Top Italian films of All Time

Wonders in the Dark is having a Greatest Italian Films of All time poll. Each participant is expected to only submit a top 20, either in ranked order or alphabetical.

It is quite tough to narrow this list down to only 20 Italian films or to arrange them in order of preference. Other than my top 2, the remaining films can change based on month or year. For now, I will put this down and revisit this list in the future to see how this order changes.

Top 20 Italian Films

1. The Battle of Algiers (1966, Gillo Pontecorvo)
2. Hands over the City (1963, Francesco Rosi)
3. Bicycle Thieves (1948, Vittorio De Sica)
4. Il Posto (1961, Ermanno Olmi)
5. L’Eclisse (1962, Michelangelo Antonioni)
6. La Dolce Vita (1960, Federico Fellini)
7. Il Sorpasso (1962, Dino Risi)
8. 8 1/2 (1963, Federico Fellini)
9. La Strada (1954, Federico Fellini)
10. L’Avventura (1960, Michelangelo Antonioni)
11. Fists in the Pocket (1965, Marco Bellocchio)
12. Cinema Paradiso (1988, Giuseppe Tornatore)
13. Rocco and His Brothers (1960, Luchino Visconti)
14. Once Upon a Time in the West (1968, Sergio Leone)
15. Rome, Open City (1945, Roberto Rossellini)
16. I Fidanzati (1963, Ermanno Olmi)
17. Umberto D. (1952, Vittorio De Sica)
18. The Conformist (1970, Bernardo Bertolucci)
19. Salvatore Giuliano (1962, Francesco Rosi)
20. Mid-August Lunch (2008, Gianni Di Gregorio)

The Films of Kôji Fukada

Hospitalité (2010)
Harmonium (2016)
A Girl Missing (2019)
The Real Thing (2020)

Harmonium is Kôji Fukada’s fifth film but one that thrust him in the spotlight after it won the Un Certain Regard Jury Prize at Cannes 2016. Prior to that, Fukada’s films were often found at Film Festivals around the world so his name wasn’t unknown. Yet, Harmonium showed a distinct change and ruthlessness that wasn’t the case with his earlier films especially Hospitalité which has some common elements.

Hospitalité

 

In both Harmonium and Hospitalité, a stranger arrives to live in a household and ends up upending the family dynamics of that household. One reason that the stranger is able to impact the family is because he is able to exploit vulnerabilities which highlight that the family is one in name only but otherwise a collection of individuals.

In Hospitalité, the stranger is Kagawa (Kanji Furutachi) who arrives to a house where a couple run a printing press owned by Kobayashi (Kenji Yamauchi) and his wife Nitsuki (Kiki Sugino). Kagawa first manages to get a job at the printing press, then manages to stay at the house before eventually taking things over like a gangster.

Kôji Fukada's smart inspired bit of casting is highlighted by Kanji Furutachi who played the stranger in Hospitalité but plays the house owner in Harmonium.

 

Harmonium

In Harmonium, Toshio (Furutachi) offers Yasaka (Tadanobu Asano) a job and accommodation in his house without telling his wife Akie (Mariko Tsutsui). The difference is that unlike Hospitalité, Yasaka isn’t a complete stranger. He and Toshio shared a past which is something that Toshio neglects to inform Akie about. At first, Akie isn’t comfortable with Yasaka’s presence but gradually warms up, especially after Yasaka teaches Akie’s daughter how to play the harmonium. However, Yasaka starts making too many inroads in Toshio’s family, an act that threatens to derail Toshio’s perfect family.

The two films may share a common key element of a disruptive stranger but they are vastly different in tone and execution. The tone in Hospitalité is uneven, a mix of absurd comedy and drama. After Kagawa takes over the house and printing press, things get comical even though the inclusion of a few scenes and glances indicate a calculated plan. On the other hand, Harmonium removes any humour and ventures into a darker territory. The film is packed with plenty of jaw-dropping scenarios which question the complex relationships each family member shares with another. The film’s original title Fuchi ni tatsu translates to “on the brink”, words that perfectly describe the mental state of the characters as they navigate through their daily lives.

Harmonium is a kick in the guts, sharp, relentless and is an ingenious twist on the traditional Japanese family drama. Naturally, after a film like Harmonium, my expectations were high from Fukada’s next film. As it turns out, it wasn’t one film but two that arrived in quick succession.

A Girl Missing

As the title indicates, A Girl Missing is about a kidnapping. But unlike other movies that deal with such topics, the movie isn’t about the kidnapper or victim but instead about a character (Ichiko played brilliantly by Mariko Tsutsui) who chooses not to act. In the film, Ichiko recognizes the kidnapper but doesn’t divulge that information to the police as she fears it might implicate her. However, Ichiko’s secret is revealed and unravels her reputation and relationship. She is angered and driven to thoughts of revenge. The film falls a few steps short of what Harmonium shows. While Harmonium shows the execution of dangerous thoughts, A Girl Missing shows how such thoughts can simmer inside a character and force them to take matters in their own hands. The film can be considered the idea that is realized in action by Harmonium.

