The Border Crossing

Desierto (2015, Mexico/France,  Jonás Cuarón)
Signs Preceding the End of the World, written by Yuri Herrera

For the last year, much of the news has been around illegal border crossings. This has not only been about borders in North America but around the world. However, the North American borders have gotten more attention due to the talk of building a wall costing billions of $$$. Buildings walls doesn’t come close to addressing the question for why people illegally cross the border in the first place. If the nations on both sides of the border were equal in every aspect, then there would no need for people to make illegal border crossings. Walls don’t highlight the financial burden people impose on their family to make such an illegal border crossing not to mention the physical and mental hardships associated with such a journey. Each border crossing is a gamble, a throw of the dice not knowing the outcome.

Jonás Cuarón’s Desierto depicts the dangers that come with such an illegal border crossing and what he has shown makes for grim viewing. The film gives ittle to no backstory about each character but it is evident that each person has their own reason for making the dangerous journey. Once the characters cross the border, the characters become prey to a man who drives a truck with a confederation flag. The man doesn’t believe in law and order and considers it his job to protect his nation’s border by killing as many border crossers as possible. The film was released back in 2015 but it is easy to know in real life which candidate this man would have voted for in 2016.

Desierto is a hunter-prey film with little dialogue and its most significant moments come when the camera pulls back to depict the vastness of the border, the vastness of the rugged landscape that is enough to defeat a person without any human intervention. It is in these moments of the border’s visual depiction that the film forms a bridge to the poetic depiction of the border crossing in Mexican author Yuri Herrera’s remarkable book Signs Preceding the End of the World. Herrera’s book is just over a hundred pages and moves at a fast breathless pace. The plot is creative and delightful but the book’s genius is how it abstracts elements related to the border crossing, both to the people making the journey and the objects they carry. In a few words, the book highlights the importance each person has with the objects they take:

“Rucksacks. What do people whose life stops here take with them? Makina could see their rucksacks crammed with time. Amulets, letters, sometimes a huapango violin, sometimes a jaranera harp. Jackets. People who left took jackets because they’d been told that if there was one thing they could be sure of over there, it was the freezing cold, even if it was desert all the way. They hid what little money they had in their underwear and stuck a knife in their back pocket. Photos, photos, photos. They carried photos like promises but by the time they came back they were in tatters.”

Desierto depicts this as well when Gael García Bernal’s character takes a teddy bear with him on his border crossing because it was something given to him by his son.
 

Herrera’s book also addresses how the border crossers are perceived. The following words are universal and could apply to countless people who make their dangerous journey across the border in search of a better life:

“We are to blame for this destruction, we who don’t speak your tongue and don’t know how to keep quiet either. We who didn’t come by boat, who dirty up your doorsteps with our dust, who break your barbed wire. We who came to take your jobs, who dream of wiping your shit, who long to work all hours. We who fill your shiny clean streets with the smell of food, who brought you violence you’d never known, who deliver your dope, who deserve to be chained by neck and feet. We who are happy to die for you, what else could we do? We, the ones who are waiting for who knows what. We, the dark, the short, the greasy, the shifty, the fat, the anemic. We the barbarians.”

Maybe one day people will figure it out. One day, people might understand why people illegally cross the border and work on a solution that eliminates the need for people to make that journey. This is not only a North American problem, but one that is found all over South America, Africa, Europe and Asia. Any place where one nation is economically better than its neighbour will lead to illegal border crossings.

The New Ozymandias

The beautiful game. Oh the cliches. The truth is that the game stopped being beautiful long ago. No, I take that back. The televised game stopped being beautiful long ago. The beautiful game still exists, far away from one that is shown on tv. The beautiful game can be found in streets around the world, dirt fields, bumpy/patchy open areas or any section of space that is transformed into a make-shift soccer field.

There is beauty in the movement, there is beauty in the passing, there is beauty in that perfect pass that is conceived in the mind but is yet to materialize. And finally, there is the ultimate beauty in a goal, the move that started it leading up to the ball ending up in the net. Joy for the team that scored and despair for the other. The ultimate emotional soap opera.

It is with these eyes that I once viewed the game, both on tv and on those streets far away from any cameras. But the game on the tv changed, slowly at first, and then rapidly. The movements became faster coupled almost with the fast pace of cash being poured into the game. Money does not always translate into wins even though the common perception is that the winning team is the one that spends the most. Claudio Ranieri’s Leicester City banished that belief back in 2016 but that was a rare occurrence in the Premier League which seems to only distribute titles among a select few. 

