DOP to achieve their unique vision. It is hard to imagine a Wong Kar-wai film without Christopher Doyle’s creative camera movements in tight quarters.

Copa America 2011: Colombia

The first entry of the 2011 Copa America Film & Book Festival.

All countries are far too complex to be reduced to a single word label but that is exactly what normally happens as most nations are often tagged with a single word. One reason for such quick labels is that most nations are ignored in their moments of silence but only given headline space when a war, disease, crisis or a revolution occurs. So naturally, a single word then gets associated with a nation in times of such an event or crisis. Yet, it is in moments of peace that one can truly grasp what a nation is about because at moments of tragedy, a single event/incident overshadows everything else at work in the nation. In the case of Colombia, these single word labels are either "war" or "drugs", two common associations with the South American country. However, there is much more to Colombia than just these two labels but one would not know that going by the quick headlines published in major publications around the world.

A primary goal for the 2011 Copa America festival was to pick a film that gave a richer look at Colombia and moved past this quick label of "war" or "drugs". For the book selection, the idea was to move beyond a different label altogether. When it comes to Colombian literature, the label of "Magic Realism" jumps out. It is true that magic realism was once highly popular but Colombian literature is far more diverse than just "Magic Realism". For example, the McOndo movement was started in contrast to magic realism and sought to portray a true reality of everyday life in the Latin nations. Both Magic Realism and McOndo have common roots in portraying the everyday life yet each movement takes a different route -- magic realism softens the harshness of reality with a mythical element while McOndo does not want to have any filters in its presentation. So when it came to selecting a book from Colombia, the choice was to pick a book about the harsh reality in the vein of McOndo. As it turns out, both film and book choices still have war in the horizon but their treatment ensures the focus is more on the human story as opposed to letting humans be a mere statistic.

Book: The Armies by Evelio Rosero
Film: Crab Trap (2009, Oscar Ruiz Navia)
Bonus Film: The Wind Journeys (2009, Ciro Guerra)

The Armies is about the nerve racking impact on people effected by a constant state of war. The everyday lives of residents are disrupted as disappearances/abductions of loved ones or neighbors can occur at any moment while those left behind try to maintain an illusion of normality. The story may be set in Colombia but could easily apply to a handful of nations across Latin America, Africa or Asia where people live in a constant state of fear. Human nature tries to find a reason for an ongoing war or violent state of a nation. For example, if a person is taken from their house by guerrillas, then neighbors assume reasons for such an abduction because in their view the kidnapping cannot be random. People believe there must be a valid explanation for a kidnapping and that the missing person must have done something or was involved in a negative trade. If no theory can be found to explain the abduction, then a new set of logic is applied. By always trying to find a theory to explain violence ensures that a person is always on edge and constantly attempting to reason things out. In essence, a person is always playing chess in their mind and their internal decisions lead to outward choices such as deciding when to leave the house, which path to take, etc.

The Armies puts forward some of the frenzied decision making that takes place in a person's mind and what the consequences of constantly thinking and living in fear does to a person. Evelio Rosero's background as a journalist certainly helps in crafting a realistic portrayal of people trapped in an endless cycle of uncertainty.

Oscar Ruiz Navia's impressive debut feature Crab Trap is about Daniel's (Rodrigo Velez) need to escape from his old life. His journey takes him to the beach town of La Barra where he just needs a boat to leave Colombia. However, he has to wait for the town's fishermen to return from sea to get an available boat. In the meantime, he eats, sleeps and wanders around town. Sometimes he sleeps by himself and on other occasions with the only available woman around. There are some scattered clues given to Daniel's need to escape but not knowing the reason does not take away from the film's calm and tranquil mood. The peace and quiet of the beach is interrupted frequently by Paisa who enjoys playing loud rap music from his music system. Paisa wants to drive away the locals so he can annex the land and develop a hotel/resort to attract tourists. So his methods from playing loud music to blocking access to an open beach lead him in constant conflict with the locals but Daniel tries best to stay away.

The leisurely paced film ensures that all relevant details, including the visuals and sounds of the ocean or rap songs blaring from a music system, filter onto the screen thereby allowing the viewers to get a sense of the landscape. Nothing about the beach suggests Colombia but news reports on a television set convey that the militants are not far away. The location of the small town is fascinating as in order to arrive at the town a person has to go through a forest. In a sense, the town represents the end of the line for anyone traveling through Colombia. The open sea represents a possibility to jump off to far away lands but in reality the sea only leads people to exit but does not provide an entry point for people wanting to make their first stop in Colombia. One can imagine La Barra's way of living as frozen in time until the forest is cleared and roads built to allow tourists to make their way to the beach or until the war manages to directly touch the inhabitants.

Michael Guillen's excellent interview with Oscar Ruiz Navia is essential reading about the film.

The bonus film entry ends up being another journey through a vast Colombian landscape rarely seen on screen. After his wife's death, Ignacio (Marciano Martinez) wants to return the accordion he has played for most of his life back to his mentor and be freed from the burden of possessing such a powerful devilish instrument. A young teenager Fermin (Yull Nunez) tags along with Ignacio much to Ignacio's displeasure. Fermin wants to be a musician and seeks to be Ignacio's pupil although Ignacio would prefer to be alone and not bothered. Fermin is persistent and continues to shadow Ignacio.

The reluctant master and eager pupil encounter a series of intriguing encounters centered around the hypnotic and magical power of music, be it an accordian duel or a drum initiation blessed with a lizard's blood.

One of the film's most incredible scenes involve a knife duel to the death with Ignacio required to play the music until one man dies. The families of both men are present on opposing sides and it is a gut wrenching moment for both families to witness one (or both) loved one's killing.

The film's visuals and mood echoes Brazilian cinema such as The Middle of the World, Behind the Sun, Central Station, and House of Sand because in the last decade, Brazilian cinema has portrayed journeys across a hot and vast land in search of parental love or friendship. Yet, these stories and journeys are not restricted to Brazil alone or to South America for that matter. The tales could easily be set in any continent. What The Wind Journeys does is garnish the journey tale with a few Colombian ingredients to add some local flavour and differentiate it from other such stories set around the world.