The Real Thing

 

On the other hand, The Real Thing is a reset, a reset of themes and ideas. Based on a manga, the film is about two characters who are clearly wrong for each other. When the two are together, bad things happen. Yet, they can’t stay away or instead the universe can’t keep them away. The Real Thing is 3 hours 52 minutes long but it originally ran as a 10 part mini-TV series. The TV series format is apparent even in the almost 4 hour film as events repeat, progress in a predictable format. The tone of the film is devoid of any melodrama which results in the material presented with a dryness that mixes absurd, comedic and dark scenarios.  The almost 4 hour version was supposed to play at Cannes 2020 but since the Festival was postponed due to the Pandemic, the film was announced as an Official Cannes Selection. The film did have a festival run in Fall of 2020 including showing at the Tokyo International Film Festival.

 

Overall, even though there are elements to admire in A Girl Missing and The Real Thing, neither film can match the heights of Harmonium which feels like a perfect calibration of all the elements found in his movies. Still, there is no doubt about Kôji Fukada's stellar credentials as a director. The varying treatment between Hospitalité and Harmonium shows the evolution of a filmmaker from a good director into a great one. It is still early to know if the adaptation of a manga will be a new direction for Fukada or how it fits in his filmography. Oddly, there is a quote from Fukada that the Japanese film industry needs to stop depending on manga adaptions which feels ironic given that he has done one himself. So this adaptation may be a one-off only but I am looking forward to see what he does next.

Just Like That

Just like That (2019, India,  Kislay)

The mother is a revered character in Indian cinema and society (‘Mother India’), someone who is selfless and devoted to her husband and family. This portrayal has hardly been challenged in Indian cinema, especially Bollywood films which depict mothers as always standing by their husband/sons/families and often these films resort to depicting mothers as overly melodramatic characters speaking cliched dialogues. This is why Kislay’s debut feature Just Like That is refreshing. The main character, Mrs. Sharma, is a 74 year-old woman who has recently become widowed. She is expected to live like other widows before her but she defies expectations. Mrs. Sharma wants to be independent, dares to open her first bank account, wants to go shopping at the mall, eat ice-cream, learn sewing and wants to live by herself in the upstairs portion of her son’s house. Her independence isn’t taken well, not by the son, daughter-in-law, neighbours and other family members. The film doesn’t just focus on Mrs. Sharma and the camera quietly captures intimate moments showing other family members and highlights problems caused by the patriarchal structure of society.

Such problems aren’t only restricted to India but impact all nations in varying measures. In this structure, women (young, married or widowed) are always expected to follow protocol but men are given leeway to behave as they please. Well Mrs. Sharma isn’t having any of that! For her entire life, including over 5 decades of married life, she followed protocol. Now at the age of 74, she is standing up for herself. Of course, her revolution isn’t loud or grand but consists of many tiny gestures; the kind of tiny gestures that are rare to find in cinema. This attention to detail is just one of the aspects that makes this one of the best films of last year.

Fantasia 2021

Fantasia 2021 runs from Aug 5 - 25th in a hybrid format. Unlike last year’s virtual edition, this year’s edition is showing films in cinemas along with a few on-demand.

The following are comments on five films seen virtually. Three films are refreshing upgrades on genre films while the main highlight was screening of a two decade old Uruguayan cult film!

King Car (2021, Brazil, Renata Pinheiro)

A few years ago, Bacurau showed the power of using genre (Spaghetti Westerns, John Carpenter’s films) to create a smart multi-layered political allegory. Renata Pinheiro taps into the same energy albeit via a different set of genre films, the Hollywood car horror movie from late 1970s-80s such as The Car (1977) and John Carpenter’s Christine. He also incorporates a few more car centric elements such as the talking car of Knight Rider with a fetish touch of David Cronberg’s Crash (difference is that the pleasure isn’t only one way). If that wasn’t enough, the film is layered with some social, environmental and political messaging. The overall mood and tone of film also reminded me a bit of Adirley Queirós’ Once There was Brasilia.

Beyond the Infinite Two Minutes (2021, Japan, Junta Yamaguchi)

The time loop movie has become a sub-genre within sci-fi films and its depiction has taken on many forms ranging from comedy (Groundhog Day), dark comedy (the recent Palm Springs) to action/thriller (Edge of Tomorrow) and even horror (Timecrimes). A majority of the films revolve around characters going back to a key event in their lives to save the world, save a loved one or even saving themselves. Unfortunately, a majority of these films get caught in their own repetitive loop and lose momentum after the nth repetitive scene. Therefore, it is such a joy to discover Junta Yamaguchi’s Beyond the Infinite Two Minutes, a charming, creative take on the time loop movie. In the film, the main character can only see 2 minutes into the future and this discovery happens when he leaves the cafe to go to his apartment upstairs. 

The 2 minute concept is lovingly expanded with plenty of humour and even though there is some saving involved, it is nowhere near as dramatic as most of the Hollywood repetitions. Also, the film shows that a talented filmmaker can add a loving dimension to this sub-genre with a limited budget. No need of millions for pointless explosions and car crashes.

Tiong Bahru Social Club (2020, Singapore, Tan Bee Thiam)

The happy peaceful suburbia concept has proved to be fodder for horror and dramatic films which have shown the darkness that hides behind the curtains of those oh so perfect looking white picket fences. David Lynch’s Blue Velvet is just one example but there have been many other films which have gone the full body horror route while some have gone the satire way (The Stepford Wives). The recent Vivarium combined satire, horror and sci-fi. Tiong Bahru Social Club shows that there is another possible way. The setting of Singapore adds a much needed splash of colour and the suburban houses are replaced with an apartment like community. The satire is quite visible and the location of Singapore ensures a clean sanitized version on screen at all times. There is a hint of an evil scheming plot that is turning the wheels in the background but even that is presented in the film’s overall pleasant tone. The end result is a film that shows it is possible to tackle existential ideas in a humorous manner without resorting to blood, gore and orgies.

