Copa America 2011: Brazil

Entry #8 of the Copa America 2011 Book & Film Festival.

Book: Zero by Ignácio de Loyola Brandão

Ignácio de Loyola Brandão’s incredible Zero controls its pace in a remarkable manner thereby taking its readers on an unforgettable ride through a Brazilian state under a military regime. The book starts off slowly with abstract stories, including newspaper clippings, but gradually a narrative emerges and the book accordingly picks up pace to reflect various moments of high tension. Jose and his wife Rosa are the main characters whose lives take a variety of turns because of their need of money to build a better future. However, that money is always elusive and quest for it turns Jose into a wanted man. Zero depicts details of police torture, the “death squads” and life under a repressive regime, so it is not a surprize that Brandão’s book was rejected for publication in Brazil. The book was first published in Italy (1974) after a translation was done by the Italian novelist Antonio Tabucchi. The images of violence & torture that Brandão’s book creates can now be associated with films such City of God and Elite Squad but Brandão started writing his book in 1964 and completed it in 1973 decades before those films. As it stands, I have never come across any article discussing Brandão’s book and only chanced upon it at the City Lights bookstore in San Francisco, something which highlights the importance of excellent bookstores.

Overall, Zero has been the real literary discovery of this Copa America spotlight because of its incredible writing technique which controls pace and tension.

Film: 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 and as a result, even after the film has ended it takes a while for the images to settle in one’s memory. A corrupt lawless world is shown, where landlords, religious figures and outlaws jostle for power and control of over the souls of innocent workers. As a result, innocent men and women are forced to choose one corrupt figure to align with and that choice governs how long they will be able to avoid death. In the film, the married couple of Manuel and Rosa are forced on the run after Manuel kills a rancher who was taking advantage of Manuel. 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 for the film prevents any distractions from observing the plight of central characters and is something which heightens the violent struggles, aided by the musical score as well.

Copa America 2011: Uruguay

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

Book: Body Snatcher by Juan Carlos Onetti

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

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

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

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

Film: A Useful Life (2010, Federico Veiroj)

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

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

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

Uruguay at Copa America

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

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

Copa America 2011: Costa Rica

Entry #6 of the Copa America 2011 Book & Film Festival.

Book: Cocori by Joaquin Guteierrez

Cocori is a thoughtful children's book set in Costa Rican locales of a lush jungle and a beach. Young Cocori’s life is changed when he comes across a young blond girl who presents him with a rose. Unfortunately the rose withers after a day leaving a sad Cocori to question its quick demise. In order to seek an answer, Cocori leaves home without telling his mother and heads deep into the jungle. Along the way, he befriends animals who are willing to accompany him in his quest and who suggest that an answer for the short life of the rose might originate from two of the oldest animals of the jungle, the alligator and the snake. But those two aged animals have no answers for Cocori who instead finds his answer closer to home. There are a few illustrations in the book which are useful in portraying the main animal characters but there is no illustration of the little girl. Overall, a change of pace from the remaining books read as part of this spotlight.

Film: Cold Water of the Sea (2010, Paz Fabrega)

The film contains parallel stories of seven year old Karina (Montserrat Fernández) and a woman Mariana (Lil Quesada Morúa) going through a difficult time in their lives. The two are separated by a few decades in age but both are misunderstood by those around them and in a way are suffering a slow death. When Mariana first encounters Karina, the young girl tells Mariana that she has run away from home and claims she was abused by her uncle. Mariana and her companion Rodrigo (Luis Carlos Bogantes) are concerned about Karina and want to look after her but the following morning, they are surprized to find Karina missing. Mariana cannot get Karina out of her mind and those thoughts unhinge Mariana. After this point, the film is depicted in a manner which makes the two females appear as reflections of each other. One can imagine Karina would grow up as Mariana, and looking at Mariana one can see shades of Karina.

Paz Fabrega’s camera shows the natural beauty of the ocean but also points at the danger that the beach can contain like in the form of snakes. The title refers to the fact that the cold water causes sea snakes to leave their water habitat to instead seek warmth in the sandy beaches. The snakes are not shown to bite Karina or any of her friends but in one scene, Karina mentions she was bit by a snake only for her claim to be dismissed by her uncle. The snake bite could be another story made up by Karina like the abuse claim because no scenes are shown to verify her words. Instead, the young girl’s expressions lay a seed of doubt in viewers. Such scenes of doubt are common place in Cold Water of the Sea as are scenes which don’t fit in with the story of either female such as those that point to the changing landscape of Costa Rica’s coast, such as the selling of land to foreigners for building hotels or resorts. Overall, the film leaves plenty of contemplative room for audience to make up their mind regarding what is going on but there are some ideas which could be better etched out. Still, the film is worth a look and Paz Fabrega is a director to keep an eye out for.

Copa America Campaign

Costa Rica decided to send a young Under-23 aged team to the Copa because of the senior team’s commitments in the Gold Cup. So that meant the entire purpose of Costa Rica’s presence in Argentina was to give their youngsters much needed experience for future tournaments. In that regard, the young Costa Rican team gave a good account of themselves by narrowly losing 1-0 to Colombia before running circles around Bolivia with a wonderful 2-0 win. Jole Campbell was a real discovery for the Ticos in the Bolivia game and scored the second goal. Campbell’s pace was also on display for the final group game against Argentina but Costa Rica never stood a chance against a Messi inspired Argentina team who won 3-0 but could have scored more goals. Still, Costa Rica narrowly missed making the quarter-finals and were only edged out on goal difference by Paraguay for the second of the best third team spots. Costa Rica can call their participation in the Copa a success and Campbell’s display is already drawing interest from both Arsenal and Manchester United.