They also say that money buys quality. But what is quality? In a 90 minute game, that quality only shows itself for 2-3 minutes and usually it manifests itself in a single goal. But a 1-0 win is still a win. And that is all that matters. A single goal.

4-5-1. The end of the beautiful televised game started with that. The suffocating formation used by two coaches to drain the game of any quality. 0-0 games. 90 minutes of 0-0. Nothing happened in those games. Now, 4-5-1 does not directly imply 0-0 but it is all in the execution. But two managers in England, one Portuguese, the other Spanish, used this formation in the most negative game killing manner possible. And then others followed. Then that formation eventually went away but the idea of game killers and negative players remained. Sure, 0-0 went away for the most part but somewhere along the way, attacking players, especially centre forwards started disappearing. The tradition centre forward is an endangered species in the game now. Most teams lust for a defensive midfielder in lieu for an attacking player.

As the money poured in, only a few teams were left competing at the top. The European Cup was once a tournament where a team could emerge from the shadows and steal a win. But slowly, the big clubs wanted to be there all the time. And so the Champions League was born. Teams who finished 2nd to 4th in their domestic league wanted to be there all the time. Such is the case of Arsenal.

For Arsène Wenger, going from an unbeaten championship season to 4th became the norm. The Arsenal board told Wenger that he had to ensure 4th every year until the new stadium debt was paid off. Prior to this requirement by the board, Wenger proclaimed that Arsenal could dominate English soccer like Ferguson’s Man Utd. Clearly, Ferguson didn’t take that well because he stayed in the game long enough to ensure no one could ever match his trophy haul. Ferguson delayed his retirement and found new ways to keep bouncing back and winning titles. Man Utd and Ferguson were Wenger’s rivals but after 2004, Wenger found a new rival in the foreign money coming into the league. Wenger was irritated by the new money that flowed into the English League and that likely reminded him of the bribery that took place in the French League back in the early 1990’s. The influx of money meant that Wenger changed his ways. His goal changed to be only 4th by spending as little money as possible. In doing so, Wenger would forget his own target of dominating the league and winning league titles.

It has been 13 years since Arsenal last won the league. It has also been 13 years since this blog was started, with the first entry coming five days before Arsenal finished the 2003-04 season unbeaten.

So much has changed in this blog over that time, the structure, look, and content. My love for this blog has not changed in that period but the frequency of posting has gone down. That has not been by choice but by circumstances. Many posts have been written in my mind or my computer but never made it on the website. A perfect example is this post has been written in my mind many times over the last 7 years yet never actually posted.

It was January 2010 after Arsenal lost 3-1 at home to Man Utd that I uttered that Arsenal would never win anything under Wenger again. In a way, I was proven wrong as two F.A Cup titles arrived in 2014 and 2015 but the league has stayed elusive. Back on that day, Man Utd raced to a 3-0 lead and for once, there were no excuses for Wenger to hide behind. Until that game, Wenger could always blame other factors for his team falling short, such as an incorrect ref decision, a nasty foul, a bad pitch. Yet, on that day, Man Utd didn’t need to foul Arsenal, they didn’t need Rooney to dive for a penalty, they didn’t need a waterlogged pitch. On that day, Man Utd showed the tactical difference between the two teams. That game highlighted that Wenger had fallen well short of Ferguson and there was no catching up.

I uttered these words to other fans but was told to shut up. The belief in Wenger was strong back in 2010. Those fans said that it was only a matter of time before Wenger would lead Arsenal to glory again. That glory has not arrived. Instead, painful defeats have arrived at such a regular frequency that it is no longer a surprise. 

There is no fun in watching Bayern win 5-1 over Arsenal every time. Of course, there is no fun in watching Bayern play anytime, anywhere. Certain members of Bayern Munich’s establishment like to think their values are above the crazy spending of the English League. Yet, Bayern have poached many players from Dortmund. If Bayern had any values, why would they buy players from their rivals and keep strengthening at the expense of their opponents? As far as on-field play goes, a player such as Lewandowski can score at will. But, he also dives when needed. There lies the problem. Talented players who don’t need to dive continue to cheat all the time. It is now a part of the game. But it should never be part of the game. Divers can be punished afterwards, even if their name is Ronaldo, Messi, Lewandowski, Neymar, Rooney.