The Wind Journeys is certainly worth a look but overall a tad disappointing compared to the other Brazilian films mentioned above. One reason for the disappointment is that the reserved character of Ignacio prevents any relevant emotional attachment to the film as a whole. Only near the end when Ignacio reaches the conclusion of his journey to his mentor's home do some emotions fill the screen. In fact, the emotional strength of the ending combined with the visuals of a hut on a white sanded beach shares some similarity to the House of Sand.

Dhobi Ghat / Mumbai Diaries

Dhobi Ghat (Mumbai Diaries) (2010, India, Kiran Rao)

Often Indian films set in Mumbai start off with a voice-over narration which explains both the endless possibilities Mumbai offers to newcomers and also the perils of living in such a fast moving city. Mumbai demands such an introduction in a film for it is not a passive city but instead a very strong character in itself. Mumbai can be a friend that helps a film's character realize their dream or it can be the villain that leads to a character's downfall. Yet, most Indian films ignore Mumbai after the obligatory introduction. These films then iterate through a succession of quick cuts which rush through the city's famous landmarks while focussing on the character's plights. However, the city cannot be ignored because it influences the character's moods. The traffic, the seemingly endless days of rain all have an effect on a character's feelings yet often such moods do not make it onto the screen. Instead, we are shown characters that talk and behave as if their city has no bearing on their day to day routines.

In that regard, it is a joy to discover that Kiran Rao's debut feature Dhobi Ghat is able to capture some of the emotional resonance that Mumbai inspires. The film uses four characters to depict some of the struggles and joys that can take place in a vibrant and buzzing city like Mumbai. While there is only one native Mumbaiite in the quartet, all the characters observe the city through a unique perspective. Shai (Monica Dogra) is enchanted by the city and wants to capture its reality and beauty via her photography. Yasmin (Kriti Malhotra) keeps a video journal of her day to day experiences while Arun (Aamir Khan) paints whatever Mumbai inspires in him. Munna (Prateik) experiences the city via two different jobs that enable him to see the city in both daytime and nighttime. Munna is the only character out of the four that experiences the city without any filters. Both his jobs require him to get his hands dirty so to speak, first by cleaning clothes by day in the Ghats and then by lurking in the shadows to rid the city of germ carrying rats by night.

There is a purpose for each character's existence as each character is etched out to form a realistic representation of people that live in Mumbai. Arun is a native of the city and is not bothered by the city's day to day hassles. He is also a loner and keeps his distance from others, easily isolating himself in his apartment while the city races around him. Munna has arrived in Mumbai to chase his dream of becoming an actor like thousands of others. He does not mind doing filthy jobs because the jobs are just a stepping stone to his dreams of becoming a Bollywood star. In between jobs, he finds time to work-out and get in shape because a modern day Bollywood hero is required to have a six-pack. Yasmin is a new migrant to the city via marriage and is both enchanted and puzzled by Mumbai while Shai is a foreign national with Indian heritage who is on a sabbatical in the city. It is never really spelled out but Shai's trip to Mumbai could both be an escape from her American life and a chance to discover her Indian roots.

In a sense these four characters represent four walls of a room and not surprisingly their lives are connected via a series of coincidences and incidents which occur in and around various Mumbai flats. The presence of such coincidences and chance encounters in a vast city like Mumbai may not seem realistic but the characters move around in a closed-off circle thereby increasing their odds of seeing each other often. Of course, the encounters are a springboard for exploring the emotional state of the characters. As a result, the script shrinks the vast and chaotic city down to the microscopic level of these four characters so that they can be observed in tight quarters. Each character has their own set of complex problems and Kiran Rao lets the actors brilliant expressions and body language form a guide to their inner feelings. Throughout the film, the four actors appear to be living out their parts as opposed to acting out scripted lines.

In terms of acting, one expects nothing less than perfection from Aamir Khan and he does not disappoint. However, his character does not grab the camera's full attention thereby allowing Monica Dogra, Prateik and Kriti to truly shine in their roles. Prateik makes an impressive debut and that was illustrated by the positive response he got during the film's premier at TIFF last year. However, the most memorable performances in the film come courtesy of the two female characters. Monica Dogra is magnificent in every frame and delivers every line of dialogue with utmost perfection while Kriti Malhotra steals the show with a soulful performance that conveys the innocence, excitement and tragedy of her character in a realistic manner. Kriti's character has the least screen time of all four principal actors but she makes each second count. Her character's voice, which is heard more than we see her on screen, forms a narrative guide to the city and ends up being the soul of the film. It is via Yasmin's camera that we get to see some of the famous Mumbai landmarks one expects on cinema such as Gateway of India, Elephanta Caves, Marine drive. It is also her character that talks about the endless rain that seems to take over Mumbai every year. Her character provides inspiration for Arun to see Mumbai with fresh and innocent eyes.

Overall, Dhobi Ghat is a beautiful and poetic tribute to the complex city that is Mumbai. In reality, a first time visitor cannot leave Mumbai with a neutral view. Either the visitor will be repelled by the city's extremes or fall in love with the city’s charms. What Dhobi Ghat does is present the city in a humble manner without focusing on either the beauty or ugliness too much. Kiran Rao focuses on characters whose lives are shaped by Mumbai thereby allowing us to experience some of the joys and struggles that Mumbai offers to these people.

Delhi story

Do Dooni Chaar (2010, India, Habib Faisal)

Mumbai manufactures celluloid dreams while Delhi serves up cinematic reality dressed up in fictional clothing. Such is the conclusion derived from a handful of Delhi based films in the last few years, starting with Dibakar Banerjee's 2006 film Khosla Ka Ghosla to 2011’s No One Killed Jessica. There is a reason why Delhi would be responsible for showcasing reality. While Mumbai is home to Bollywood and the vast film making industry, Delhi has no film industry. So if a filmmaker wants to set a film in the nation's capital, then they do so with a specific story in mind. The success of the filmmaker's work depends on how well they integrate a story within Delhi's landscape and let the authenticity of the city engulf the characters. Habib Faisal has done a magnificent job in dipping his film Do Dooni Chaar throughly in Delhi’s way of life and as a result, he has given a true voice to a section of Indian society that rarely gets screen time anymore -- the middle class.