Copa America 2011: Japan

Entry #5 of the Copa America 2011 Book & Film Festival.

Book: Kafka on the Shore by Haruki Murakami



15 year old Kafka runs away from home and finds himself in a new town absorbing the treasures found in the Komura Memorial Library. Nakata can talk to cats and this ability makes him a great cat hunter and he manages to earn some money from these activities. The two have nothing in common but as in other Murakami novels such as Hard-Boiled Wonderland and the End of the World & The Wind-Up Bird Chronicle, two seemingly unrelated threads are destined to cross paths. As Kafka’s story starts to wind down, Nakata’s story picks up pace and progresses to a pivotal moment only to suddenly pause before the action switches over to Kafka’s tale, which starts building up pace again. This start-pause method continues until both stories’ path converge. In between the pages are many other sub-plots and fascinating elements of psychic driving, World War II lost soldiers, ghosts, time travel, dream navigation, undying love, graphic sex, incest, oedipal complex, prophecies, fish falling from the sky and characters such as Johnny Walker and Colonel Sanders. Near the end of the book, a scene right out of a horror movie makes an appearance when a slimy creature attempts to enter the human world. All the diverse elements are neatly put together in the overall framework of the story. A trademark of a good writer is the ability to spin fantastical tales in a smooth easy flowing manner. There is no doubt about Murakami’s talent as he is one of the best writers out there. However, there is no real need to infuse the book with all the minor sub-plots. If some of the elements were chopped out of the 615 pages, the book would not really lose anything. Editing is a useful necessity but it appears that famous authors are allowed a lot more leeway when it comes to getting their works edited. If the same freedom were allowed to filmmakers, then most films would easily be between 4-5 hours in length as directors would find every single shot perfect and something worthy of inclusion. Still, Kafka on the Shore is an engrossing read despite being jam packed with elements of sci-fi, sex, comedy, WWII, coming of age, romance, ghost & horror.

Film: Tokyo Sonata (2008, Kiyoshi Kurosawa)



Kiyoshi Kurosawa’s beautiful film depicts the breakdown of a family and eventual rebirth. Ryuhei (Teruyuki Kagawa) loses his job and instead of telling his wife Megumi (Kyoko Koizumi), continues to leave home everyday dressed for work while spending time on the streets or at a free soup kitchen. Megumi is slowly inching her way to independence but yearns for full freedom. Their elder son Takashi (Yu Koyanagi) is disenchanted with his life and believes his life would be better served by joining the American military. The youngest son Kenji (Kai Inowaki) also rebels against his parents by skipping school and using the money from his school fees to pay for secret piano lessons knowing full well that his father is against him learning music. Each character goes through a transformation after reaching a breaking point before awakening to a new dawn. Some of the family’s tender moments and even tensions share a bond with the cinema of Ozu. Overall, a quite sublime film.

Japan & Copa America

Japan first announced they were pulling of the Copa America in April citing the earthquake and tsunami as the reason. However, they changed their mind after a few weeks and decided to send a team to Argentina before officially pulling out again after a backlog of J-League fixtures would have hindered the Japanese national soccer team’s preparations. Japan’s absence at the Copa America has been a loss for sure because their national team showed plenty of technical promise at the 2010 Soccer World Cup. A redeeming aspect is that Japan have been invited to the next Copa America in four years time so that will provide another chance to monitor the progress of the Japanese team.

Copa America 2011: Mexico

Entry #4 for the Copa America 2011 Book & Film Festival.

Book: The Underdogs by Mariano Azuela

Mariano Azuela’s book gives a ground level view of the Mexican Revolution, a landmark historical event that continues to be a source of inspiration for literature and cinema. Revolutions are often messy and sometimes very bloody. Over time, the graphic details of a revolution are softened in favour of the legacy of the revolution and impact it had for the nation and its citizens. Azuela’s book, originally published in 1915, etches out such vivid characters and situations that ensures one will never forget the blood and sacrifice that went into the revolution. The book uses the character of Demetrio Macias as an anchor to depict the revolution and blood letting that occurred. At the start of the book, Demetrio is just a peaceful man but he is thrust into the struggle after his house is burnt down.

“Why didn’t you kill ‘em?”
“Their hour hasn’t struck yet.”
They went out together; she bore the child in her arms. At the door, they separated, moving off in different directions.
The moon peopled the mountain with vague shadows. As he advanced at every turn of his way Demetrio could see the poignant, sharp silhouette of a woman pushing forward painfully, bearing a child in her arms.
When, after many hours of climbing, he gazed back, huge flames shot up from the depths of the canyon by the river. It was his house, blazing....

The above lines come just four pages into The Underdogs and the book does not ease up after that but dives deeper and deeper into the eye of the storm. The Underdogs paints a stark picture of how some people break free from their principles when dealing with survival, poverty or power. The book is made up of quickly paced short chapters akin to scenes in a film. The words are carefully chosen and properly convey the sentiments of the characters without ever feeling dramatic or un-needed. Azuela’s book is a combination of his personal experiences and fictional recreation based on accounts he heard from soldiers and people effected by the revolution. The end result is a work that depicts many powerful scenarios that stay long in the memory.