There is also no fun in watching La Liga where Ronaldo and Messi are always in constant battle to score more goals than each other. Real Madrid and Barcelona dominate the headlines and are so big that every player in every league says one thing “It is my dream to play for [Real Madrid/Barcelona]”. The interviews are all the same. New players come and go, coaches are fired or forced out, goals are scored frequently, titles are won and the cycle continues.

Real Madrid, Barcelona represent the need to win titles at all costs while Arsenal are the opposite and represent a team that never wants to win titles at any costs. Neither situation is healthy. Yet, that is how things are. The Arsenal board and owner don’t care what happens. Wenger doesn’t care about winning and is intent on staying, like a dictator from one of those countries you read about in the news. Of course, this is how the cycle works. The man who transformed Arsenal from a boring football team into an exciting force is now also the man who has overseen its decay. He has tarnished his legacy and the bright future that he once oversaw for Arsenal is now in ruins.

I can finally say what I have wanted to say for a long time. Arsène Wenger and his stubborn ways have slowly destroyed my love for the televised game. He should have left 7 years ago, 3 years ago, 2 years ago. Yet, he wants to continue at Arsenal for another 2 years. He should not be allowed the luxury of that decision. He should not even be given another day at Arsenal.

Abbas Kiarostami

Cinema lost a leading voice when Abbas Kiarostami passed away in 2016. Mr. Kiarostami was one of the genuine greats of cinema. Anyone who started exploring global cinema was bound to come across one of his films at some point in their film paths. The one difference would be that each person would have discovered Mr. Kiarostami via a different film. Many in the west likely first came across his work with the 1990 film CLOSE-UP and others likely found his work after his brilliant film TASTE OF CHERRY won the Palme D’Or at the Cannes film festival in 1997.

However, Abbas Kiarostami was making films long before that. He started off by directing short films and documentaries from the 1970’s onwards. While these earlier works may have been unknown for most of the 1990’s, they started surfacing in the mid 2000’s. These earlier works are extremely valuable in showing he approached his cinema. Early in his career, he worked at the Institute for the Intellectual Development of Children and Adults. This is probably why he is one of those rare directors whose films showed children with genuine warmth, compassion and honesty. In his early short films, children and animals played a big part. In fact, his first ever short film THE BREAD AND ALLEY, a 12 minute short made in 1970 features a boy and a dog.

Right from his first short film, he showed an ability to re-imagine a different way of shooting a scene. He wanted events to flow naturally and the camera to capture reality as it unfolded. The 12 minute short film shows traces of a neo-realist cinema but also an aspect that would come to define his film making style in the 1990’s, a style where the line between fiction and documentary is blurred.

He often used non-actors in his films and at times, it was hard to distinguish real life from fiction in his films. He often had audience guessing on what is real and what is manufactured. The placement of the camera played a big part in this technique and even then, Kiarostami didn’t follow conventional ways. He would mount his camera inside a car such as he did in TEN or have a camera facing an audience watching a film in a movie theatre like in SHIRIN. Except, things were not as what they seem. In SHIRIN, the audience is watching a movie that does not exist and the film is not shot inside a real movie theatre.

In Cinema Scope Issue No. 68, Quintín has noted that Abbas Kiarostami "was trained as a painter and a photographer". This training clearly played a big part in the beautiful landscape and visuals found in many of his films which take place outside the city in stunning Iranian countryside.

Mr. Kiarostami was able to realize his vision while living and working in his home country of Iran. As a result, in a way, he helped put Iranian cinema on the map and was a key part of the new wave of Iranian directors that emerged from the 1990’s onwards.

What is remarkable is that he continued making films in Iran despite the changing political landscape. He was born in 1940 and lived through many of the different political forces that have shaped Iran. Yet, despite the government changes, he was able to continue pushing the boundaries of cinema and art. His films often got to the core of meaning of art and life in general.

Like a true artist, he continued exploring new ways to expand his filmmaking. In 2010, he directed CERTIFIED COPY, shot entirely in Italy, his first film shot outside of Iran. In 2012, he made LIKE SOMEONE IN LOVE shot in Japan and in once again in a different language. These two films marked a new and exciting point in his career. In an interview, Mr. Kiarostami said that many people around the world understood his films via subtitles. So he wanted to understand his own films via subtitles and that explains why these 2 films were shot in a different language.