Plenty of magazines and books talk about India’s growing middle class and their new found purchasing power, but in recent decades when Bollywood and Foreign movies have given India a cinematic treatment their cameras have remained fixated on just a few rungs of Indian society. Bollywood’s tales focus mostly on the wealthy who lives are preoccupied by flying to foreign locales and falling in love or showcase stories that take root in slums and follow the emergence of a hero or gangster. Also, Bollywood ignores mainstream society altogether and focuses on the parallel economy powered by the underworld and its association with politicians and corrupt lawmen. Sometimes, the middle class gets a toe in but for the most part they are relegated to the sidelines. Yet, the section of Indian society that is most talked about nowadays is also the least represented in contemporary cinematic coverage. One reason for such limited coverage is that the middle class is such a vast label that encompasses multiple professions and millions of people. The label ranges from members of society who just manage to acquire a concrete roof over their heads to citizens with a measly income of a few thousand rupees a month to those with 5 digit monthly salaries who own multiples houses/apartments. A single film cannot manage to cover all such diverse cases but Habib Faisal has used one family’s experiences as a case study to examine larger issues.

The Duggals are an average middle class family struggling to make ends meet and depend primarily on a single source of income. Santosh (Rishi Kapoor, brilliant) is a school teacher whose meagre income is hardly enough to afford the family modern day luxuries such as a car. So his trusty scooter (moped) is his sole mode of transport much to the shame of his two kids and even sister-in-law. The sister-in-law insists that for once the family arrive in a car for a family wedding so that she does not have to endure further humiliation. Santosh decides to borrow his neighbour Farooqui’s (Akhilendra Mishra) car but since Santosh is not a confident driver, his daughter Payal (Aditi Vasudev) takes the wheel. Farooqui is worried about his car’s safety but despite an extraordinary wedding trip complete with having the car stolen and then recovered via a bribe, the Duggals manage to bring the car safely back to the colony. However, the car gets dented during parking and that damage leads to an altercation with Farooqui’s wife. Kusum Duggal (brilliantly played by Neetu Singh) pays more than enough to cover the damages but the insults don’t stop there. Santosh cannot stand the humiliation any further and makes an impulsive claim to own a car within 15 days. However, Santosh quickly realizes that he cannot buy a car in his teacher’s salary. His daughter Payal proposes to chip in after she finds out that a job in a call center would bring in a decent amount to contribute for a car down payment. But Santosh refuses her offer and wants Payal to focus on her studies. Instead, both Santosh and Kusum debate about honesty and morals after a student offers a substantial bribe to get a passing grade.

Santosh and Kusum lead a simple honest way of life which is why the bribe presents a dilemma. On one hand, the extra money could solve their immediate problems yet that would mean going against everything that the two of them have worked for in their lives. To complicate matters, a popular reality tv show’s sting operations catching people taking bribes gives Santosh nightmares after his son Sandeep’s (Archit Krishna) shocking admission of a cricket gambling habit and the arrest of Sandeep’s broker on that same reality show. Santosh is convinced if he were to navigate down the wrong path, he would be unmasked on the tv show.

The Duggals may be fictional creations but their plight is completely real and by shooting the movie on location in Delhi, Habib Faisal has created a story that could take place in any Delhi colony on a daily basis. Across Delhi, Middle class public school teachers or government employees struggle to make money while their children have the opportunity to earn more in one month than what the parents make in a year. The source of such income for the children comes via working in call centers or other jobs for multinational companies in the private sector. This imbalance in the incomes of two generations especially for families living under the same roof poses a unique set of challenges. By portraying Do Dooni Chaar in a charming humorous manner, Habib Faisal ensures such relevant issues are presented in an accessible manner without compromising the film’s intelligent beating heart.

Rishi Kapoor is in perfect form and gives the best acting performance seen in any Indian film in 2010. Neetu Singh used to portray memorable characters in Indian cinema through the late 1970’s and early 1980’s but she stepped away from films in 1983. She had a comeback via a small role in 2009’s Love Aaj Kaal but Do Dooni Chaar reminds of her acting talent and is proof that the craft never leaves a true artist. Do Dooni Chaar was easily the best Indian film of 2010 yet it was also one that was rarely seen. It certainly deserves a wider audience and hopefully it will get that in 2011.

Note: Habib Faisal had quite a year in 2010 as Do Dooni Chaar marked his directorial debut and he also penned the screenplay for Band Baaja Baaraat, another charming Delhi based film.

Invisible cinema

It is so common to hear complaints that a given cinema year is dull. Yet, a person lazily applies the dull tag by only looking at a handful of movies playing in a cinema near them. If a person is not lucky enough to live in New York, Toronto (to some extent) or a select city, then chances are they will only have access to Hollywood films in their local cinema. Last year, I went to Cardiff and naively hoped that I would get a chance to see some British or European films in local theaters. Yet, every single theater was playing the same Hollywood movie hogging the theaters back home in Canada. In brief travels around the world in the last few years, I have found the same Hollywood films playing in Paris, Barcelona, Madrid, London, Delhi, Mumbai, Kuala Lumpur, Singapore and Bangkok at the same time. There was a slight difference in Paris & Spain in that a given Hollywood film was dubbed in French and Spanish respectively but the same product existed in all these places. The pattern seems to be that as more multiplexes are built around the world, only Hollywood films can provide enough prints to book up all the screens. Some countries such as India, South Korea, Brazil, France and Japan are able to hold their own against Hollywood but even in these countries, it is the commercial titles that occupy the multiplex screen. In Delhi and Mumbai, Bollywood rules the multiplex while an Independent Indian film (yes, shockingly there is such a thing) struggles to get screen time. Same goes in America where indie cinema has a tough job edging out the muscular Hollywood machine.

There is clearly a horrible imbalance in the ratio of Hollywood vs indie films on theater screens not only across North America but around the world. Yet with the exception of a few film blogs, one rarely finds mention of this imbalance. So A.O. Scott’s new article is more than welcome:

And the Oscars reinforce this, frequently ignoring accessible and entertaining movies from other countries and settling on a frequently random-seeming list of finalists.