Film: Duck Season (2004, Fernando Eimbcke)

Best friends Flama (Daniel Miranda) and Moko (Diego Cataño) have a fun afternoon planned out involving video games and pizza. Their video game duel is first interrupted by the young girl next door, Rita (Danny Perea), who wants to borrow the oven for some baking. The boys let her in and resume their gaming only to get hungry. They order pizza from a shop that promises the pizza will be free if it is not delivered under 30 minutes. The delivery man Ulises (Enrique Arreola) manages to arrive a shade under 30 minutes but the boys don’t open the door and count down the seconds until the 30 minutes are up. They then refuse to pay because they claim Ulises missed his deadline. Ulises refuses to leave until he has been paid and a showdown emerges between him and the two boys. Eventually the stalemate is broken when it is agreed the pizza money fate will be decided by a soccer video game. The game is in on the verge of completion when the electricity goes out, something which even disrupts Rita’s baking, a baking task that never seems to end. The four lay around on the couch and new friendships are developed and their personalities are altered due to the presence of some marijuana brownies. Ulises is not happy in his job and not pleased with the direction his life has taken and the brownies only help bring him clarity.

Fernando Eimbcke’s film is shot in Mexico but it has a universal theme and could take place in any city where a combination of video games, pop, pizza and hormones has the power to alter an otherwise average day. The film also raises some other issues, merely by its absence such as the issue of parenting and how it has an effect on young children. The film’s title comes from a painting of ducks in the living room and as per picture, the lives of the four characters undergoes a migration of sorts even though neither of them physically leave the apartment.

Copa America 2011 Campaign

The Mexican team that arrived at Copa America was not the goal scoring machine that won the Gold Cup but instead a younger team, with many talented prospects. A combination of a doping and off-field scandal left Mexico without more than half their senior squad so an U-23 Olympic level team took to the field in Argentina. For such an inexperienced squad, Mexico looked dangerous at times in their 2-1, 1-0 and 1-0 losses to Chile, Peru and Uruguay respectively. Still, a lot is expected from the Mexican national team no matter which age level team takes part because of the immense following of the game in Mexico and also because of the skillful talented players that are present. So it was surprizing to see Mexico finish not only bottom of Group C but also as the only team who did not earn a single point at Copa America. The three games surely provided a valuable lesson for the young players, some of whom will most likely play a part in the senior team’s qualifying campaign for the 2014 World Cup in Brazil.

Copa America 2011: Bolivia

Entry #3 for the Copa America 2011 Book & Film Festival.

Book: Aurora by Giancarla de Quiroga

Giancarla De Quiroga’s Aurora uses a cinderella like romance story as a springboard to examine political and social changes that played a part in the Bolivian revolution of 1952. The wealthy landowner Alberto returns from Europe to find no shortage of suitors seeking to marry him. However, he ignores all the flashy girls and is instead smitten by young innocent Aurora at a party. He seeks her out and wants her to run away with him without getting married. At first, the thought of running away without marriage terrifies Aurora who proclaims it a sin. But her feelings for Alberto take over and she leaves her life behind to join Alberto at his hacienda. Their love blossoms and allows them to weather economic hardships to turn the hacienda into a profit making enterprise by using the land to grow and sell vegetables. At the peak of the hacienda’s profitable ways, Alberto starts to get disenchanted with his Bolivian life and yearns to return to France where he thinks his true joy resides. He wants to sell all his land and begins to neglect his surroundings just as Aurora opens her eyes to life around her. She begins to teach the native Indian peasants and workers to read and her act is in direct defiance to Alberto and society. Alberto’s health gets progressively worse but he is preoccupied only with escaping to France. Their love is on the verge of extinction but things take a dramatic turn when the revolution reaches their land forcing them to turn to each other for safety.

The book mirrors the political and economic change in Bolivian rural life from the 1930’s until the early 1950’s with the emergence of peasant uprisings. By placing the character of Aurora as a teacher of the peasants, De Quiroga has created a character that is in tune with the suffering and needs of the workers. On the other hand, the detached Alberto represents a rich land owner oblivious to the needs of his workers. Even when the truth about the worker’s condition is revealed to Alberto, he ignores facts and turns the other way. Eventually, his ignorant ways result in a fiery finale.

Film: Cocalero (2007, Alejandro Landes)

Bolivian films are not frequently seen in international cinematic circles but that does not mean that Bolivia is absent in cinema. In fact, the last few years have seen plenty of documentaries set up shop in Bolivia centered around Cochabamba (regarding water & privatization) or the Potosi mines while many books and articles have mentioned either the changing political face of Bolivia or coca leaves farming. So it seems very appropriate to view a film that manages to cover both political and coca discussions. Alejandro Landes’ Cocalero highlights the rise of Evo Morales and sheds light on the grass-roots movement that supported his election. The debate about coca leaves and farming is certainly forefront in the film as is the clash between the different classes in Bolivian society. As per the film, media bias certainly fueled hatred and fear of Morales. Landes’ camera does not shy away from depicting some of this bias and even shows some of the abuse heaped on Morales in the cities. Such documentation helps show the fine line between a person been treated as a hero by some and a villain by others. Basically, if a political candidate does not have the same governing principles as a group of people, he is demonized and represented as evil by the group.

Note: Interestingly, the film follows Morales to Mar del Plata for a conference attended by both Hugo Chavez and Diego Maradona. This is the same conference that Emir Kusturica filmed for the 2008 documentary Maradona by Kusturica. No doubt there were hundreds of cameras at the conference but it is fascinating that footage of one event shot from two different angles have been used in two separate films. In a sense, Landes' & Kusturica's films form a documentary version of the film Vantage Point.

