THE FESTIVAL DU NOUVEAU CINÉMA DE MONTRÉAL—A BALANCE

Movie Review by Sergio Martinez

The 54th edition of the Montreal International New Film Festival came to a close on October 19, once again offering an eclectic showcase of contemporary cinema from both Canada and around the world. Some of the most renowned films had already been seen at the Toronto Film Festival and were undoubtedly a welcome addition to this Montreal event. Among them were Nouvelle Vague by Richard Linklater (France-United States), Two Prosecutors by Sergei Loznitsa (France-Germany-Netherlands-Latvia-Romania-Lithuania), Wake Up Dead Man: A Knives Out Mystery by Rian Johnson (United States), Frankenstein by Guillermo del Toro (United States), and La misteriosa mirada del flamenco (The Mysterious Gaze of the Flamingo) by Diego Céspedes (Chile-France).

SOME OF THE BEST

Among the various films we had the opportunity to see, we would highlight:

George Clooney and Adam Sandler 
in Jay Kelly

Jay Kelly – Dir. Noah Baumbach (United Kingdom-Italy). A film with a very fluid narrative that conveys the vicissitudes of the relationship between a famous and successful actor (George Clooney) and his agent (Adam Sandler). There are touches of humour, particularly in the eventful train journey from Paris to Tuscany, where a grand tribute to the actor has been prepared. This tribute is tinged with tense moments and resentment when the actor must confront his relationship—as a somewhat absent father—with his two daughters. The film offers an interesting reflection on the price to be paid for fame and success. Although not a new theme, the film approaches it in a way that shows how the pursuit of personal advancement in one's professional life and emotional values, such as family duty and friendship, collide without being melodramatic.

The Devil Smokes (and Keeps the Heads of Burnt Matches in the Same Box) – Dir. Ernesto Martínez Bucio (Mexico). Modernity and traditional beliefs combine in this film, which won the International Federation of Film Critics (FIPRESCI) award. Although at the beginning of the story it is not very clear why five children who live with their parents and grandmother are left alone (the mother, a nurse, apparently disappears due to mental health issues, although the reasons are only hinted at), the events that follow provide the most interesting moments in the story. The children, suddenly without parental supervision and under the care of a grandmother who is no longer quite right in the head, have to take on many responsibilities, while at the same time getting involved in actions that will have negative consequences, both in their relationship with their neighbours and in their relationship with the law. The final scene, however, is the one that best sums up the strange situation the children find themselves in.

The Mastermind – Dir. Kelly Reichardt (United States). The story of a typical “loser” who, nevertheless, one may end up pitying and even viewing with a certain sympathy. James Blaine Mooney (Josh O'Connor) studied art at one point. He is the son of a judge in the small town where he lives. He continues to pursue his artistic passion, but this time in a different direction: the theft of a valuable piece from the local museum. After convincing some friends of the plan's feasibility to obtain the painting relatively easily and, incidentally, getting his mother to lend him the money for the initial costs of the theft through a subterfuge, Mooney will find that the most complicated part comes once the robbery is complete.

Promis le ciel – Dir. Erige Sehiri (Tunisia-France-Qatar). Three women from the Ivory Coast share a house in Tunisia; one is a university student and has legal status in the country; the other two, an evangelical preacher and a hustler with no clear occupation, are there illegally. All of them, however, are part of a growing number of sub-Saharan Africans who are not viewed favourably by the local authorities. The situation becomes even more complicated when the group is joined by a girl, also sub-Saharan, who has managed to survive a shipwreck by chance. It is a story that combines solidarity and precariousness, but despite this, the women try to survive. A film that is striking because of what we know is happening right now with the African migration phenomenon to Europe.

AND THAT IN THE MIDDLE

Affection, Affection – Dir. Maxime Matray, Alexia Walther (France). Set in a small coastal town in France, the film presents the relationship between Geraldine (Agathe Bonitzer), a municipal official, and the local mayor (Christophe Paou). The unexpected arrival of her mother complicates this relationship and other aspects of her otherwise routine life. That same day, the mayor's teenage daughter mysteriously disappears. Although the film received the Festival Award in the Innovation category, its story is, at times, confusing and leaves many loose ends. The girl who disappears on her birthday is not particularly pretty or popular among her schoolmates; behind all this, rumours resurface about the death of her mother, who was a close friend of Geraldine's mother.

Magalhaes – Dir. Lav Diaz (Portugal-Spain-France-Philippines-Taiwan). This film focuses on the last months of the Portuguese navigator Hernando de Magallanes (Gael García Bernal) with only moderately successful results, largely due to the structure of the narrative, which, especially for an audience such as that in North America, is poorly informed about the scale of the task undertaken by Magallanes—the first to circumnavigate the planet, although he died before achieving it and his lieutenant, Sebastián Elcano, completed it—the story is confusing. Despite these flaws, it is a solid description of the effects of colonialism on indigenous peoples.