Scott tackles this variance by using the foreign film category in the Oscars as an example. The foreign film category begs to be expanded as many great films from around the world need more attention. Also, he questions the one film rule per country which really needs to be removed in this day and age of co-productions:

For some reason, the Academy insists on a one-film-per-country rule, which places a large part of the decision-making process in the hands of film industries at least as corrupt and agenda-driven as our own. Why should “Of Gods and Men” have been France’s only shot? And what determines the nationality of a film in any case? Why is Rachid Bouchareb’s “Outside the Law” an Algerian rather than a French film, given that its director is a French citizen and that it was made with mostly French financing and therefore within that country’s extensive legal statutes governing cinematic production? And what makes "Biutiful," shot in Barcelona with a Spanish cast, a Mexican film?

Another example that comes to mind is who between Germany and Austria can claim the brilliant film The Robber as their own? There is clearly a lot of lobbying and discussion that goes on in each nation as to which film should be submitted as a sole representative. For example, every year the question in India does not seem to be which is the best film of the year but rather which film has the best shot to get nominated for an Oscar. This question has certainly gained prominence in the last decade ever since Lagaan got a surprize nomination.

While there is a shortage of foreign/indie films at local theaters, it is not all doom and gloom. Thankfully, some of this great world cinema can be found via film festivals, DVDs and online. Scott highlights this as well:

Their work is almost invisible here, though it commands a fair amount of attention in the flourishing and contentious cinephile wing of the blogosphere. But it is nonetheless available to anyone with the curiosity and patience to navigate the new, fast-evolving cosmos of V.O.D. and streaming Web video.

I like to believe that theater owners will book a non Hollywood film if the movie will make them money. An award and a nomination for a foreign film will certainly go a long way in helping theater owners make that decision, as will a film’s success at various international film festivals. Also, if a foreign film is a box-office hit in its native country, then that will also increase the film’s chances of getting some screens in a North American multiplex. Yet, such awards and box-office success only greets just a few out of the thousands of foreign films that get made every year.

We are supposed to be living in an open world of limited boundaries yet theaters in North America appear to be firmly closed to the world. There is a line in Saul Bellow’s novel The Dean’s December along the lines of "For God’s Sake, open the universe a little more!". So taking that line as an inspiration:

For God’s Sake, open your theater doors a little more and let in the world.

and...a nudge towards film programmers:

If you book it, people will come.

They may not come in droves at first but a few will appear to see what this Carlos movie is all about. Then slowly others will follow. But the average person has much better taste than what film producers and distributors like to think.

2010 Foreign Language Film Oscar Candidates

I have seen 9 of the 65 candidates in the foreign film category for the 83rd Academy Awards. That is a decent number considering that only Peepli Live received a proper theatrical release and the remaining 8 just had a single screening on the film festival circuit:

Canada, Incendies, Denis Villeneuve;
Colombia, Crab Trap, Oscar Ruiz Navia;
Finland, Steam of Life, Joonas Berghall and Mika Hotakainen;
Germany, When We Leave, Feo Aladag;
Greece, Dogtooth, Yorgos Lanthimos;
India, Peepli [Live], Anusha Rizvi;
Kyrgyzstan, The Light Thief, Aktan Arym Kubat;
Thailand, Uncle Boonmee Who Can Recall His Past Lives, Apichatpong Weerasethakul;
Uruguay, La Vida Util, Federico Veiroj;

A handful of the 56 remaining films will get Canadian theatrical/DVD distribution but most likely a majority of the films will disappear if they do not get a nomination.

Here are some of the titles that I am most interested in and hopefully they will see the light of day in Canada later this year, be it in a theater or on DVD. Biutiful is already slated for a February Canadian theatrical release and after last night's win at the Golden Globes, In a Better World will likely get a theatrical run. I missed seeing The Temptation of St. Tony and Street Days at Rotterdam last year but both titles look very promising.

Argentina, Carancho, Pablo Trapero;
China, Aftershock, Feng Xiaogang;
Denmark, In a Better World, Susanne Bier;
Estonia, The Temptation of St. Tony, Veiko Ounpuu;
France, Of Gods and Men, Xavier Beauvois;
Georgia, Street Days, Levan Koguashvili;
Mexico, Biutiful, Alejandro Gonzalez Inarritu;
Peru, Undertow (Contracorriente), Javier Fuentes-Leon;
Portugal, To Die Like a Man, Joao Pedro Rodrigues;
Romania, If I Want to Whistle, I Whistle, Florin Serban;
Russia, The Edge, Alexey Uchitel;
Turkey, Bal (Honey), Semih Kaplanoglu;

note: Undertow is already available in the UK on DVD.

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[Update, Jan 20 2011]

9 films have been shortlisted and it is not surprizing to see Incendies, In a Better World and Biutiful in that list. However, Dogtooth stands out as the most radical choice.

Algeria -- Outside the Law
Canada -- Incendies
Denmark -- In a Better World
Greece -- Dogtooth
Japan -- Confessions
Mexico -- Biutiful
South Africa -- Life Above All
Spain -- Even the Rain
Sweden -- Simple Simon

Film Log: 2011

Total number of features (fiction and docs) & TV series collections seen: 381

This total includes 8 DVD season collections of the following TV series:

Mad Men, Seasons 1-4
Breaking Bad, Season 1
An Idiot Abroad, Season 1
The IT Crowd, Season 2
Tinker, Tailor, Traitor, Spy, the complete BBC Series

Film (Year, Country, Director): [optional rating out of 10]