Copa America 2011 Campaign

Bolivia started the Copa America in incredible fashion by holding hosts and favourites Argentina to a 1-1 draw. The tie gave Bolivia a reasonable chance of making the Quarter-finals especially since their second game was going to be against the U-23 Costa Rican team which only had 5 overage players. Surprizingly, Bolivia were brought crashing down to earth. Not only did they lose 2-0 to Costa Rica but also had two players sent off in a largely one-sided game where Costa Rica ran circles around Bolivia. Costa Rica found plenty of space behind Bolivia’s non-existent defense and could have had more than just their two goals. Bolivia’s elimination was complete even before the 30 minute mark in their final game with Colombia when Bolivia’s defensive weakness were exposed by Colombia as they raced to a 2-0 lead. A neat through ball by Colombia found Falcao behind the entire Bolivian line and he duly finished the chance in the 14th minute. He tucked away a penalty in the 28th minute after another defensive mix-up forced Bolivia to concede a penalty. In fact, Colombia did not have to exert themselves too much in the first half as Bolivia’s only chances to get a goal appeared to be via set-pieces. Overall, Bolivia could not muster a decent response and Colombia calmly progressed to the Quarter-Finals as Group A winners, while Bolivia finished bottom of their group.

Note: Evo Morales is a soccer fan as evidenced by Oliver Stone’s South of the Border so it was not surprizing to see him in the stands for Bolivia’s game against Colombia.

Healthy Cinematic Nourishment

David Bordwell has written a perfect response in defense of slow & nourishing cinema. Bordwell's entire article is an essential read but the final line in this paragraph is a fact that most film critics and film magazines regularly ignore:

Still, Kois’ complaint touches on something important about film history. We have a polarized film culture: fast, aggressive cinema for the mass market and slow, more austere cinema for festivals and arthouses. That’s not to say that every foreign film is the seven-and-a-half hour Sátántangó, only that demanding works like Tarr’s find their homes in museums, cinematheques, and other specialized venues. Interestingly for Kois’ case, many of the most valuable movies in this vein don’t get any commercial distribution. The major works of Hou, Tarr, and others didn’t play the US theatre market. Sátántangó is just coming out on DVD here, nearly twenty years after its original appearance. Most of us can’t get access to the most vitamin-rich cultural vegetables, and they’re in no danger of overrunning our diet.

In New York on any given night a film lover has atleast half a dozen worthy healthy cinematic options but the average cinephile living outside of New York has limited access to seeing rich cinema in theaters. So it is not a surprize that a put down of slow cinema would originate in a New York publication. The rest of North America, including Canada, has mostly cinematic junk food options.

The foreign film theatrical & DVD rental options in Calgary have gotten worse in 2011 when compared to 2007-08. The city still has three art house cinemas but the selections are not as diverse as a few years ago. The three cinemas have to regularly program Hollywood fare as the foreign distribution of films in Canada appears to have slowed down, especially outside of Toronto. On top of that, Calgary now only has one DVD store (Casablanca Video) where one can rent foreign/indie films. A few years ago, there were 3 excellent DVD stores (Video & Sound, Bird Dog Video and Casablanca) which carried the newest foreign films from around the world. Also, VHQ (owned by Movie Gallery) carried some foreign films titles as did Blockbuster & Rogers Video. However, all VHQ stores shut down as of last year and a handful of Blockbuster & Rogers Video stores have closed as well. Elsewhere in Canada, things are not that optimistic for DVD rentals either. In Edmonton, Sneak Preview closed up shop after nearly 30 years in business and Vancouver's Videomatica also announced plans to close up at the end of summer. Videomatica is still one of the best DVD stores in Canada and their DVD mail rental service is exceptional (majority of my film spotlights from my 2007-08 were possibly only because of Videomatica). Plus, zip.ca's foreign DVD rental selection has drastically gone down in the last few months leading one to question how long they will be able to hold on.

However, there is no shortage of Hollywood films in any Canadian or American city. If one wanted to gorge on the latest robot transformation exercise, then one can stumble into a multiplex near one's residence. If the off chance that someone missed the theatrical release of this Hollywood film, then the DVD, special edition Blu-Ray, special special director's cut with more noise edition DVD/Blu-Ray combo of the film will be available in every big chain grocery story in every city. Basically, one can never be short of junk food. And one cannot go too long before someone defends the virtues of cinematic junk, both here in North America and in India as well. Last week's tragic news of Mani Kaul's passing brought out plenty of remarks from a few Indians who said Kaul's films were difficult to follow. In fact, the late Manmohan Desai, famous for his Bollywood action/revenge films with Amitabh Bachchan, once remarked that it was harder to make "masala films" (popular commercial films) but anyone cold make an art film like Mani Kaul's debut feature Uski Roti. A variation of those words were repeated online last week when some people defended the junk of Bollywood over Indian art cinema.

Too much junk food is not good for the human body. Neither is too much cinematic junk. But of course, the argument is that one person's junk is another person's sophisticated taste.

Slow cinema in two takes in everyday life

1) Man Shaving his face

No matter how many blades get added to a razor, shaving is an activity that cannot be done in an instant. Certain portions of a man's face (especially around the chin) require one to slow down and carefully shave lest one cut oneself. Shaving is also a boring task. I am sure no man wakes up every morning and looks forward to shaving his face. Yet, it is also an essential task. Some people do get tired of shaving and grow a beard or variations of a beard to avoid cutting their facial hair. However, the men that shave everyday are heroes in their own slow cinema.