FESTIVAL AWARD WINNERS

Among the main winners in the different categories of the FNC are:

International Competition (Feature Films): O riso e a faca – Dir. Pedro Pinho (Portugal-France-Brazil-Romania).

Best Actor Award: Ubeimar Ríos (Un poeta – Dir. Simón Mesa Soto, Colombia-Germany-Sweden).

Innovation Award: Affection, Affection (Dir. Maxime Matray, Alexia Walther, France).

National Competition (Feature Films): Blue Heron (Dir. Sophy Romvari)

FIPRESCI Award: El diablo fuma (y guarda las cabezas de los cerillos quemados en la misma caja) – (Dir. Ernesto Martínez Bucio, México).

Audience Award – International Panorama: Put Your Soul on Your Hand and Walk (Dir. Sepideh Farsi, France-Palestine-Iran).

Audience Award – Temps ø: Mag Mag (Dir. Yuriyan Retriever, Japan).

FESTIVAL DEL NUEVO CINE—UN BALANCE

Comentario de Sergio Martínez

La 54ª edición del Festival Internacional del Nuevo Cine de Montreal llegó a su fin este pasado 19 de octubre, una vez más, con una muestra ecléctica del cine contemporáneo, tanto a nivel nacional como mundial. Algunas de las películas más renombradas ya las habíamos visto en el Festival de Toronto y constituyeron, sin duda, una saludable aportación a este evento montrealés. Entre ellas Nouvelle Vague de Richard Linklater (Francia-Estados Unidos), Two Prosecutors (Dos fiscales) de Sergei Loznitsa (Francia-Alemania-Países Bajos-Letonia-Rumanía-Lituania), Wake Up Dead Man: A Knives Out Mystery de Rian Johnson (Estados Unidos), Frankenstein de Guillermo del Toro (Estados Unidos) y La misteriosa mirada del flamenco de Diego Céspedes (Chile-Francia).

ALGO DE LO MEJOR

Entre los varios filmes que tuvimos ocasión de ver destacamos:

George Clooney y Adam Sandler

Jay Kelly – Dir. Noah Baumbach (Reino Unido-Italia). Una película con una narrativa muy fluida nos transmite las vicisitudes de la relación entre un famoso y exitoso actor (George Clooney) y su agente (Adam Sandler). Hay notas de humor, particularmente en el accidentado viaje en tren desde París a la Toscana, donde se le ha preparado un gran homenaje al actor, matizadas con momentos tensos y de resquemores cuando el actor debe confrontar su relación—padre más bien ausente—con sus dos hijas. El film plantea una interesante reflexión sobre el precio que hay que pagar por la fama y el éxito. Un tema que, sin ser nuevo, el film aborda de un modo en el que la búsqueda del avance personal en su tarea profesional y valores emocionales como el deber familiar y la amistad, si bien colisionan, no lo hacen de manera melodramática.

Escenas de El diablo fuma (y guarda
las cabezas de los cerillos
quemados en la misma caja)

El diablo fuma (y guarda las cabezas de los cerillos quemados en la misma caja) – Dir. Ernesto Martínez Bucio (México). La modernidad y las creencias tradicionales se combinan en esta película, que ganó el premio de la Federación Internacional de la Prensa Cinematográfica (FIPRESCI). Aunque al comienzo de la historia no es muy claro por qué cinco niños que viven con sus padres y su abuela quedan solos (la madre, una enfermera, aparentemente desaparece por problemas mentales, aunque los motivos sólo quedan insinuados), los acontecimientos siguientes son los que aportan los momentos más interesantes de la historia. Los niños, súbitamente sin la supervisión de los padres y bajo el cuidado de una abuela ya no muy en sus cabales, tienen que asumir muchas responsabilidades, mientras, al mismo tiempo, se involucrarán en acciones que les traerán consecuencias negativas, tanto en la relación con sus vecinos como en la relación con la ley. La escena final, sin embargo, es la que mejor resume el entorno de la extraña situación de los chicos.

Un "perdedor" en busca de
una operación exitosa

The Mastermind – Dir. Kelly Reichardt (Estados Unidos). La historia de un típico “perdedor” al que, sin embargo, uno puede terminar compadeciendo y hasta viéndolo con cierta simpatía. James Blaine Mooney (Josh O’Connor) estudió arte en algún momento, hijo de un juez de la pequeña ciudad en la que vive. Él sigue persiguiendo su pasión artística, pero esta vez en otra dirección: el robo de una valiosa pieza en el museo local. Luego de convencer a algunos amigos de la factibilidad del plan para hacerse del cuadro de un modo relativamente fácil y, de paso, conseguir que su madre, valiéndose de un subterfugio, le preste el dinero para los gastos iniciales del robo, Mooney encontrará que lo más complicado vendrá una vez que el robo se concreta.