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Soul Kitchen (2009, Germany, Fatih Akin)
The Wind Journeys (2009, Colombia co-production, Ciro Guerra)
Aladdin (1992, USA, Ron Clements/John Musker)
I Love You, Beth Cooper (2009, USA, Chris Columbus)
Madeinusa (2006, Peru/Spain, Claudia Llosa)
Rakht Charitra, part 2 (2010, India, Ram Gopal Varma): 6
Tequila Nights (2010, India, Pankaj Saraswat)
Do Dooni Chaar (2010, India, Habib Faisal): 10
A Call Girl (2009, Slovenia co-production, Damjan Kozole)
The Great Match (2006, Spain/Germany, Gerardo Olivares)
Black God White Devil (1964, Brazil, Glauber Rocha)
Away with Words (1999, Hong Kong co-production, Christopher Doyle)
Happy Together (1997, Hong Kong, Wong Kar Wai)
Please Give (2010, USA, Nicole Holofcener)
El Don (2006, Venezuela, José Ramón Novoa)
It is Fine. Everything is Fine! (2007, USA, Crispin Glover/David Brothers)
Flipped (2010, USA, Rob Reiner)
Crane World (2003, Argentina, Pablo Trapero)
The White Countess (2005, UK co-production, James Ivory)
Duck Season (2004, Mexico, Fernando Eimbcke)
Lion's Den (2008, Argentina co-production, Pablo Trapero)
Enter the Void (2009, France co-production, Gaspar Noé): 8
Les Biches (1968, France, Claude Chabrol)
The King’s Speech (2010, UK/Australia/USA, Tom Hooper): 8
Casino Jack (2010, Canada, George Hickenlooper)
The Girl Who Played With Fire (2009, Sweden co-production, Daniel Alfredson)
Cocalero (2007, Bolivia/Argentina, Alejandro Landes)
Dhobi Ghat (2010, India, Kiran Rao): 10
Blue Valentine (2010, USA, Derek Cianfrance): 9
Araya (1959, Venezuela/France, Margot Benacerraf)
Animal Kingdom (2010, Australia, David Michôd): 7.5
Catfish (2010, USA,Ariel Schulman/Henry Joost)
Wild Things (1998, USA, John McNaughton)
Tangled (2010, USA, Nathan Greno/Byron Howard)
A Town Called Panic (2009, Belgium co-production, Stéphane Aubier/Vincent Patar): 8.5

London River (2009, UK/France/Algeria, Rachid Bouchareb)
Birdwatchers (2008, Italy/Brazil, Marco Bechis)
The Baader Meinhof Complex (2008, Germany co-production, Uli Edel)
Looking for Eric (2009, UK co-production, Ken Loach)
The Mechanic (2011, USA, Simon West)
The Company Men (2010, UK/USA, John Wells): 6
Somewhere (2010, USA, Sofia Coppola): 6.5
Ondine (2009, Ireland/USA, Neil Jordan)
Los Bastardos (2008, Mexico/France/USA, Amat Escalante)
Micmacs (2009, France, Jean-Pierre Juenet)
Another Year (2010, UK, Mike Leigh): 10
No One Killed Jessica (2011, India, Raj Kumar Gupta): 8
Red Riding 1974 (2009, UK, Julian Jarrold): 9
Red Riding 1980 (2009, UK, James Marsh): 9
Red Riding 1983 (2009, UK, Anand Tucker): 9
I Wish I Knew (2010, China, Jia Zhang-Ke)
Lebanon (2010, co-production, Samuel Maoz)
Ip Man (2008, Hong Kong, Wilson Yip)
Substitute (2006, France, Vikash Dhorasoo/Fred Poulet)
Lourdes (2009, Austria/France/Germany, Jessica Hausner): 9
Cronicas (2004, Ecuador/Mexico, Sebastián Cordero)
Rabbit-Proof Fence (2002, Australia co-production, Phillip Noyce)
Le Femme Infidel (1969, France, Claude Chabrol)
Nada (1974, France, Claude Chabrol)
I am Love (2009, Italy, Luca Guadagnino)
Que la bête meure (1969, France, Claude Chabrol)
Alamar (2009, Mexico, Pedro González-Rubio)
The Butcher (1971, France, Claude Chabrol)
Juste avant la nuit (1971, France, Claude Chabrol)
Punishment Park (1971, USA, Peter Watkins)
Agrarian Utopia (2009, Thailand, Uruphong Raksasad)
Les noces rouges (1973, France, Claude Chabrol)
Cuadacuc, Vampir (1970, Spain, Pere Portabella)
Nocturne 29 (1968, Spain, Pere Portabella)
Umbracle (1972, Spain, Pere Portabella)
Things Overtaken by Silence (2009, Mexico, Nicolas Perada)
The Adjustment Bureau (2011, USA, George Nolfi): 5
Gasland (2010, USA, Josh Fox)
Kings of Pastry (2009, co-production, Chris Hegedus/D.A. Pennebaker)
The Silence Before Bach (2007, Spain, Pere Portabella)
The Girl Who Kicked the Hornet’s Nest (2009, Sweden co-production, Daniel Alfredson)
Last Train Home (2009, Canada/China/UK, Lixin Fan): 9
Warsaw Bridge (1990, Spain, Pere Portabella)
Tamara Drewe (2010, UK, Stephen Frears)
Tere Bin Laden (2010, India, Abhishek Sharma)
Les herbes folles (2009, France/Italy, Alain Resnais)
Tees Maar Khan (2010, India, Farah Khan): 0
Informe General (1977, Spain, Pere Portabella)
Never Let Me Go (2010, UK/USA, Mark Romanek): 6
Carcasses (2009, Canada, Denis Côté)
Limitless (2011, USA, Neil Burger)
The Next Three Days (2010, USA/Canada, Paul Haggis): 7
Client 9 (2010, USA, Alex Gibney)
West is West (2010, UK, Andy DeEmmony)
Songs from the Second Floor (2003, Sweden, Roy Andersson)
You, the Living (2009, Sweden, Roy Andersson)
Pour la suite du monde (1963, Canada, Michel Brault)
Munyurangabo (2007, Rwanda/USA, Lee Isaac Chung)
You Will Meet a Tall Dark Stranger (2010, UK/USA, Woody Allen)
In a Better World (2010, Denmark/Sweden, Susanne Bier): 7.5
Of Gods and Men (2010, France, Xavier Beauvois): 8.5
At Midnight I Will Steal Your Soul (1964, Brazil, José Mojica Marins)
Strange Hostel of Naked Pleasures (1975, Brazil, José Mojica Marins)
Enter le mer et l’eau douce (1965, Canada, Michel Brault)
The American (2010, USA, Anton Corbijn)