Act of Violence in a Young Journalist (1988, Uruguay, Manuel Lamas)
Straight to VHS (2021, Uruguay, Emilio Silva Torres)

 

The highlight of the festival so far has been the double bill of Act of Violence in a Young Journalist and Straight to VHS. Manuel Lamas’ 1988 film Act of Violence in a Young Journalist is a curious beast. The low budget video production gives the film a grainy look which at times indicates an old fashioned B-grade film but that is doing the film a huge disservice. In some aspects, the film is well ahead of its time by mixing documentary style footage with some fictional aspects and having these two threads come together in a creative manner. The main character Blanca (Blanca Gimenez) is a journalist doing a thesis into what violence means and she goes about interviewing various subjects on the nature of violence. These interviews lead to some of the film’s best moments including a segment where a subject links the violence in Uruguayan society to that which takes place on-field in Uruguayan soccer games. This subject’s observations in a way predict the evolution of Uruguayan soccer over the last 2 decades and how the team has formalized violence in a formal framework within their game. Even today, the Uruguayan team of Oscar Tabárez is known for its grit, tough tackling physical side rather than a creative flair. Blanca’s work attracts the attention of a person who believes that the only way Blanca can learn about violence is experiencing it first hand. So he starts a series of killing with the intent of killing Blanca last. There are some creative camera movements that are often hidden by the film’s low budget production (editing, sound) but it is easy to see why this film became a cult phenomena.

Emilio Silva Torres tries to decipher this cult nature in his smart documentary Straight to VHS that also uses a creative touch of fiction to walk through the Lamas labyrinth.

The films of Ulrich Köhler

Bungalow (2002)
Sleeping Sickness (2011)
In My Room (2018)

Unlike previously, I started in the middle. The first Ulrich Köhler feature I saw was Sleeping Sickness his 3rd out of 5 features. Although, when I saw the film it was his newest and thereby last. A single film doesn’t highlight the themes or signature elements of a director. That is why seeing two of his other films as part of a double bill was an eye-opening experience and helped place Sleeping Sickness nicely in Köhler’s style.

Alienation, loneliness, isolation. These words appeared over and over again when viewing Ulrich Köhler films in quick succession.

Bungalow

In the early moments of Bungalow, the elements of isolation and loneliness stand out. At the film’s start, we observe a group of soldiers following orders as they disembark in unison from their truck and make their way to McDonald's while ordinary civilians look on. When the captain calls the soldiers back to the truck, they walk back without any protests. Except one. Paul (Lennie Burmeister) continues to sit with a civilian, taking his time and missing his ride back on the truck. It is clear that unlike the rest of the Germans, Paul doesn’t want to follow. He is deserting his military duties. Instead, Paul goes back to his parents house to just rest, chill. Since his parents are away, Paul expects to have the house to himself but he is surprised to find his brother Max (Devid Striesow) and new girlfriend Lene (Trine Dyrholm) show up. Paul takes an immediate liking to Lene. Even though events are presented in a minimalist manner, there appears to be an undercurrent of tension akin to what Maren Ade brilliantly showed in Everyone Else. The overall style and tone of Bungalow also aligns the film within the ‘Berlin School’ movement similar to that of Christian Petzold.

Sleeping Sickness

Sleeping Sickness continues the lonely isolated theme of Köhler’s cinema by showing two of the main characters preferring to stay in Africa rather than return to Germany. Ebbo (Pierre Bokma) in Sleeping Sickness is cut from the same cloth as Paul. On another note, Ebbo also shares some traits with the character of Johann (Peter Ketnath) in Marcelo Gomes’ Cinema, Aspirins and Vultures. In Gomes’ film, Johanna leaves Germany due to WWII and wants to stay in Brazil.

In My Room

In My Room takes the lonely element from Köhler’s films to its ultimate extreme when Armin (Hans Löw) wakes up one day to find that he is the only human left on the planet. All the other humans, male and female, have mysteriously disappeared. In My Room perfectly encapsulates all of Köhler’s signature elements.

Reading

1. Michael Sicinski on In My Room

2. Mark Peranson on Sleeping Sickness

3. David Hudson on Sleeping Sickness

4. Dennis Lim's Cannes interview with Ulrich Köhler

5. Vadim Rizov's interview related to In My Room

Messi finally wins Copa América

Messi's Copa América win.  Buda Mendes/Getty Images

It was a tournament that felt unnecessary. It was the 4th Copa América in just 6 years, after 2015, 2016 (Special 100th anniversary edition), 2019 and now 2021. Although, the tournament was supposed to be held in 2020 but was moved to 2021 due to the pandemic. If there was any tournament that could have been skipped, it was this one. Then to complicate matters, the number of teams was reduced to just the 10 South American teams as opposed to 12 after Qatar and Australia dropped out in 2020. With 2 less teams, there was a possibility of reducing the games but inexplicably the format of the tournament stayed the same as if there were 12 teams with two groups of 5 teams each playing 4 games to only eliminate just the bottom team from each group. That meant 20 group games in total just to eliminate two teams.