Promis le ciel – Dir. Erige Sehiri (Túnez-Francia-Qatar). Tres mujeres de Costa de Marfil comparten una casa en Túnez; una es estudiante en la universidad y tiene estatus legal en el país; las otras dos, una predicadora evangélica y una buscavidas sin oficio claro, se hallan de manera irregular. Todas ellas, sin embargo, hacen parte de un creciente número de subsaharianos a quienes las autoridades locales no ven con buenos ojos. La situación se les complica aún más cuando al grupo se une una chica, también subsahariana, que por azar ha logrado sobrevivir a un naufragio.  Se trata de una historia en la que se combinan la solidaridad y la precariedad, pero pese a ello las mujeres tratan de sobrevivir. Un film que impacta por lo que se sabe que ocurre en este momento con el fenómeno migratorio africano hacia Europa.

Y AQUELLO EN EL MEDIO

Affection, Affection – Dir. Maxime Matray, Alexia Walther (Francia). Ambientada en una pequeña localidad costera de Francia, la película nos presenta la relación de Geraldine (Agathe Bonitzer) una funcionaria del municipio, quien mantiene una relación no bien definida con el alcalde local (Christophe Paou) la que se ve complicada por la inesperada llegada de la madre de ella. Ese mismo día, una adolescente, hija del alcalde, desaparece misteriosamente. Aunque el film recibió el galardón del Festival en la categoría de Innovación, su historia resulta, a ratos, confusa y deja muchos cabos sueltos. La chica que desaparece justo en el día de su cumpleaños no es particularmente agraciada ni muy popular entre sus compañeros de escuela; detrás de todo ello, resurgen rumores sobre la muerte de su madre, quien, a su vez, era muy amiga de la madre de Geraldine.

Magalhaes – Dir. Lav Diaz (Portugal-España-Francia-Filipinas-Taiwán). Este film pone su foco sobre los últimos meses del navegante portugués Hernando de Magallanes (Gael García Bernal) con un resultado sólo mediamente conseguido, en gran parte por la estructura de la narración que, especialmente para un público como el de América del Norte, poco informado sobre la envergadura de la empresa acometida por Magallanes—el primero en circunnavegar el planeta, aunque falleció ante de lograrlo y lo culminó su lugarteniente, Sebastián Elcano—la historia resulta confusa. A pesar de esas fallas, se trata de una sólida descripción de los efectos del colonialismo sobre los pueblos aborígenes.

LOS PREMIADOS POR EL FESTIVAL

Entre los principales galardonados en las diferentes categorías del FNC se hallan:

Competición Internacional (Largometrajes): O riso e a faca – Dir. Pedro Pinho (Portugal-Francia-Brasil-Rumania).

Premio de Interpretación: Ubeimar Ríos (Un poeta – Dir. Simón Mesa Soto, Colombia-Alemania-Suecia).

Premio de Innovación: Affection, Affection (Dir. Maxime Matray, Alexia Walther, Francia).

Competición Nacional (Largometrajes): Blue Heron (Dir. Sophy Romvari)

Premio FIPRESCI: El diablo fuma (y guarda las cabezas de los cerillos quemados en la misma caja) – (Dir. Ernesto Martínez Bucio, México).

Premio del Público – Panorama Internacional: Put Your Soul on Your Hand and Walk (Dir. Sepideh Farsi, Francia-Palestina-Irán).

Premio del Público – Temps ø: Mag Mag (Dir. Yuriyan Retriever, Japón).

MOVIES AT LA PLAZA: A BIG, BOLD, BEAUTIFUL JOURNEY-- Fantasies that could be real

Movie Review by Sergio Martínez

The release of this film, directed by Korean filmmaker Kogonada, was preceded by considerable publicity, which can elicit two types of reactions from critics: either it will be one of those productions that truly makes an impact, or they will lament the hype and end up disappointed. It should be noted that the film has many merits, although it is not a masterpiece. However, it is a well-assembled film with an interesting story that entertains and is enjoyable throughout.

Add to this the solid performances of the protagonists: Margot Robbie in the role of Sarah, who delivers the two contradictory and complementary visions of her character: her seductive nature during the wedding, where she meets David (Colin Farrell) and her vulnerability in the memory of her relationship with her mother (Lily Rabe). Farrell, for his part, presents us with a David who has unclear goals in his daily life, heavily dependent on circumstances. This is the trigger that sets in motion the fate that leads him to rent a car after his own has been immobilized with a Denver boot. The strange agency will provide him with a vehicle equipped with a curious GPS that will direct him to various doors in unexpected locations.

What is interesting and original about the story is how, through their journey, encounters, and misunderstandings, and by taking steps through those mysterious doors, the protagonists are led to relive moments from their past and, most curiously, to at least repair some bitter memories. That fantastic world behind the mysterious doors ultimately conceals a real world of unfulfilled desires and plans, of attitudes and actions that one may regret but which, at least in that moment of reflection, can be repaired. At the end of the journey, those who undertook it have rediscovered themselves and their experiences.

Although the film is presented as a romantic comedy, there is more to the journey undertaken by the protagonists than the mere search for romance. We recommend it not only for its originality and interest as an entertaining story, but also because it shows us that there are times when we need a fantastical space to rediscover our own reality.

Running time: 1 hour 49 minutes.