La Nostra Vita (2010, France/Italy, Daniele Luchetti)
Love and Other Drugs (2010, USA, Edward Zwick)
Due Date (2010, USA, Todd Phillips)
Not One Less (1999, China, Zhang Yimou)
Soundtracker (2010, USA, Nick Sherman)
Tucker & Dale vs Evil (2010, Canada, Eli Craig)
I Stand Alone (1998, France, Gaspar Noé): 9
24 City (2008, China/Hong Kong/Japan, Jia Zhang-ke)
Ice Age (2002, USA, Chris Wedge/Carlos Saldanha)
Death at a Funeral (2007, UK co-production, Frank Oz)
L’Acadie l’Acadie?!? (1971, Canada, Michel Brault)
High-Rise (2009, Brazil, Gabriel Mascaro)
Hobo with a Shotgun (2011, Canada/USA, Jason Eisener)
You Are Here (2010, Canada, Daniel Cockburn): 7
Morning Glory (2010, USA, Roger Michell)
The Trotsky (2009, Canada, Jacob Tierney)
IT Crowd: Season 2 (2007, UK, Graham Linehan)
Attenberg (2010, Greece, Athina Rachel Tsangari): 9
Tron (1982, USA, Steven Lisberger)
The Brown Bunny (2003, USA/Japan/France, Vincent Gallo): 7.5
Tanu Weds Manu (2011, India, Aanand Rai)
Band Baaja Baaraat (2010, India, Maneesh Sharma)
The Beautiful Washing Machine (2004, Malaysia, James Lee)
Thank You (2011, India, Anees Bazmee): 0
I Walked with a Zombie (1943, USA, Jacques Tourneur)
Chaotic Ana (2007, Spain, Julio Medem)
Africa United (2005, Iceland, Olaf de Fleur Johannesson)
Star Spangled to Death (2004, USA, Ken Jacobs)
Embodiment of Evil (2009, Brazil, José Mojica Marins)
This Night I’ll Possess Your Corpse (1967, Brazil, José Mojica Marins)
The Strange World of José Mojica Marins (2001, Brazil, André Barcinski/Ivan Finotti)
Awakening of the Beast (1970, Brazil, José Mojica Marins)
Les Ordres (1974, Canada, Michel Brault): 10
demonLover (2002, France, Olivier Assayas)
Zidane (2006, France/Iceland, Douglas Gordon/Philippe Parreno): museum installation
End of Man (1971, Brazil, José Mojica Marins)

How Do You Know (2010, USA, James L. Brooks): 7.5
Ratas, ratones, rateros (1999, Ecuador, Sebastián Cordero)
Nightmare Alley (1947, USA, Edmund Goulding)
Burlesque (2010, USA, Steve Antin)
The Way Back (2010, USA, Peter Weir)
The Holy Girl (2004, Argentina co-production, Lucrecia Martel)
Thirst (2009, South Korea, Chan-wook Park): 7
Warrendale (1968, Canada, Allan King)
Come on Children (1972, Canada, Allan King)
Memory for Max, Claire, Ida and Company (2005, Canada, Allan King)
Dying at Grace (2003, Canada, Allan King)
Game (2011, India, Abhinay Deo): 4
Shor in the City (2011, India, Krishna D.K, Raj Nidimoru): 8.5
The Naked Kiss (1964, USA, Samuel Fuller)
Hereafter (2010, USA, Clint Eastwood)
Summer Wars (2009, Japan, Mamoru Hosoda): 8
A Serbian Film (2010, Serbia, Srdjan Spasojevic)
Chalo Dilli (2011, India, Shashant Shah): 8.5
White Dog (1982, USA, Samuel Fuller): 8
Bee Movie (2007, USA, Steve Hickner/Simon J. Smith)
The Colors of the Mountain (2010, Colombia/Panama, Carlos César Arbeláez): 7
Thieves’ Highway (1949, USA, Jules Dassin)
Dum Maro Dum (2011, India, Rohan Sippy): 6
Birdemic: Shock and Terror (2010, USA, James Nguyen): 2
Taxidermia (2006, Hungary co-production, György Pálfi): 6
Cloudy with a Chance of Meatballs (2009, USA, Phil Lord/Chris Miller)
House (1977, Japan, Nobuhiko Ôbayashi)
Iron Island (2005, Iran, Mohammad Rasoulof): 9
Kung Fu Panda 2 (2011, USA, Jennifer Yuh): 4.5
Days of Heaven (1978, USA, Terrence Malick): 9
A Ilha da Morte (2006, Brazil/Cuba/Spain, Wolney Oliveira)
The Case of the Grinning Cat (2004, France, Chris Marker)
Buried (2010, Spain/USA/France, Rodrigo Cortés): 9
Monsters (2010, UK, Gareth Edwards): 8
The Red and the White (1968, Hungary/USSR, Miklós Jancsó)
Evangelion: 1.1 (2007, Japan, Masayuki/Kazuya Tsurumaki/Hideaki Anno)
The Tourist (2010, USA/France, Florian Henckel von Donnersmarck)
The Thin Red Line (1998, USA, Terrence Malick): 7.5
The New World (2005, USA, Terrence Malick): 9
Elite Squad (2007, Brazil co-production, José Padilha): 6.5
7 Khoon Maaf (2011, India, Vishal Bhardwaj)
Margarette’s Feast (2003, Brazil/USA, Renato Falcão): 7
The Incredibles (2004, USA, Brad Bird)
I Am (2010, India/Japan, Onir)
Once Upon a Time in Rio (2008, Brazil, Breno Silveira)
Nostalgia for the Light (2010, Chile co-production, Patricio Guzmán): 9
Marigold (2007, USA/India/UK, Willard Carroll)
Extract (2009, USA, Mike Judge)
Biutiful (2010, Mexico/Spain, Alejandro González Iñárritu): 6
Barney’s Version (2010, Canada/Italy, Richard J. Lewis): 7.5
Carancho (2010, Argentina co-production, Pablo Trapero): 8.5
Shaitan (2011, India, Bejoy Nambiar): 7
Two-Lane Blacktop (1971, USA, Monte Hellman): 9
Mademoiselle Chambon (2009, France, Stéphane Brizé): 8
Film socialisme (2010, Switzerland/France, Jean-Luc Godard): 5.33
Spite Marriage (1929, USA, Buster Keaton/Edward Sedgwick)
Horny House of Horror (2010, Japan, Jun Tsugita)
Meek’s Cutoff (2010, USA, Kelly Reichardt): 9
The Tree of Life (2011, USA, Terrence Malick): 9
Gerry (2002, USA, Gus Van Sant)
Cedar Rapids (2011, USA, Miguel Arteta): 7.5
Tokyo Sonata (2008, Japan co-production, Kiyoshi Kurosawa): 9
Marwencol (2010, USA, Jeff Malmberg)
Conviction (2010, USA, Tony Goldwyn)
Bbuddah Hoga Terra Baap (2011, India, Puri Jagannath): 1
Zindegi Na Milegi Dobara (2011, India, Zoya Akhtar): 7
Blackthorn (2011, Spain/USA/Bolivia/France, Mateo Gil): 5.5
Beyond the Black Rainbow (2011, Canada, Panos Cosmatos): 6.5
Gantz (2010, Japan, Shinsuke Sato): 7.5
Gantz: Perfect Answer (2011, Japan, Shinsuke Sato): 6.5
Article 12 (2010, UK/Argentina, Juan Manuel Biaiñ): 5
Dharma Guns (2010, France/Portugal, F.J. Ossang): 6
Morituris (2011, Italy, Raffaele Picchio): 2
Redline (2009, Japan, Takeshi Koike): 7.5