Then there was the problem with the co-hosts. With less than 2 weeks before the tournament was meant to start, co-hosts Colombia were withdrawn due to domestic unrest. Then Argentina were ruled out due to the rising number of COVID-19 cases. Brazil stepped in to host the tournament even though they were dealing with a massive COVID crisis of their own. The games continued in empty stadiums as fans weren’t allowed. 6000 or so were allowed for the final but all the other games were without fans.

The quality of the games suffered as well due to those extra pointless group games. Still, there were some positive highlights leading to the final that everyone wanted, Brazil vs Argentina. Neymar vs Messi.

1. Peru’s Quarter-final win over Paraguay 4-3 on penalties was one such positive moment after the game ended 3-3 in regulation. That 90 minutes featured a lot of a drama but even more came in the penalty kicks. A Panenka. Multiple penalties blasted over the bar. Penalties saved. And then, the kicks went to sudden death.

2. While Colombia’s Quarter-final with Uruguay was dull after 90 minutes, the penalties were anything but. David Ospina proved the hero by saving two Uruguayan kicks to lead Colombia into the semis.

3. Messi's goals and dribbles get deserved headlines but his assists are equally beautiful. Two of those beautiful assists were on display in Argentina’s Quarter-Final win over Ecuador. Messi’s first assist to Rodrigo was perfectly weighted and second assist to Martínez was art of minimalism. And then Messi scored a beautiful delicate free-kick as well to round off Argentina’s 3-0 win.

4. Colombia’s penalty heroics came crashing down against Argentina in the Semi-Final when Argentine keeper Emiliano Martínez owned the Colombian players in the shoot-out. Martínez  constantly talked to the Colombian players before the kicks, getting in their head. Those Colombian players missed even before Martínez made the saves. The other big story from that Semi was Messi himself. He is used to getting kicked but he fell down awfully after a challenge from Fabra. A close-up showed blood on Messi’s ankle. At that moment, it wasn’t sure if he could carry on. Yet, that is where Messi’s fighting spirit came out. He continued and even took a free-kick from that same bloody foot. He even emphatically smashed a penalty from that same foot. Messi wasn’t going to miss his chance to make the final and then Martínez did the rest.

5. Colombia’s 3-2 win over Peru in the 3rd place game was dramatic too with Colombia getting the winner with mere seconds left on the clock.

On to the final between Brazil and Argentina on July 10, 2021. 

It was a largely uneventful game with more of the action coming from full bloodied tackles and some fights. The game’s only goal came less than midway through the first half.

Ángel Di María did what Gonzalo Higuaín couldn’t do 7 years earlier on this same Maracanã pitch in the 2014 World Cup final. That is lob the ball over the goalie to score a priceless goal.

The emotions at the final whistle said it all. The Argentine players raced over to Messi. You could tell that Messi was overcome with emotions with decades old weight lifted from his shoulder. After losing in 4 tournament finals (2014 World Cup and 3 Copa América finals), Messi finally won his first international tournament. Argentina won their first Copa América in 28 years and are now tied with Uruguay at 15 Copa América wins.

All the attention in the celebration was around Messi. Neymar’s hug with Messi was beautiful and sweet. To round off a perfect night, Messi got the Best Player and Top Scorer Awards as well. He finished the tournament with 4 goals and 5 assists.

The best player in the world finally has an international trophy.

Andre Penner/AP

 

I Want Your Tree...your tree also..I want all your trees

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

“A picture is worth a thousand words”. 

In this case, the picture left me speechless but instead raised many questions. Why is a tree in the middle of a body of water? Looking closer, it isn’t fixed but is instead being transported? Why is it uprooted and being transported?

I tried to guess the answer but I wasn’t even close. Some answers arrive thanks to Salomé Jashi’s lovely Taming the Garden but the documentary raises even more questions.

Let’s get back to my original question. 

Why is a tree in the middle of a body of water?

The tree is being transported because Georgia’s former prime minister’s unique hobby is to collect century old trees. This means he gets his men to go around the countryside locating these trees, then uprooting them and figuring out how to transport them to his private garden.

The film shows us without many words the challenging Engineering tasks in carefully taking a tree from the original spot in which it has been there for decades and finding a way to move the tree across land and water.

As for the men doing the job? They don’t ask many questions and are often surprised as well at the job they are doing. What they say are rumours or hearsay. Some even wonder if they should ask any questions. As for the locals, all they can do is stand around with cellphones taking pictures. At least, they can do that and aren’t banned from taking pictures of the displaced trees.

There are no men officially going on the record in Salomé Jashi’s film and certainly the Man himself doesn’t make an appearance. He is in the shadows. Maybe the Man doesn’t exist. Maybe he is a tree himself. We won’t ever find out. 

We get a tiny peek at that secret magical garden itself but that raises even many more questions, starting with the biggest one, WHY?

Sure people collect books, vinyl records, movies, wines, paintings, sculptures, [insert other artifacts]. So why not trees?

What about the environment? What about changing the landscape? What about the logistical and engineering task of transporting the tree? What about the carbon footprint? Of course, greenhouse gases and carbon footprint gets a whole new meaning via moving trees.

Oh, stop with the questions.

You have a tree that I want. I will send my men to take it. And you will quietly observe or film. Ok, no more questions. Leave.

Taming the Garden is only 86 minutes long and it is a film that I didn’t want to end. I loved watching it but I have so many more questions still...

oh, beloved tree, will you ever come back?

