LFF 2019 Day Eight: Portrait of a Lady on Fire and Maternal (both 2019)

My eighth day of the festival should have been filled with more films, but I ended up not going to the third. Perhaps you could say the long hours were getting to me (I did feel my eyelids getting heavy briefly during Portrait), but actually something else came up. However, the two I did see both presented fascinating films about women’s lives, neither of which featured men at all (or almost never), though of course patriarchal control was never too far from the surface.

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La flor (2018)

There’s nothing out at the end of this week in UK cinemas that’s inspiring me to any themed week so I thought I’d return to some of the ones I’ve already done with follow-up reviews. I’ll start with my South American cinema week, which was on the occasion of the (necessarily limited) cinematic release of La flor. I spent three nights in a cinema for this one, so here is my review.


I can’t say if this movie is good in any traditional sense, but I suppose by the end of any 14 hour movie, anyone is likely to be a little unclear on critical categories, though the fact this is out there is in a sense worth more than any individual detail within it. It’s also not a film in which the visual style is its most important feature. The director, for example, is overly fond of shots with a shallow depth of focus, as figures move blurrily into the foreground. It’s also frequently discursive, sometimes in ways that are a little dull — I may have nodded off once or twice. The third episode out of six, for example, takes up the entirety of the second part (over five hours), itself split into three and then with countless other sub-headings as its spy genre drama flits between countries, and back and forth in time.

But I’m getting ahead of myself. It’s a film that, at a formal level, is clearly intended to be screened (as I saw it) over three nights. Its director, Mariano Llinás, pops up in little interstitial scenes in each of its three parts, and makes reference not just to where we are within each part, but elaborates the overall structure via messy handwritten notes in his diary. He has a trolling sensibility too elsewhere, as quite aside from the (surely almost mandatory) scenes of characters relieving themselves deep into the epic runtime, he opens one section with loud snoring, cuts out the sound entirely for another episode, deploys ostentatious dubbing for foreign voices even while clearly using Argentinean actors (to our ears the American and British ones seem particularly ill-suited to their actors, and that’s quite aside from the presence of Margaret Thatcher as a character), he fiddles with the light levels even while a scene is playing out (rendering the subtitles briefly unreadable), and seems to have flies stuck to the camera lens at one point. In fact, episode four is structured around a paranormal investigator trying to understand the director’s own notebook, after an extensive sequence of him (played by an actor) dragging his forlorn crew around filming a drama about some trees.

Whatever else it might be, though, this is a film that is in love with the act of storytelling. Rivette’s Out 1 may be an obvious reference point in terms of not just a focus on acting (here the same four women play roles in all but one of the film’s six episodes), but also its use of secret societies and shady cabals pulling strings behind the scenes. However, La flor is mainly just obsessed with weaving plots, and Llinás uses genre cues to set them up, whether the long, tortuous espionage plot of the third episode (with flashbacks and sub-plots for each of its spies), the supernatural mummy of the first, or the fetching story of two singers who have divorced but still work together, intercut with a secret society working on a deadly scorpion poison, though at two days remove I can no longer remember quite how that works into the story of the singers. That said, none of the first four episodes have much of a resolution: the point, really, is in the telling of the stories, not where they go.

The lack of resolution, which the director’s diagrams suggest may be solved in the final two episodes, but these — which only come in the final couple of hours (a good half hour of which is taken up by the credits) — may prove to be unsatisfactory for those who have stuck out 12 hours in the hope that it will all come together. No, what this is all about is just a love of narrative and of acting, and the various ways that all of these roles and stories can be reconfigured and recombined. It’s perfectly happy along the way to poke fun at itself — the way his four leading ladies (witches, briefly, in episode 4) react to the idea that they might have to do another episode in French after the epic episode 3 (in which they play French-speaking spies) is particularly great, but then the film is filled with throwaway moments of fine acting and self-effacing humour. I can’t tell you that you’ll find it thrilling or promise 14 hours of non-stop fun, but it does have its rewards, and it’s clearly not willing to compromise either.

CREDITS
Director/Writer Mariano Llinás; Cinematographer Agustín Mendilaharzu; Starring Elisa Carricajo, Valeria Correa, Pilar Gamboa, Laura Paredes; Length 807 minutes (not including intermissions).
Seen at ICA, London, Friday 13, Saturday 14 and Sunday 15 September 2019.

Women Filmmakers: Lucrecia Martel

Born in Argentina in 1966, Lucrecia Martel had a typically Catholic upbringing for the region, albeit such that she only enrolled in an ultra-Catholic school in order to study ancient languages. There she excelled in science and had intended further study in zoology, and even dabbled in farming, but was drawn into more practical studies in consideration of making a living, and bit by bit was drawn into filmmaking, in which occupation she was largely self-taught. She made short films and some documentaries for television during the 1990s, and has made only four feature films for cinema, but already in that time she has proven a keen eye for framing, and a laconic way of drawing out a story. Indeed, after bursting onto the international scene with La Ciénaga in 2001, she has been a model for successive Latin American women directors, if not for an entire strand of arthouse film production. Her films are not immediately accessible, and perhaps that explains her slow output (and the dizzying array of producers and sources of money her films sometimes list), but she also crafts them all very deliberately so perhaps the waits are worthwhile.

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La hora de los hornos (The Hour of the Furnaces, 1968)

Here on Filmcentric, I am doing a week of South American cinema (focused on Argentina) as La flor (2018) is being released cinematically in the UK on Friday 13 September, a film which is longer even than the one I’m discussing here. Filmmaking in South America really came to international attention in the revolutionary 1960s, under the label “Third Cinema”, and Argentine filmmakers Fernando Solanas and Octavio Getino were key amongst the figures within this movement, publishing a manifesto called Hacia un tercer cine (“Toward a Third Cinema”) the year after this three-part film. One of the key tenets was to resist neocolonialist and capitalist forces, and challenge viewers to include an awareness of class differences and power structures within the entertainment they consumed.


It’s clear at least that watching a film like this 50 years on in the institutionalised setting of the British Film Institute is a quite different experience from what the filmmakers intended, and probably effectively changes some of its meaning. After all, it’s a film that constantly mentions the necessity for the audience to continue the discussion outside the film, to reflect on it and complete its meaning themselves, and even includes intertitles exhorting them to stop the film and have discussions at various points. Instead, my impression is of an inexhaustible supply of facts and testimonies (and sometimes more-or-less propagandistic agitprop content) about post-war Argentinean politics, the rise of Juan Perón and the subsequent coup against him. If you’re not familiar with the events (as I am not) it can sometimes be a little difficult to follow, but the documentary footage, archival clips and supporting material from other “Third World” conflicts is joined by large amounts of textual quotes — alternately printed, flashed, zoomed into, or printed character-by-character on screen, to keep one’s attention presumably. It’s exhaustive, and it never quite seems to find a place to finish, but it’s a model of filmmaking that would have great impact on revolutionary modes of presentation, and still exerts its own fascination now.

Film posterCREDITS
Directors/Writers Octavio Getino and Fernando Solanas; Cinematographers Juan Carlos Desanzo and Solanas; Length 260 minutes.
Seen at BFI Southbank (NFT1), London, Sunday 13 May 2018.