2) Ultrasound

Every parent will talk of the thrill in watching their baby's ultrasound video. The images are not the clearest nor is there any sound but the black and white grainy video is one of the most riveting set of images that a parent can see. In fact, parents will be patient and watch carefully for the slightest movement of the baby. Sometimes, the baby moves and sometimes he/she does not. An ultrasound video might offer much slower images than any of Hou Hsiao-Hsien's or Béla Tarr's films but no parent will ever describe their baby's ultrasound in the following manner:

"It was boring. Too slow. There was not enough action. The baby just sat there not doing anything."

Emotional interest --> visual cues

So why are ultrasound videos so enchanting for parents? Because the parents have an emotional stake in the ultrasound video. They are emotionally hooked and they will automatically adjust their eyes to look only at the baby and nowhere else. They do not need any cues to help them through the video. The same can apply for cinema as well. If cinema viewers have an emotional interest in the film, they will be able to adjust their eyes automatically to pick up objects of interest. By default, most audience have no emotional interest in robots or ogres but Hollywood assists film viewers by tacking on an emotional layer to their stories. Hollywood wants audience to care for a CGI generated image so dialogues are carefully written to incite support and even some humor is added to give personality to non-humans. Bollywood is another example of cinema overloaded with emotional manipulation. On the other hand, art cinema does not generate artificial emotion so that can leave some viewers lost and they would have no idea where to look.

When tourists walk out on a foreign street for the first time, some have a map and check for directions while some just follow any path in front of them. Cinema can be tackled in the same manner, either with a map or a complete dive into the unknown. Some effort is required on behalf of the cinematic tourist but the rewards are worth it. The problem is access to foreign cinematic roads is getting limited each year and maybe in the future (say next year), the only way to access rich foreign cinematic paths might be through hidden underground portals, lurking underneath some treasure bay.

Copa America 2011, Round 2 of games

While there were some surprizes after the first round of games, the second round of games painted an even more fascinating picture.

Group A:

Argentina 0-0 Colombia
Bolivia 0-2 Costa Rica

Group B:

Brazil 2-2 Paraguay
Venezuela 1-0 Ecuador

Group C:

Uruguay 1-1 Chile
Peru 1-0 Mexico

What this means is after having played two games each, Argentina, Brazil and Uruguay are still without a win after they all drew their opening two games, as did Paraguay. The under-23 Costa Rican team sprung a real surprize by outplaying Bolivia 2-0 to register a win, while Colombia, Venezuela, Peru & Chile all sit comfortably on top of their groups with 4 points each. The only team without a point is Mexico but that was expected as this is not the same Mexican team that won the Gold Cup but a younger Olympic team with only 5 overage players.

On paper, Argentina and Brazil have some of the best players in the world but their games have proven that the best players cannot function in a system not suited to their strengths. Argentina's coach Sergio Batista insisted on having Messi, Tevez & Lavezzi start up front against Colombia even though the first game proved there was no understanding among the trio. Just putting three talented players on the field does not mean the three would suddenly sync up. An example of how three players should properly link up is provided by Uruguay's trio of Diego Forlán, Luis Suárez & Edison Cavani. The three Uruguayan players look like they are a team and have an understanding of where the other players are. Still, the three were not on the same wavelength for a good portion of Uruguay's opening 1-1 tie with Peru & were absent in the second half against a Chilean team that eventually benefitted from more possession. Chile's game with Uruguay was a nasty affair with plenty of fouls and play-acting but when Chile applied the tiniest bit of pressure, Uruguay fizzled away and could not muster a response.

Brazil have been plain awful and have been even worse than Argentina. Even though the Brazilian coach Mano Menezes dropped Robinho against Paraguay, his formation still failed to produce any flowing football. Jadson's opener provided relief for everyone in the Brazilian team but it merely disguised the fact that the team had no real bite. In the second half, Dani Alves fell asleep and allowed Paraguay to easily take a 2-1 lead. One would have expected Paraguay to hold on given their defensive strength and the fact that Brazil kept trying the same thing over and over again with no success. Brazil's game plan was to only go through the middle, something that played into Paraguay's hands. Brazil offered no threat from either of the wings and were poor on set-pieces. Normally, Dani Alves is known for his width play at Barcelona but he was kept expertly in check by Paraguay. Then with time running out, a ball through the middle trickled through to substitute Fred who smartly turned and grabbed an undeserved last minute equalizer for Brazil.

Of course, all these results are not as drastic since 8 of the 12 teams progress to the next round. So Brazil, Argentina and Uruguay are still in good shape to advance but depending on where they finish in the standings would determine who they would meet in the next round. A Brazil-Argentina final might not happen as the two could now meet early on. However, based on the first two games, a Brazil vs Argentina game might not be an enticing football feast anymore but more of a tactical misfire with both teams coaches trying to force their squads to play a system the players do not understand.

In Remembrance: Mani Kaul

Sad news emerged today that Mani Kaul, one of India's greatest film directors, passed away at the age of 66. His name is hardly familiar in the West and even in India, his films remain out of reach for most Indians. Kaul's features are available through various sources on the internet but DVDs of his films are next to impossible to find. As per Chidananda Das Gupta in his book Seeing is Believing hardly any film of Mani Kaul was "released in public theatres" in India. So this means a few generations of Indians have never seen anything by him. Not surprizingly, knowledge of his films is almost non-existent in the wider global cinematic sphere.

Thankfully, some articles and websites are keeping his legacy and memory alive.

Indian Auteur has done an excellent job in discussing Kaul's films and writing. Here are two articles on their website, with the first being an essential read because it was written by Kaul himself:
Beneath the surface: Cinematography and Time
&
Call Money or Mani Kaul

Srikanth at The Seventh Art has a wonderful post about Mani's films and also has a collection of writings and interviews.