Lakbayan to Genus Pan

Genus Pan (2020, Philippines, Lav Diaz)

Genus Pan, Courtesy of Sine Olivia Pilipinas

As with any Lav Diaz film, the running time is often mentioned. Anything between 3-4 hours can be considered a Lav Diaz short film. So imagine the surprise that Lav Diaz’s new film Genus Pan is only 157 minutes long. But I came across an even shorter version of this in 2019. To be more precise, you can call it a 35 minute trailer.

In 2019, I was happy to discover Lakbayan (Journey), an omnibus of shorts directed by three Filipino masters, Lav Diaz, Brilliante Mendoza and Kidlat Tahimik, to mark the centennial anniversary of Philippines’ cinema.

Lakbayan

The first segment called “Hugaw" (“Dirt”, directed by Lav Diaz) depicted in luscious black and white is about three coal miners who make the long dangerous journey back home across an unforgiving landscape featuring a sea, mountain and a forest. Along the way, they encounter mystical visions which tests their nerves and sanity.  This 35 minute short is the seed which has grown into the feature film Genus Pan.

The second segment in Lakbayan, Brilliante Mendoza’s “Desfocado” (“Defocused”), tackles topics of corruption and justice by using a real-life story about farmers from Mindanao island who marched over 1000 miles to demand justice for their land. Kidlat Tahimik’s final segment (“Kabunyan’s Journey”) is a touching documentary about his son’s travels in their family camper van across the Philippine countryside.

Genus Pan is available to rent until July 7 via Projectr.tv.

I am not sure where Lakbayan is available to see via legal means. I had programmed this film back in 2019 and gotten the film directly from the distributor in Philippines.

Roy Andersson 2.5

About Endlessness (2019, Swedish co-production)

10 years ago, I laughed in delight while watching Roy Andersson’s double-bill of Songs from the Second Floor (2000) and You, The Living (2007). Both films are packed with plenty of deadpan, absurd scenarios, witty observations layered with Beckett’s Waiting for Godot. The two films are part of his “Living Trilogy” which was completed by 2014’s A Pigeon Sat on a Branch Reflecting on Existence. Each film, spaced out by 7 years, contains similar style and themes, especially regarding death which hovers over the frame or is walking besides the characters in the first two films. Some characters can be considered as already dead (zombies, ghosts). While the first two films implied death, the third film in the trilogy shows characters dying in the frame. Even though the topic is grim, the playful music and absurd scenarios in A Pigeon Sat on a Branch Reflecting on Existence tends to inject some humour.

A Pigeon Sat on a Branch Reflecting on Existence

The comedic style of the “Living trilogy” films stands in contrast to Andersson’s earlier films such as A Love Story (1970) which is why I am labeling the “Living Trilogy” as Roy Andersson 2.0. This brings us to his 2019 film About Endlessness which appears to be an epilogue to the “Living Trilogy” but has a more bleaker look due to the grayish palette complete with overcast skies.

 

The opening sequence stands out as two characters fly over a city in ruins. That is just one of a series of vignettes in the film which doesn’t interleave characters like the “Living Trilogy” did. Instead, some segments are linked together by an unseen female narrator’s voice-over such as “I saw a man…”. There is the expected deadpan, few gags, inclusion of religious elements and attempts to tackle contemporary issues. Although, one of the contemporary segments about honour killing doesn’t have the intended impact and comes across as tone-deaf.

The “Living Trilogy” and About Endlessness were released over a long duration of 19 years. The world changed significantly over these two decades yet Andersson has largely maintained a similar style over this duration with a few tweaks. Unfortunately, I find the last two films weaker in comparison to Songs from the Second Floor and You, The Living. That could be more due to the high bar by those two earlier films or perhaps my changing perspective.

I am labeling About Endlessness as Roy Andersson 2.5 because it shares elements with the “Living Trilogy” and came out 5 years after the last film in the trilogy (not as per the trilogy’s 7 year gap). Will a future Roy Andersson film move to 3.0 or will it be another 2.x variation? I look forward to finding out.

About Endlessness

Bruno Dumont 2.0

Coincoin and the Extra-Humans (2018, 4 episode TV Mini-series)

For a change, I started at the beginning. I was fortunate enough to witness Bruno Dumont’s films in order as they circulated on the film festival circuit starting with La vie de Jésus (1997), Humanity (1999), Twentynine Palms (2003). I was shocked, puzzled by what I saw because back then I was still searching for a film vocabulary to comprehend things. I started forming a clearer picture with his next films Flanders (2006) and Hadewijch (2009) and figured I had understood his style and what to expect next. That is why the arrival of Li'l Quinquin (2014) was such a surprize and forced me to recalibrate. 

The 4 part TV series Li'l Quinquin was also presented as a full length feature film which I was lucky enough to watch in a cinema. On purpose, I had read nothing about the film in advance and was able to go through a whole range of emotions while watching the comedic bumbling adventures of Commandant Van der Weyden (Bernard Pruvost) and Lieutenant Carpentier (Philippe Jore) as they attempted to solve an inexplainable series of gruesome discoveries. Van der Weyden’s character was certainly a delight and the closest assessment was his character was a cinematic offspring of Jacques Clouseau and Tati’s Mr. Hulot. With Li'l Quinquin, Dumont showed a new side to his filmmaking by taking aspects of French town life depicted in his previous films in a different direction. While the work felt like an auteur’s variation of True Detective, it also seemed to suggest Bruno Dumont 2.0. That belief was strengthened with the arrival of Slack Bay (2016). 