He was next supposed to work in film set in China. Sadly, that was not to be. It is clear that he had a lot to offer to cinema.

The 2016 short film TAKE ME HOME, shot in Southern Italy, playfully manages to incorporate elements from his cinema. Like his earlier films, there is a little boy and there are some animals. The artistic beauty he found in landscapes are to be found in this film. And the concept of fiction vs reality is also seen. The short appear to be following a soccer ball in a natural manner. However, there is a very clear visual indicator in the film which lets us know what he is really up to. This short was released along with the documentary 76 MINUTES and 15 SECONDS WITH ABBAS KIAROSTAMI, directed by Mr. Kiarostami’s long time collaborator Seifollah Samadian. In this documentary, we get a true sense of how Mr. Kiarostami conceived his shots, how his training as a painter and photographer played a big part in his films. For those who are familiar with his films, it brings a new perspective to view his films. For those who are not familiar with his work, it provides an excellent starting point to see an artist at work.

As it turns out, TAKE ME HOME won’t be the last film of Mr. Kiarostami. Later this year, we will see his final film project getting a release. That film will be the movie event of the year!

Note: both TAKE ME HOME and the documentary 76 MINUTES AND 15 SECONDS were shown by the Calgary Cinematheque as part of a special tribute to Mr. Kiarostami.

THE HUMAN SURGE

THE HUMAN SURGE (2016, Eduardo Williams, Argentina/Brazil/Portugal)

Eduardo Williams’ stunning debut feature takes us on a remarkable journey around the globe, spanning three continents. THE HUMAN SURGE is structured in three parts starting off in Argentina (Buenos Aires) before moving to Mozambique (Maputo) and finishing its whirlwind global tour in the Philippine province of Bohol. In each of its three segments, the film depicts young people who are either trying to make ends meet by taking on different jobs or those who are in between jobs. Technology plays a key part in these different jobs and that also nicely ties in with the film's theme of exploring the impact of the internet and computers in our modern world. The film depicts an entire global cycle of jobs from manufacturing of computer parts all the way to how people use computers and the internet to earn money.

The internet and its wired/wireless network allows people to easily communicate around the world, thereby shrinking our planet. Williams has smartly used this network connectivity and shrinking of the world to depict jaw-dropping original cinematic transitions between the three parts. He has even managed to plug nature and its picturesque landscapes into our wired world. The end result is a film that is never short on movement, as it follows its characters through a network of paths, ranging from almost invisible paths to rugged larger-than-life trails.

Each path and subsequent journey is crafted with its own unique visual technique. The Argentine segment is filmed using 16 mm, while the images in Mozambique are filmed with an inventive mix of a Blackmagic pocket camera and 16mm, and a RED camera captures the tiniest details of the lovely Philippine environment. As a result, each segment has its own distinguishing colour palette and texture which matches the rhythm of the story. In keeping pace with its characters and the story, the camera is never static but hovers and wanders around its characters. In some sequences, the camera is freed from the confines of space and time thereby achieving movements that defy belief.

The end result is a film that takes us on a breathtaking journey of our non-stop, constantly shifting world. Winner of the Golden Leopard award in the Filmmakers of the present category at the Locarno Film Festival, THE HUMAN SURGE signals the arrival of a talented new director.

Note: Cross-published here.

Essential reading about the film:

1. Leo Goldsmith in Cinema Scope

2. Max Nelson in Film Comment

HOMO SAPIENS

HOMO SAPIENS (2016, Nikolaus Geyrhalter, Austria/Switzerland/Germany)

In 2006, ruins were a tiny portion of Jia Zhang-ke's STILL LIFE and Pedro Costa's COLOSSAL YOUTH. But a decade later, they are the main focus of HOMO SAPIENS, an absolutely stunning documentary from Nikolaus Geyrhalter.

The film is a haunting and beautiful glimpse of our world without humans. We see real locations that are either abandoned or in a state of ruin. The film lets the everyday sounds filter in, sometimes the noisy waves or winds or in some cases birds flying in and out of the spaces. The end result is mesmerizing, engaging and contemplative. The film provides us enough moments to see our world with new eyes, complete with its waste and needless objects. It also gives a snapshot of what would happen if people had to leave a location immediately and what they would leave behind.

At times, the images evoke the Zone in STALKER and SATANTANGO. In this regard, we are given a view into the ultimate apocalyptic event without the usage of any special effects.

One of the best films of 2016!