Catherine Grant also has a nice round-up at Film Studies for Free.

Hopefully, a global retrospective of Mani's films is done and a clean DVD transfer of his films is finally realized.

Copa America 2011, first five games

The opening five games of Copa America have produced just five goals with three of the top teams held to draws. Hosts Argentina needed a late goal to salvage a 1-1 tie against Bolivia, while Brazil were without any bite or tactical ideas in their 0-0 draw with Venezuela and Uruguay drew 1-1 with Peru. Of the three top teams, Uruguay looked the most coherent although they had their slack moments in the first half when passes were wayward and the players lacked sharpness. Colombia have been the only team to register a win so far with a 1-0 result over a young Costa Rican team, reduced to 10 men for more than an hour of the game. Paraguay and Ecuador also drew blanks in the other game on Sunday night.

Jonathan Wilson has an insightful article as usual on Brazil & Argentina's shortcomings so far.

That fact, the way Brazil lost their way after half-time, is probably the biggest concern for Mano Menezes. In the first half Neymar was lively, if a little inclined to over-complicate; in the second he vanished. Ganso, in just his second appearance for the national team, struggled to make an impression, and seemed at times to be playing too far forward, so he was always receiving the ball under pressure. Pato, operating as a more orthodox No9 than might have been expected, was the pick of the forwards, one touch in taking down a long diagonal from Dani Alves quite sublime, but Robinho flickered to little effect.

Argentina had similar problems on Friday. Sergio Batista's talk of making Argentina play like Barcelona always seemed over-ambitious – trying to create the work of a decade in a fortnight – and so it proved. Lionel Messi may have played as he does for Barça, but it didn't matter, because Ezequiel Lavezzi, Carlos Tevez, Ever Banega and Esteban Cambiasso didn't play much like David Villa, Pedro, Andrés Iniesta and Xavi. Nor did – or can – Javier Zanetti and Marcos Rojo offer the sort of thrust from full-back provided by Dani Alves and Eric Abidal.

Batista criticised his team for becoming "too vertical" – a term, if not coined by Marcelo Bielsa then at least popularised by him, describing the tendency to head directly for goal, whether with long passes, dribbles or runs, rather than patiently building play. It usually suggests a lack of patience, a sense of anxiety, and Brazil could be said to have suffered the same problem (which isn't, of course, a million miles removed from a succession of England coaches lamenting the long-ball, headless-chicken tendency). Too many players tried to solve the problem individually, every dribble down a blind alley, every aimless cross, signifying a lack of faith in the team unit. That touches on a deeper issue – the growing gulf, both in terms of quality and entertainment, between club and international football.

All this means is the second round of the group games promise to be more urgent and interesting with Argentina taking on Colombia on Wed July 6th, Brazil going against Paraguay on Sat July 9th and Uruguay meeting Chile on Friday, July 8th.

Copa America 2011 Book & Film Festival

The Copa America is just 8 days away which also means my deadline to finish all the selections for the Copa America Book & Film Festival is fast approaching. While I had finished watching most of the South American films by end of January 2011, the books have taken a lot longer to get through than originally planned. Reading 12 books in 6 months is not a difficult target to achieve but that task was made a bit more challenging by my decision to see as many as 200 films in that 6 month period. As things stand, I have just two more books to get through but I will have to stretch the reading past my self-imposed deadline of June 30. Also, an unexpected addition to my original selection occurred after Japan withdrew from Copa America but I still retained the Japanese novel & film while adding a book and film from Costa Rica.

Quick re-cap of the rules

The entries will not be placed into the following three groups as per the soccer tournament:

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

Instead the top 3 books and films will be chosen from all the selections. However, I will still do a comparison of the soccer vs book/film group standings.

The Japanese entries and the bonus films will not be eligible for the competition.

The Selections

Here in summary of all the entries -- 13 books, 19 films (including the 6 bonus films).

Argentina:

Book: Hopscotch by Julio Cortázar
Film: Crane World (1999, Pablo Trapero)
Bonus Film: Lion's Den (2008, Pablo Trapero)

Bolivia:

Book: Aurora by Giancarla de Quiroga
Film: Cocalero (2007, Alejandro Landes)

Brazil:

Book: Zero by Ignácio de Loyola Brandão
Film: Black God White Devil (1964, Glauber Rocha)

Chile:

Book: The Secret Holy War of Santiago De Chile by Marco Antonio de la Parra
Film: Tony Manero (2008, Pablo Larraín)


Colombia:

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

Costa Rica:

Book: Cocori by Joaquin Guteierrez
Film: Cold Water of the Sea (2010, Paz Fabrega)

Ecuador:

Book: The Ecuador Reader, edited by Carlos De La Torre
Film: Cronicas (2004, Sebastián Cordero)
Bonus Film: Ratas, ratones, rateros (1999, Sebastián Cordero)

Japan:

Book: Kafka on the Shore by Haruki Murakami
Film: Tokyo Sonata (2008, Kiyoshi Kurosawa)

Mexico:

Book: The Underdogs by Mariano Azuela
Film: Duck Season (2004, Fernando Eimbcke)

Paraguay:

Book: I, The Supreme by Augusto Roa Bastos
Film: Noche Adentro (2009, Pablo Lamar, 17 min)
Bonus Film: I Hear Your Scream (2008, Pablo Lamar, 11 min)

Peru:

Book: Conversations in the Cathedral by Mario Vargas Llosa
Film: Milk of Sorrow (2009, Claudia Llosa)
Bonus Film: Madeinusa (2006, Claudia Llosa)

Uruguay:

Book: Body Snatcher by Juan Carlos Onetti
Film: A Useful Life (2010, Federico Veiroj)

Venezuela:

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

---

Currently, only comments on the entries from Colombia and Venezuela are posted. The remaining 11 posts will be put up during the actual Copa America soccer tournament, which goes from July 1 - July 24.