2.0 is firmly enforced by the arrival of Coincoin and the Extra-Humans (2018), another 4 episode TV series that features the same characters from Li'l Quinquin, albeit grown up. The title character from Li’l Quinquin (Alane Delhaye) is now grown up as Coincoin, as are Eve Terrier (Lucy Caron) and Kevin (Julien Bodard). Delightfully, both Bernard Pruvost’s Commandant Van der Weyden and Philippe Jore’s Lieutenant Carpentier characters are back although they don’t appear to have grown any wiser.

This time around, Dumont tries his hand at the sci-fi genre using the similar comedic framework developed by Li'l Quinquin. Van der Weyden is still fumbling his way across the countryside while Carpentier is still driving on two-wheels. 

The duo are woefully unprepared for the arrival of the….aliens. Of course, this being a Bruno Dumont film, the aliens are not what Hollywood has given us but are instead an oozing gooey sludge that can fall from the sky at any given moment.

The mysterious sludge also has some powers that I will not give away but safe to say, it results in plenty of comedic situations akin to slapstick and mistaken identities. There are some other delightful comedic touches such as the broken lights on top of the police car. At the start of the episodes, there is a single unbroken light but after multiple crashes and alien sludge falling from the sky, an additional light is added by Van der Weyden as the story moves along.

By the end of the film, there are 4 broken lights on the passenger side of the police car while the original light is also broken on Carpentier’s side. There are multiple cinematic references as well that serve as wink-wink jokes for those in the know although this time around Carpentier’s name works perfectly for the material as it is just a single letter away from Carpenter (ahem John).

Near the end of the film, Dumont slightly shifts into another genre before closing things out with some music. The song and light-hearted music doesn’t feel like a coincidence because Coincoin is book-ended by Jeannette: The Childhood of Joan of Arc (2017) and Joan of Arc (2019), two unique musicals. The drift to musicals may be Dumont 3.0 although with his upcoming film On a Half Clear Morning (2021), Dumont may go back to 2.0 or perhaps 2.5.

Copa Libertadores vs Champions League

The swift unraveling of the European Super League doesn’t mean that things will become better in the Champions League. It still appears that the dominance of few clubs from Europe’s big 5 leagues (England, Spain, Germany, Italy and France) will continue for a long time. This wasn’t always the case in the Champions League / European Cup but has became the new normal. If Europe's main club competition doesn't offer much hope of change, then what about South America's big club competition? A recent observation from Norman Crane about how things fare in the Copa Libertadores inspired me to compare the different winners in South America’s main Club tournament with that of Europe’s main Club competition.

Copa Libertadores: 10 South American countries but 2 dominate

Overall winners by country: 

Argentina: 25
Brazil: 20
Uruguay: 8
Colombia: 3
Paraguay: 3
Chile: 1
Ecuador: 1

It is not a surprise to see that Argentinian and Brazilian clubs have dominated the overall Copa Libertadores with Uruguayan clubs at #3. These 3 are also the most successful national teams in South American football as Brazil have 5 World Cup wins, Argentina and Uruguay have won 2 world Cups each. Uruguay have the most Copa America wins at 15, Argentina have 14 while Brazil have 9.

However, it is still surprising to see such a small number of winning teams from Colombia (3) and Chile (1) given their national team's strong performances over the last few decades. Currently, there are no Copa Libertadores winners from Peru, Bolivia or Venezuela.

In terms of the top winning clubs, it is a surprise to see the Argentine club Independiente still leads the list with 7 titles thanks to the 4 titles they won in the 1970s with their last title coming in 1984. It is also a big surprise to see the traditionally big Brazilian clubs such as Santos and São Paulo only have 3 overall titles while Flamengo with only 2, one of which was in that recent remarkable 2-1 win over River Plate in 2019, with Gabriel Barbosa scoring the goals in 92nd and 95th minute to clinch the win.

Wins by clubs: 

Independiente: 7
Boca Juniors: 6
Peñarol: 5
River Plate: 4
Estudiantes: 4
Olimpia, Nacional, São Paulo, Santos, Grêmio: 3
Palmeiras, Cruzeiro, Internacional, Atlético Nacional, Flamengo: 2
Colo-Colo, Racing, Argentinos Juniors, Vélez Sársfield, Vasco da Gama, Once Caldas, LDU Quito, Corinthians, Atlético Mineiro, San Lorenzo: 1

Copa Libertadores by the decades:

1960 - 69

Peñarol started Copa Libertadores in a strong fashion by winning the first 2 tournaments and finishing runners-up in the third tournament. However, clubs from Argentina came to dominate this decade.

Overall, 5 different teams won from just 3 nations.

Argentina (5): Independiente (1964, 1965), Estudiantes (1968, 1969), Racing (1967)
Uruguay (3): Peñarol (1960, 1961, 1966)
Brazil (2): Santos (1962, 1963)

1970 - 79 

Argentina extended their dominance in the 1970s and that also coincided with their national team winning their first World Cup in 1978. Brazilian football was declining on the international stage after Pelé retired in 1970 and that decline was reflected at the club level as well as only one Brazilian club won a title in this decade. Paraguay had their first ever Copa Libertadores winner as Olimipia won the first of their 3 titles in 1979.

6 different teams won from 4 nations.
 