Beau Travail (1999, France, Claire Denis): 9
Friday Night (2002, France, Claire Denis): 7
Delhi Belly (2011, India, Abhinay Deo): 4
Bheja Fry 2 (2011, India, Sagar Ballary): 1
Nénette et Boni (1996, France, Claire Denis): 8
I Saw the Devil (2010, South Korea, Jee-woon Kim): 6.5
Friends with Benefits (2011, USA, Will Gluck): 5
Singham (2011, India, Rohit Shetty): 3
The Night Watchman (2011, Mexico/USA, Natalia Almada)
Source Code (2011, USA/France, Duncan Jones): 6
13 Assassins (2010, Japan/UK, Takashi Miike): 7
New York, I Love You (2009, USA, multiple): 6
White Material (2009, France/Cameroon, Claire Denis): 9
Sucker Punch (2011, USA, Zack Synder): 5
My Dog Tulip (2009, USA, Paul Fierlinger / Sandra Fierlinger)
Miral (2010, France co-production, Julian Schnabel): 5
Double Indemnity (1944, USA, Billy Wilder)
L’Intrus (2004, France, Claire Denis): 10
VIPs (2010, Brazil, Toniko Melo)
Stake Land (2010, USA, Jim Mickle): 4
Road to Nowhere (2011, USA, Monte Hellman): 7.5
Zookeeper (2011, USA, Frank Coraci): 5
Undertow (2009, Peru co-production, Javier Fuentes-León): 9
Trollhunter (2010, Norway, André Øvredal): 6.5

The Wind Will Carry Us (1999, Iran, Abbas Kiarostami): 10
Aarakshan (2011, India, Prakash Jha): 5.5
Bhindi Baazaar (2011, India, Ankush Bhatt): 3
Rango (2011, USA, Gore Verbinski): 6
Tickets (2005, Italy/UK, Abbas Kiarostami/Ken Loach/Ermanno Olmi): 6
Badlands (1973, USA, Terrence Malick): 7.5
Taste of Cherry (1997, Iran, Abbas Kiarostami): 10
99.9 FM (2005, India, Sanjay Bhatia)
Ten (2002, Iran, Abbas Kiarostami): 8
Raat Gayi, Baat Gayi? (2009, India, Saurabh Shukla)
Insignificance (1985, UK, Nicolas Roeg)
Night and Day (2008, South Korea, Hong Sang-soo): 8
Paul (2011, USA/UK, Greg Mottola): 6
The Desert of Forbidden Art (2010, Russia/USA/Uzbekistan, Tchavdar Georgiev/Amanda Pope): 9
Drive (2011, USA, Nicolas Winding Refn): 9
The Mist (2007, USA, Frank Darabont)
Guilt (2011, Canada, Marc Bisaillon)
Maria, my Love (2011, USA, Jasmine McGlade Chazelle)
Heat Wave (2011, France, Jean-Jacques Jauffret)
The Sacrament of Life (2008, USA, Joseph Sorrentino)
Kill List (2011, UK, Ben Wheatley)
Flowers of Evil (2010, France, David Dusa)
Radio Free Albemuth (2010, USA, John Alan Simon)
Old Goats (2010, USA, Taylor Guterson)
Alps (2011, Greece, Giorgos Lanthimos)
The Whisperer in the Darkness (2011, USA, Sean Branney)
Sunflower Hour (2011, Canada, Aaron Houston)
Journey of a Dream (2011, Canada co-production, Shenpenn Khymsar)
George the Hedgehog (2011, Poland, Wojtek Wawszczyk, Jakub Tarkowski, Tomasz Leśniak)
Target (2011, Russia, Alexander Zeldovich)
In Heaven, Underground (2011, Germany, Britta Wauer)
Cold Fish (2010, Japan, Sion Sono)
Le Quattro Volte (2010, Italy co-production, Michelangelo Frammartino): 10
Black Bread (2010, Spain/France, Agustí Villaronga)
Bon appétit (2010, Switzerland co-production, David Pinillos)
Kopfkino (2011, Germany, Serdar Dogan)
Stuff (2010, USA, Lawrence Johnson)
Of Games and Escapes (2010, Canada, Bevan Klassen)
Melancholia (2011, Denmark co-production, Lars von Trier): 9
Senna (2010, UK, Asif Kapadia): 8.5
Page One: Inside the New York Times (2011, USA, Andrew Rossi): 6.5