Parisian beauties

Paris (2008, France, Cédric Klapisch)

Paris is often called a seductive romantic city. So it is not surprizing that a film titled Paris should feature plenty of romance and some enticing seductive women. After exploring relationships and friendships in Barcelona in L'auberge espagnole (2002) and Russian Dolls (2005), Cédric Klapisch turned his camera towards Paris to create an engaging film. The main star of Paris is Romain Duris but the women light up the screen with their presence. Here are just some of the beautiful women that grace the camera in Paris:

Chalo Dilli

Chalo Dilli (2011, India, Shashant Shah)

The past few years have produced some engaging Indian films shot exclusively in New Delhi. Films such as Khosla Ka Ghosla, Oye Lucky Lucky Oye, Band Baaja Baaraat, Love, Sex Aur Dhoka, Do Dooni Chaar and No One Killed Jessica portrayed interesting stories that were superior in quality to the average Bollywood film and were still accessible to a multiplex crowd. These films proved that audience do not have to “leave their brains at the door” to enjoy a film. Although these six films varied in quality and style, the only thing they had in common was their New Delhi setting. Now Shashant Shah’s Chalo Dilli shows that a good film does not have to be set in Delhi but just needs to have Delhi mentioned in the title. As per the title which translates to "Let’s go Delhi", the film is about a journey to the Nation’s capital. The film takes the familiar comedic framework of pairing two opposite personalities on a road journey shown in Planes, Trains and Automobiles and Due Date to elicit laughs. However, Chalo Dilli is also infused with the charm and energy of Jab We Met but reverses the male-female characters from Imtiaz Ali’s film and eliminates any romantic angle between the duo. The real driving force of Chalo Dilli is Vinay Pathak’s brilliant performance. Pathak is a delight in any film he does and brings plenty of energy and charm to his roles. He steals the show when he is given main roles such as in Dasvidaniya (also directed by Shashant Shah) or Bheja Fry and even manages to liven a film despite having a small role. Pathak’s character of Bobby was the best thing about an awful film like Rab Ne Bana Di Jodi. Pathak is at his best in Chalo Dilli with a character that is equally charming and annoying. His positive upbeat character is a perfect ploy to the negative attitude of Mihika, played by Lara Dutta. The differences between the two characters is as diverse as that between Poppy (Sally Hawkins) and Scott (Eddie Marsan) in Happy-Go-Lucky.

Chalo Dilli is a predictable film that navigates within a familiar framework used in many commercial Bollywood films but Shashant Shah shows that it is still possible to make a smart film within that confined framework. In that regard, Chalo Dilli is an essential film in helping to draw indian audience away from the commercial junk of Bollywood. There is nothing difficult about Chalo Dilli and it is a film that can appeal to anyone used to a multiplex feature but it is without the vulgarity or substandard qualities seen in majority of Bollywood comedies, such as those that populate any Anees Bazmee or Sajid Khan feature. For safe measure, Chalo Dilli has a completely needless item number featuring Yana Gupta just to ensure that audience who need a song to digest their film can have no excuse to stay away. Also, film lovers used to seeing only “big stars” in their Indian films cannot complain either as Chalo Dilli does indeed have a “big star” whose character makes an appearance late on to save the day. However, despite being an accessible enjoyable film, it is a safe bet to assume that audience will causally pass over Chalo Dilli or treat it with a shrug of the shoulder and say that the film "theek hai" (ok) and is nothing to get excited about while eagerly rushing to watch substandard Bollywood fare.

A Serbian Film

A Serbian Film (2010, Serbia, Srdjan Spasojevic)

Once upon a time, a man screwed for a living. Then he retired to live happily with his family. But he still missed his screwing life, so he often watched videos of his screwing exploits. One day, a former screwing partner of his appears and offers a chance where he can screw again but this time in an artful manner and for lots of money. The man thinks it over. He needs the money because his happy life isn't cutting it. So he takes up the screwing job and signs on the dotted line. Of course as it often happens when an offer is too good to be true, it usually isn't. His screwing job ends up screwing with his head and causes his family to get screwed over as well. So the happily ever after ending never comes and the screwing continues long after the fade to black.

That in a nutshell is A Serbian Film. The film has had a lot of hype around it and most of it revolves around a few questionable scenes. However, without those scenes the film is just an upgraded version of a B grade movie about screwing. The director on the other hand claims his film is about the horrible psychological damage caused by the Serbian war where people were screwed physically and mentally. Such an explanation appears to be a ploy to attach a deeper meaning to an otherwise average film. It may have happened that someone told Srdjan Spasojevic that the screwing represented the plight of the Serbian people perfectly and such words probably encouraged the director to sell his film as a political statement. The director’s ploy has certainly worked. The fake political suffering tag coupled with the screwing scenes has ensured the film a cult following and instant talking points. If Srdjan truly wanted his film to represent the screwing of people’s psyche, then including rape sequences is the not the best way to depict that because such scenes draw attention to themselves and prevent any insight into the character’s mental suffering. Thankfully, there is an appropriate example of a Serbian film that properly manages to get across the suffering of its Serbian characters. Mladen Djordjevic’s The Life and Death of a Porno Gang accomplishes everything that Srdjan Spasojevic claims his film does but The Life and Death of a Porno Gang manages to do it without needless rape sequences. There are torture sequences in ...Porno Gang and even snuff film making but the film does not only focus on torture but establishes a larger framework which shows how society traps the main characters and suffocates them into making the choices they eventually make.