Argentina (7): Estudiantes (1970), Independiente (1972, 1973, 1974, 1975), Boca Juniors (1977, 1978)
Uruguay (1): Nacional (1971)
Brazil (1): Cruzeiro (1976)
Paraguay (1): Olimipia (1979)

1980 - 89 

Clubs from Uruguay began their re-awakening and that translated into their national team growing in strength until the mid 1990s. Atlético Nacional became the first Colombian team to win the Copa in 1989. 

Overall, a diverse decade of winners with 8 different teams winning from 4 nations.

Uruguay (4): Nacional (1980, 1988), Peñarol (1982, 1987)
Argentina (3): Independiente (1984),  Argentinos Juniors (1985), River Plate (1986)
Brazil (2): Flamengo (1981), Grêmio (1983)
Colombia (1): Atlético Nacional (1989)

1990 - 99

The best decade in spreading out the titles as 9 different teams from 4 nations won the competition. Brazilian clubs dominated and would start their seesaw battle with Argentine teams in dominating a decade. The famous Colo-Colo won their and Chile's first Copa in 1991.

Brazil (6): São Paulo (1992, 1993), Grêmio (1995), Cruzeiro (1997),
Vasco da Gama (1998), Palmeiras (1999)
Argentina (2): Vélez Sársfield (1994), River Plate (1996)
Paraguay (1): Olimpia (1990)
Chile (1): Colo-Colo (1991)

2000 - 2009

7 different teams won from 5 nations with Argentina dominating again and their clubs taking over from Brazilian clubs. LDU Quito became the first ever team from Ecuador to win the Copa in 2008.

Argentina (5): Boca Juniors (2000, 2001, 2003, 2007), Estudiantes (2009)
Brazil (2): São Paulo (2005), Internacional (2006)
Paraguay (1): Olimpia (2002)
Colombia (1): Once Caldas (2004)
Ecuador (1): LDU Quito (2008)

2010 - 2019

Brazilian clubs dominated this decade although it wasn’t one Brazilian club that dominated. 6 different Brazilian clubs won a single title and as a result 9 different teams won from just 3 countries.

Brazil (6): Internacional (2010), Santos (2011), Corinthians (2012), Atlético Mineiro (2013), Grêmio (2017), Flamengo (2019)
Argentina (3): San Lorenzo (2014), River Plate (2015, 2018)
Colombia (1): Atlético Nacional (2016)

2020 - 2021

2020 proved to be an all Brazilian Copa final although the final was played in 2021 due to the pandemic shifting things. Palmeiras won the title 1-0 over Santos. Given the recent dominance of Brazilian teams, it feels safe to say that Brazilian clubs may dominate this decade but if the seesaw logic holds, then Argentine teams should win more than the Brazilian teams. As Tim Vickery noted recently that even this year the dominance of Brazilian and Argentine teams looks set to continue as 12 of the teams in the round of 16 are from Brazil and Argentina (6 each) with 2 teams from Paraguay and single teams from Chile, Ecuador.

“Just five of South America's 10 countries, then, are represented in the round of 16. As well as Colombia, there were wipeouts for Peru (for the eighth successive year), Venezuela (for the fifth and the 11th in the last 12), Uruguay and Bolivia.”

European Cup / Champions League

Overall winners by Country:

Spain: 18
England: 14
Italy: 12
Germany: 8
Holland: 6
Portugal: 4
France: 1
Romania: 1
Scotland: 1
Yugoslavia: 1

Just two Spanish clubs (Real Madrid with 13 wins and Barcelona with 5) make Spain the dominating nation in terms of European Cup / Champions League winners.

In contrast, England’s 14 wins are provided by 5 clubs (Liverpool, Man Utd, Nottingham Forest, Chelsea, Aston Villa).

Italy’s 12 wins are by their big 3 of AC Milan, Inter Milan and Juventus. Bayern Munich’s 6 wins prop up Germany’s 8 total wins with single titles by Borussia Dortmund and Hamburg.

Holland’s 6 wins are by their most well known big 3 led by Ajax with 4, Feyenoord and PSV with a single title each. It is not a surprise that Portugal’s big two clubs Benfica and Porto each have 2 titles.

Wins by Clubs:

Real Madrid: 13
Milan: 7
Bayern Munich, Liverpool: 6
Barcelona: 5
Ajax: 4
Manchester United, Inter Milan: 3
Juventus, Benfica, Nottingham Forest, Porto, Chelsea: 2
Celtic, Hamburg, FCSB, Marseille, Borussia Dortmund, Feyenoord, Aston Villa, PSV, Red Star: 1

1956 - 1959

The tournament started in the 1955-56 season so it is hard to measure the 1950s via a proper evaluation but safe to say Real Madrid dominated the tournament early on by winning the first 5 straight European Cups including all 4 in the 1950s.

Spain (4): Real Madrid (1956, 1957, 1958, 1959)

1960 - 69

6 different teams won from 5 different nations. Celtic won the first ever European Cup for a British team and it still remains the only European Cup that Celtic has won. Portuguese powerhouse Benfica led by Eusébio won their only 2 European Cups in the 1960s and also finished runners-up on 3 other occasions in the 1960s.

