NZIFF 2021: Memoria (2021)

Some films are made for film festivals, and none more so than any given new film by Thai filmmaker Apichatpong Weerasethakul. Some of them have becoming (surprisingly) modest arthouse hits, like Uncle Boonmee Who Can Recall His Past Lives, and Memoria is very much in a similar mould, with lush jungle terrains (here in Colombia) and a slow, mysterious narrative that seems to promise both naturalism and also science-fiction and fantasy at times. The central investigation may recall Brian De Palma’s Blow Out, in being based around a mysterious sonic fragment, but there’s little else that recalls mainstream narrative cinema, and Tilda Swinton is looking strangely ordinary here as she searches for… something.

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Apichatpong Weerasethakul proves that even making a film largely in English and set in Colombia, he’s still able to make exactly the kinds of films he makes, which is to say slow, somnolent and oblique. As with Cemetery of Splendour I nodded off a little at times (to be fair that one was a film about people with some kind of sleeping sickness), but it felt like part of the artistic process, a durational one, about a woman who seems to be searching for the source of a mysterious sound. That search takes her to various specialists (real or imagined?), and to a small village in the mountains, and those shots of ruins and lush vegetation seem very much of a piece with his most famous works. I think in many ways Memoria extends those themes, with some surprising additions that never exactly serve to make clear what’s been going on, but instead intensify and deepen the mystery. But that’s often the way. This had me fascinated and I loved the slow rhythms of it, but it danced nimbly away from explaining itself. Undoubtedly both this and the pacing will madden many of its potential viewers, but it’s an experience in being open to the possibilities of narrative.

CREDITS
Director/Writer Apichatpong Weerasethakul อภิชาติพงศ์ วีระเศรษฐกุล; Cinematographer Sayombhu Mukdeeprom สยมภู มุกดีพร้อม; Starring Tilda Swinton, Jeanne Balibar, Elkin Díaz; Length 136 minutes.
Seen at Embassy, Wellington, Thursday 18 November 2021.

Monos (2019)

As far as revolutionary cinema goes, Monos is very much more about capturing a mood, an intensity to being a guerrilla in the jungle, rather than trading in any particular or specific history. It’s more of a mood piece, and it worked (for me) very well, although critical opinion I’ve seen has certainly been divided. It’s probably not the exemplar of a ‘cinema of resistance’, but it’s about revolutionaries and the idea of resistance.

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As an experience of a film, I really liked this. It has a dreamy intensity to it, which starts out as if amongst the legionaries in Beau travail albeit situated in a mountainous and muddy jungle terrain (rather than the heat of Claire Denis’s film) and with teenage revolutionaries in a sort of Lord of the Flies-type dystopia. The Latin American setting and the guerrilla-style warfare that is being undertaken suggests that they are fighting against state suppression and possibly some kind of American military-industrial nexus of capitalist interests, but honestly I’m just reading all that in based on what I’ve seen of South American liberationist history (as it has been portrayed on film at least), and no specifics are ever touched upon here, undoubtedly quite intentionally. However, it has such a concrete sense of place, and evokes such a tangible mood through the movement of the actors in the setting, and the throbbing Mica Levi score, that it achieves something that feels properly cinematic, though perhaps on reflection it’s more of a suggestion of cinema than something fully achieved. What it does evoke is a scenario that could as easily be science-fiction, making it more Hunger Games than Apocalypse Now. Ultimately it feels like more of a cautionary tale about what happens when trust breaks down amongst a group than about any specific socio-political idea, with the curiously gender-non-specific character of Rambo (Sofia Buenaventura) a particular highlight for me. It must have been an intense shoot.

CREDITS
Director Alejandro Landes; Writers Landes and Alexis Dos Santos; Cinematographer Jasper Wolf; Starring Julianne Nicholson, Moisés Arias, Sofia Buenaventura, Julián Giraldo; Length 103 minutes.
Seen at ICA, London, Wednesday 13 November 2019.

Women Filmmakers: Annemarie Jacir

I was first exposed to Annemarie Jacir’s films via Wajib at the London Film Festival in 2017, but I’ve since caught up with her first two feature films. She was born in Bethlehem in 1974, but left to study in the United States. She has written poetry, but is now primarily known for her filmmaking, and is at the vanguard of Palestinian film culture, which I can only imagine is a precarious enterprise in itself (after all, her films gain their funding from many different sources from several different continents, making their co-production credits pretty extensive). Moreover, her work deals with the status of the displaced, whether historically (as in When I Saw You) or in a contemporary setting, and sometimes more directly confronts how it is to live under a state of occupation.