The titles of both films are misleading as well. The Life and Death of a Porno Gang contains very little porn and is a case study about a few characters marginalized by society. On the other hand, A Serbian Film has nothing to say about Serbia but looks at various forms of porn, including torture and child porn. Needless to say, the lesser of the two films has gotten all the attention while a worthy film like The Life and Death of a Porno Gang has all but disappeared. Interestingly, both films still have reference points to Emir Kusturica's Underground. The Life and Death of a Porno Gang picks up where Kusturica's film ended and shows a much bleaker future. Also, one of the characters is shown wearing a jacket with the word "underground" clearly visible. A Serbian Film fulfills a statement uttered in Underground -- "A War is not a War until a brother kills a brother".

2011 Champions League Final

Barcelona 3-1 Manchester United

Saturday, May 28 2011 will go down in history as the day when a truly classic Champions League final was played out at Wembley between two giants of the modern game. The game unfolded as one would have expected but the extent of Barcelona’s dominance was still mesmerizing to watch. Barca are known to pass their opponents into oblivion but to do that in a final is a truly remarkable feat. Xavi is the king of sideway passes and once again he showed that there is a purpose to every square pass, that patience will duly be rewarded and if one looks hard enough, then spaces will appear out of nowhere. In an honest interview back in February, Xaxi talked about his love for finding spaces:

Think quickly, look for spaces. That's what I do: look for spaces. All day. I'm always looking. All day, all day. [Xavi starts gesturing as if he is looking around, swinging his head]. Here? No. There? No. People who haven't played don't always realise how hard that is. Space, space, space. It's like being on the PlayStation. I think shit, the defender's here, play it there. I see the space and pass. That's what I do.

And he once again found space for Barca’s opening goal. Patrice Evra drifted a few steps towards Messi leaving open a space through which Xavi played a perfect pass towards Pedro who calmly slotted home the opener. It was a truly remarkable goal which combined Barca’s passing, intelligent off the ball movement and their remarkable space manipulation.

Messi’s second goal was equally remarkable as well. He picked up a pass from Iniesta, took a few touches, managed to find space where none existed and then in an instant slammed a powerful shot past a static frozen Manchester defense. Barcelona’s constant pressure paid off for the third when Villa curved home a beautiful shot to seal the game. Interestingly, Manchester managed to score a Barca type goal of their own after Rooney and Giggs exchanged passes before Rooney placed his shot perfectly into the top corner to register Manchester’s only shot on target over the course of the 90 minutes.

Overall, it was a perfectly officiated game as well with the referee hardly visible during the entire game as he let the game flow perfectly without any stoppages. The fact that the first half had no stoppage time speaks for itself. Also, it was nice to see Dani Alves and Busquets not ruin the game by taking unnecessary drives.

My Champions League fantasy league for the final featured the following players:

As per the points rules:

A captain earns double points
A striker earns 4 points for a goal scored
A midfielder earns 6 points for a goal scored
A defender earns 8 points for a goal scored
A defender also gets -1 point for each goal conceded

Messi was my captain because I was certain he would score, which he did thereby earning me double points. I had a feeling that one of Hernández or Rooney would score but I picked both of them. Rooney scored but Hernández was invisible because he was left isolated and had no support. Originally, I started this Champions League season with David Villa in my first 11 but I dropped him a few weeks ago. Villa works extremely hard off the ball but I did not expect him to score a goal in the final because he always seems to get subbed off late in the game. This time around, he scored a precious third goal before getting subbed off, again.

My midfield was easy to pick. I picked the players that I thought would likely score or have an assist. Pedro duly scored off an assist by Xavi while Iniesta also notched an assist. However, I had expected to see a lot more from Valencia but that did not happen.

Defense was always going to be a losing endeavor. I did not expect either team to keep a clean-sheet so I knew I would not get any bonus points for a shut-out so at best I was hoping neither team would concede too many goals. Also, if a defender from Man Utd was likely to score a goal, I figured it had to be Vidic from a corner. But Man Utd got zero corners so Vidic never ventured into Barca’s penalty box.

As per the points system for the goalkeeper, each goal conceded is -1 point but a goalie gets 1 point for every 3 shots saved. This created the bizarre situation where Edwin van der Sar earned more points than Victor Valdés, despite Man Utd letting in 3 goals. Valdés let in one goal (-1 point) and got one yellow card (-1 point) but had no saves to make. Therefore, his total ended being 0 points with his 2 points for starting the game nullified by his yellow card and single goal conceded. On the other hand, van der Sar let in 3 goals (-3 points) but made 9 saves (+3 points), which meant he got 2 points (for being named in the starting 11).

[Update May 29:] van der Sar was only awarded 1 point as soccernet's reports show that he made 6 saves thereby earning him 2 points. This is in contrast to the official UEFA reports which show that he made 9 saves. Defense cost me valuable points as my selected 3 defenders + goalkeeper earned me a total of -1 point. Rafael did not play but I had his brother Fabio listed as a sub, who duly earned 0, the same as Alves and Valdés. Vidic got -1.

Finally.....

Apparently, there is a tradition that when an away team wins a final in the opponents country, the winning team cuts the soccer net and takes it home. So Barcelona’s players and staff found a few pair of scissors and went about removing the goal net after the trophy presentation. Piqué happily ran off with the goal net on his shoulders. Maybe, he will present the net to Shakira as a gift?