Win/Win (2011, USA, Thomas McCarthy)
Tere Mere Phere (2011, India, Deepa Sahi): 7
Saheb Biwi aur Gangster (2011, India, Tigmanshu Dhulia): 8
Midnight in Paris (2011, Spain/USA, Woody Allen): 8
Last Night (2010, USA/France, Massy Tadjedin): 6
Fast Five (2011, USA, Justin Lin): 5
Thor (2011, USA, Kenneth Branagh): 6
Conan O’Brien Can’t Stop (2011, USA, Rodman Flender)
Super (2010, USA, James Gunn): 4
Hanna (2011, USA/UK/Germany, Joe Wright): 6
The Beaver (2011, USA/UAE, Jodie Foster): 5.5
The Two Escobars (2010, Colombia/USA, Jeff Zimbalist/Michael Zimbalist)
Mere Brother Ki Dulhan (2011, India, Ali Abbas Zafar): 4
Killers (2010, USA, Robert Luketic)
Step Up 3 (2010, USA, Jon M. Chu): 5
Too Big To Fail (2011, USA, Curtis Hanson): 7
The Extraordinary Adventures of Adèle Blanc-Sec (2010, France, Luc Besson): 6
Margin Call (2011, USA, J.C Chandor): 8
War, Love, God and Madness (2008, UK/Iraq, Mohamed Al Daradji)
Horrible Bosses (2011, USA, Seth Gordon): 8
Sleeping Beauty (2011, Australia, Julie Leigh): 5
Bridesmaids (2011, USA, Paul Feig): 6.5
Mad Men, Season One (2007, USA, multiple): 9
Breaking Bad, Season One (2008, USA, multiple)
Cold Weather (2010, USA, Aaron Katz): 8
Thief (1981, USA, Michael Mann)
That Girl in Yellow Boots (2010, India, Anurag Kashyap): 6
The Turin Horse (2011, Hungary co-production, Béla Tarr/Ágnes Hranitzky): 9

The Kid With a Bike (2011, Belgium co-production, Jean-Pierre Dardenne/Luc Dardenne): 9
Contagion (2011, USA/UAE, Steven Soderbergh): 7.5
Bad Teacher (2011, USA, Jake Kasdan): 5
Mr. Freedom (1969, France, William Klein)
Army of Crime (2009, France, Robert Guédiguian)
Brighton Rock (2010, UK, Rowan Joffe): 6
Aurora (2010, Romania co-production, Cristi Puiu): 9
Mad Men, Season Two (2008, USA, multiple): 8
Mad Men, Season Three (2009, USA, multiple): 7.5
The Greatest Movie Ever Sold (2011, USA, Morgan Spurlock): 6
The Ides of March (2011, USA, George Clooney): 8.5
Surveillance (2008, USA/Germany/Canada, Jennifer Lynch): 5.5
Jaan-E-Mann (2006, India, Shirish Kunder): 3
Cars 2 (2011, USA, John Lasseter/Brad Lewis): 6.5
Bal/Honey (2010, Turkey co-production, Semih Kaplanoglu): 8
City of Life and Death (2009, China/Hong Kong, Chuan Lu)
Moneyball (2011, USA, Bennett Miller): 8
Tuesday, After Christmas (2010, Romania, Radu Muntean): 8
A Separation (2011, Iran, Asghar Farhadi): 9.5
The Delicate Art of Parking (2003, Canada, Trent Carlson)
The Housemaid (2010, South Korea, Sang-soo Im)
The Red Chapel (2009, Denmark, Mads Brügger)
Hugo (2011, USA, Martin Scorsese): 8
Man Men Season 4 (2010, USA, multiple): 9.5
Son of Babylon (2009, Iraq co-production, Mohamed Al-Daradji): 8
The Arbor (2010, UK, Clio Barnard): 8

The Bothersome Man (2006, Norway/Iceland, Jens Lien): 6.5
Last Days (2005, USA, Gus Van Sant)
Last Stop 174 (2008, Brazil/France, Bruno Barreto): 5
Crazy, Stupid, Love (2011, USA, Glenn Ficarra/John Requa): 8
Pina (2011, Germany/France/UK, Wim Wenders)
The Dirty Picture (2011, India, Milan Luthria): 7
Red State (2011, USA, Kevin Smith): 5
The Skin I Live In (2011, Spain, Pedro Almodóvar): 7
We Need to Talk About Kevin (2011, UK/USA, Lynne Ramsay): 8.5
Tyrannosaur (2011, UK, Paddy Considine): 7.5
Another Earth (2011, USA, Mike Cahill): 4
Love Crime (2010, France, Alain Corneau): 8
Caliber 9 (1972, Italy, Fernando Di Leo)
Cave of Forgotten Dreams (2010, co-production, Werner Herzog)
The Artist (2011, France/Belgium, Michel Hazanavicius): 7.5
Wrecked (2010, Canada/USA, Michael Greenspan): 6.5
Clueless (1995, USA, Amy Heckerling)
Tinker, Tailor, Traitor, Spy: BBC Series (1979, UK, John Irvin)
The Black Power Mixtape 1967-1975 (2011, Sweden, Göran Olsson)
Even the Rain (2010, Mexico co-production, Icíar Bollaín)
Arthur Christmas (2011, UK/USA, Sarah Smith/Barry Cook): 5.5
Terri (2011, USA, Azazel Jacobs): 7
Miss Bala (2011, Mexico, Gerardo Naranjo)
Carnage (2011, France co-production, Roman Polanski)
BellFlower (2011, USA, Evan Glodell): 5
Trust (2010, USA, David Schwimmer): 7.5
An Idiot Abroad: Season 1 (2010, UK, multiple)
Ladies vs Ricky Bahl (2011, India, Maneesh Sharma): 8
Desi Boyz (2011, India, Rohit Dhawan): 0
Gandhi to Hitler (2011, India, Rakesh Ranjan Kumar)
Rio Sex Comedy (2010, France/Brazil, Jonathan Nossiter): 6.5
Buck (2011, USA, Cindy Meehl)
The Battle of Chile (1978, Chile, Patricio Guzmán)
O’Horten (2006, Norway co-production, Bent Hamer): 7.5
The Italian Connection (1972, Italy/West Germany, Fernando Di Leo)
Poetry (2010, South Korea, Lee Chang-dong)
The Boss (1973, Italy, Fernando di Leo)
Yeh Saali Zindigi (2011, India, Sudhir Mishra): 7
Rulers of the City (1976, Italy/West Germany, Fernando di Leo)
The Descendants (2011, USA, Alexander Payne): 7.5
Weekend (2010, UK, Andrew Haigh): 8
Tomboy (2011, France, Céline Sciamma): 7
Kidnapped (2010, Spain/France, Miguel Ángel Vivas): 0
Rapt (2009, France/Belgium, Lucas Belvaux)
Attack the Block (2011, UK/France, Joe Cornish): 7

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