Women Filmmakers: Lina Rodriguez

I’m going to kick off my (hopefully regular) Wednesday series on women filmmakers with the one to whom I’ve most recently been introduced, courtesy of the streaming platform Mubi, whose canny programming has brought my attention to a number of directors I’d never previously encountered. Latin American cinema, in particular right now, seems to be booming with talented women directors, and in that regard one may look to the career of Argentinian director Lucrecia Martel, who came to prominence at the turn of the millennium with La Ciénaga (2001), and about whom I shall undoubtedly write in coming months. She is hardly the first woman to direct films in the Latin American world, but she is among the most rigorous and visually precise of all active filmmakers in the region, and one of the foremost (and most championed) auteurs in the world, I would say. In her wake there has been no shortage of excellent films by women working in the cinemas of Mexico, Chile, Venezuela, Brazil and Peru, amongst others.

The 33 (aka Los 33, 2015)

It feels like there are two distinct films within this relatively big-budget Chilean/Colombian co-production, based on the real-life mining disaster at Copiapó in 2010 in which 33 miners were trapped underground. One is a film of excellent cinematography in underground chambers, of fine acting by the ensemble cast, depicting the lives of ordinary people in an extraordinary situation. It does a really good job, in particular, of capturing these men’s weary lined faces as they assess their chances, and of their families above ground (mostly wives and children) hoping and praying for their survival. That’s a good film.

And then there’s the film as it’s scripted, replete with disaster clichés, spoken in heavily-accented English, and — perhaps suggesting some of the commercial focus of the filmmakers — even setting up a triumphal US involvement towards the end (though thankfully backing off from giving too great a value to that). This is the film in which the engineer played by Gabriel Byrne (of all people; mostly the cast are Latino) points at a 3D rendering of the mine overlaid with a graphic of the Empire State Building (two of them in fact) to represent the size of the obstacle. This film is not nearly as successful. People shake their heads (Byrne again) and say “we need to face the TRUTH dammit” while others (the Minister of Mining, played by Rodrigo Santoro) say “No I believe en mi corazón that they’re still alive, and now let me go listen to a touching old woman’s song” (yes, I’m paraphrasing obviously, but not much).

On balance, I think the good film wins out in the end, but only just. It’s beautifully filmed, and the tension is solidly crafted — it would be all but unbearable if we didn’t know the real-life outcome. Perhaps on reflection, it’s the cast speaking in English I object to the most, but there’s still plenty to like, and Banderas is a dependable linchpin for the unfolding drama.

CREDITS
Director Patricia Riggen; Writers Mikko Alanne, Craig Borten and Michael Thomas (based on the book Deep Down Dark by Héctor Tobar); Cinematographer Checco Varese; Starring Antonio Banderas, Lou Diamond Phillips, Rodrigo Santoro, Juliette Binoche, Gabriel Byrne; Length 127 minutes.
Seen at Cineworld West India Quay, London, Tuesday 2 February 2016.

Gente de bien (2014)

Like the Venezuelan film Pelo malo released here earlier this year, the Colombian film Gente de bien (“decent people”) uses a child protagonist to focus on issues around class and upbringing. And while it is specifically set in Bogotá, with a great sense of place, it still tells a very identifiable story. Indeed, much of the way that young Eric (Brayan Santamariá) acts could have been taken from my own childhood — even if I didn’t have much of a father figure, or have to deal with the poverty that he does. At the film’s start Eric is passed from his mother into the care of his deadbeat dad (Carlos Fernando Perez), who is loving and does his best to provide a decent living environment, but struggles to make ends meet with his furniture repair job. Aside from the anxieties Eric feels about fitting in with the other (more spoiled) kids, most of the film’s emotional core is in fact focused on the dad and the way that he reacts to the world. He has to take jobs with richer people, and when one of them offers to look after his son for a while, you can sense the way his feelings develop. There’s no strained melodrama to it, and that’s a good thing, for it means that it rings true as a story. As the title suggests, it’s a film about people who are fundamentally decent, trying to do the best they can.

CREDITS
Director Franco Lolli; Writers Lolli, Catherine Paillé and Virginie Legeay; Cinematographer Óscar Durán; Starring Brayan Santamarià, Carlos Fernando Perez; Length 86 minutes.
Seen at Curzon Bloomsbury, London, Thursday 23 April 2015.