Italy (4): AC Milan (1963, 1969), Inter Milan (1964, 1965)
Spain (2): Real Madrid (1960, 1966)
Portugal (2): Benfica (1961, 1962)
Scotland (1): Celtic (1967)
England (1): Manchester United (1968)

1970 - 79

Worst decade in spreading winners out as only 5 teams won from 3 different countries. The rise of Johan Cruyff meant Ajax won three straight titles and that dominace also translated into Holland’s strong showing at the 1974 World Cup. Cruyff left Ajax for Barcelona in 1973 and it is not a surprise that Ajax didn’t win any more European Cups in the 1970s. Although, without Cruyff the Dutch national team did still make the 1978 World Cup final which they lost to hosts Argentina.

Holland (4): Feyenoord (1970), Ajax (1971, 1972, 1973)
Germany (3): Bayern Munich (1974, 1975, 1976)
England (3): Liverpool (1977, 1978), Nottingham Forest (1979)
 

1980 - 89

9 different teams won from 6 different nations.

English Clubs dominated the early 1980s but were banned from the European Cup after the Heysel Stadium disaster in 1985. The absense of English clubs surely played a key part in spreading out the winners in the late 1980s before the rise of Arrigo Sacchi’s AC Milan team, powered by the flying dutchmen trio of Marco van Basten, Ruud Gullit and Frank Rijkaard, won about back-to-back European titles in 1989 and 1990.

England (4): Nottingham Forest (1980), Liverpool (1981, 1984), Aston Villa (1982)
Italy (2): Juventus (1985), AC Milan (1989)
Germany (1): Hamburg (1983)
Romania (1): Steaua Bucharest (1986)
Portugal (1): Porto (1987)
Holland (1): PSV Eindhoven (1988)
 

1990 - 99

Best decade in terms of spreading winners as 9 different teams won from 7 different nations. Also, this was the last decade before changes started happening across the European game including the rebranding of European Cup to Champions League plus the removal of foreign player restrictions for a team. The collapse of the Berlin Wall, changing of transfer policies in Eastern Europe and the dissolving of Yugoslavia meant that talented Eastern European players could move to Western European teams for the first time.

Italy (3): AC Milan (1990, 1994), Juventus (1996)
Spain (2): Barcelona (1992), Real Madrid (1998)
Yugoslavia (1): Red Star Belgrade (1991)
France (1): Marseille (1993)
Holland (1): Ajax (1995)
Germany (1): Borussia Dortmund (1997)
England (1): Manchester United (1999)

2000 - 2009 

7 teams won from 5 different countries.

Spain (4): Real Madrid (2000, 2002), Barcelona (2006, 2009)
Italy (2): AC Milan (2003, 2007)
England (2): Liverpool (2005), Manchester United (2008) 

Germany (1): Bayern Munich (2001)
Portugal (1): Porto (2004)

2010 - 2019

6 teams won from 4 different countries. The 1970s were worse in the fewest number of different winners but this decade certainly featured a lot of repeated and predictable match-ups. The difference was in the 1970s, each country only had 1 team in the competition which meant some different teams still took part. But with the expanded Champions League format with top 4 teams from Spain, England meant almost the same teams were present resulting in similar match-ups.

Spain (6): Barcelona (2011, 2015), Real Madrid (2014, 2016, 2017, 2018)
England (2): Chelsea (2012), Liverpool (2019)
Italy (1): Inter Milan (2010)
Germany (1): Bayern Munich (2013)

2020 - 2021

Germany won the first title of this decade after Bayern Munich’s 1-0 win in 2020 over PSG while Chelsea beat Man City 1-0 in an all English final in 2021.

Comparison of Copa Libertadores vs Champions League 

The financial, social and economic circumstances between European and South America clubs are vastly different but a curious statistic stands out. Both continents had their best decade of different winners in the 1990s. That makes sense as the game was going through a massive shift in that decade. The European Cup became the Champions League and the Premier League was formed and as a result, more money flowed into the European game. The Bosman ruling was also a seismic shift and meant that European teams could buy more than a limited quota of foreign players (3 in the case of Serie A) which also resulted in a lot of Eastern European and South American players leaving for Western European teams from the late 1990s onwards. In that sense, the 1990s was the last decade where a lot of South American / Eastern European teams could keep their local talent. It is worth noting that Barcelona signed Lionel Messi at the age of 13 from Newell's Old Boys in 2000.

As 2000s started, the big 5 leagues in Europe (England, Spain, Germany, Italy, France) started to breakaway from the rest of the European teams in terms of finances gained via new lucrative TV deals or by foreign owners putting in their own millions in stacking up the teams. No such big money flowed into South American clubs whose biggest source of revenue was selling their young talent to European teams. On a slightly positive note, some experienced South American players are returning to their home nations to finish their careers such as Carlos Tevez (currently at Boca Juniors), Dani Alves (signed with São Paulo in 2019) and Roque Santa Cruz who returned to Paraguay's Olimpia in 2016, the same team with whom he started his youth career with.

On the European stage, it appears highly unlikely that a team outside of the top 5 leagues can win the title while it looks like that mostly a Brazilian or Argentinian team can win the Copa Libertadores. The Copa Libertadores quota allows 5 teams each from Brazil and Argentina while only 2 each from the remaining 8 nations. In addition, the winners of the previous year's Copa Libertadores and Copa Sudamericana (similar to Europa League) are allowed entry. That is why in the current 2020-2021 season there are 6 teams each from Brazil and Argentina. Having 5-6 teams each from Brazil and Argentina means that at least the Copa Libertadores may have different Brazilian or Argentine winners each year because their domestic titles aren't dominated by a single team to the extent that the European domestic league titles are.