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.

CINE EN LA PLAZA—A BIG, BOLD, BEAUTIFUL JOURNEY (UN GRAN, AUDAZ Y BELLO VIAJE): Fantasías que pueden ser reales

Comentario de Sergio Martínez

El estreno de esta película dirigida por el realizador coreano Kogonada fue precedido por bastante publicidad, lo que en los críticos puede despertar dos tipos de reacción: o se trata de una de esas producciones que realmente harán un impacto, o se lamentará el despliegue de toda esa publicidad para terminar decepcionado. Para ser justo, hay que señalar que el film tiene muchos méritos, aunque tampoco se trata de una obra maestra. Sin embargo, es una película bien ensamblada, con una historia interesante que entretiene y se disfruta a través de toda su duración.

Súmese a lo anterior las sólidas performances de los protagonistas: Margot Robbie en el rol de Sarah que entrega las dos visiones contradictorias y complementarias de su personaje: su carácter seductor durante la boda en que encuentra a David (Colin Farrell) y su vulnerabilidad en el recuerdo de su relación con su madre (Lily Rabe). Farrell, por su parte, nos entrega un David con objetivos no muy claros en su vida diaria, dependiendo mucho de las circunstancias. Este es el detonante del destino que lo lleva a alquilar un automóvil, luego que el suyo ha sido inmovilizado con el Denver boot. La extraña agencia le entregará un vehículo equipado con un curioso GPS que lo llevará a dar a diversas puertas en medio de inesperados lugares.

Lo interesante y original de la historia es cómo a través de su viaje, encuentros y desencuentros, y los pasos a través de esas misteriosas puertas, a los protagonistas los lleva a revivir momentos de su pasado e incluso—lo más curioso—reparar al menos en la memoria algunos amargos instantes. Ese mundo fantástico detrás de las misteriosas puertas, al fin de cuentas, encierra un mundo real de deseos y planes incumplidos, de actitudes y acciones de las cuales uno puede sentirse arrepentido, pero que, al menos en ese instante de recuento, pueden ser reparados. Al término del viaje, quienes lo emprendieron se han reencontrado con ellos mismos y sus vivencias.

Aunque el film se presenta como una comedia romántica, hay algo más que la mera búsqueda de romance en el viaje que los protagonistas emprenden. Lo recomendamos no sólo por su originalidad e interés como historia entretenida, sino también porque nos indica que hay veces en que requerimos de un espacio fantástico para reencontrar nuestra propia realidad.

Duración: 1 h 49 min.

 

MOVIES AT LA PLAZA: 50th TORONTO INTERNATIONAL FILM FESTIVAL—Part 2 THE GLOBAL VIEW

Movie Review by Sergio Martinez

The Toronto International Film Festival (TIFF) celebrated its 50th edition in a way that reaffirms its status as one of the most important film events in the world. This year's TIFF has also managed to shake off its image as a venue for launching major Hollywood productions, instead putting on screen a wide and very diverse range of notable works by filmmakers from around the world.

Below, we discuss some of these works:

It Was Just an Accident

Dir. Jafar Panahi (Iran/France/Luxembourg)

Set in present-day Iran, a car carrying a man, his wife, and his daughter at night breaks down, triggering a drama of revenge reminiscent of Ariel Dorfman's play Death and the Maiden, also made into a film, in which, as in that film, a simple coincidence brings a victim of repression face to face with the person he believes tortured him while he was in prison. Not without moments of humour, the plot thickens as new characters join the search for revenge against the alleged torturer. A well-told story, with a good balance between drama and the absurdity of certain situations that unfold during the process of identifying the alleged oppressor.

The Man in my Basement

Dir. Nadia Latif (United Kingdom / United States)

Charles Blakey (Corey Hawkins), a black man facing financial difficulties that could lead to him losing his home—not just a place to live, but a precious family heirloom—unexpectedly receives a visit from a mysterious white man (Willem Dafoe) who can solve his money problems in exchange for a very unusual agreement to rent his basement. It is a story with a very peculiar development of tensions that, in some way, portrays—in reverse—the conditions that historically forged relations between whites and blacks.

Good News

Dir. Byun Sung-hyun (South Korea)

Set in the 1960s, when a group of extreme leftists carried out various armed actions, the plot allows this film to go beyond narrating the event itself—the hijacking of a Japanese passenger plane during a domestic flight—and take a critical and ironic look at how the media manipulates information. The authorities themselves are also involved in this endeavour, both in Japan and South Korea, where the plane is forced to land, although, through a ruse, the hijackers have been led to believe that they have arrived in North Korea. A sharp critique, with ingenious ironic notes, of the intelligence services and political and military authorities of both countries.

Arco

Dir. Ugo Bienvenu (France)

An animated film that attempts to play with the notions of time travel. However, it lacks a clear focus. The story is supposed to take place in the near future, but the time traveller (a boy named Arco) has travelled from an even more distant future. On his journey, he meets a girl named—conveniently—Iris, which leads to a play on words that is supposed to have some significance. The story is unconvincing and at times confusing.

The Christophers

Dir. Steven Soderbergh (United Kingdom)

When Lori (Michaela Coel), an artist who until then had only done restoration work and worked in a fast-food restaurant, receives an interesting offer that could solve her problems, albeit in exchange for a job of dubious legality, she discovers an interesting character, the eccentric painter Julian Sklar (Ian McKellen). The film then immerses us in the intricate business of art. It is a film that, while entertaining us, also makes us reflect on some lesser-known details of the art business.

Orphan

Dir. Laszlo Nemes

A well-constructed story where loyalty, family values, and adaptation to what fate has in store intertwine to give us a tale in which a son who has never known his father searches for identity, which will lead him to face the inevitable. “The more you hate him, the more you resemble him,” his mother tells him on one occasion when the boy has taken out his anger on his alleged father.

Two Prosecutors

Dir. Sergei Loznitsa (France/Germany/Netherlands/Latvia/Romania/Lithuania)

Set in the darkest days of the Stalinist period, in the late 1930s, a young, recently graduated prosecutor attempts to investigate what has happened to a prisoner, a former prosecutor who has fallen from grace and is now imprisoned by the NKVD, the regime's secret police. A well-structured drama with convincing performances that effectively portray characters who are cogs in a relentless machine.

Nouvelle Vague

Dir. Richard Linklater (France)

Without a doubt one of the best films screened at this year's TIFF. Shot in black and white, Nouvelle Vague vividly portrays the vicissitudes and peculiarities of the notable creators of that period in French cinema history, when Jean-Luc Godard, whose iconic Breathless is the focus of the film, François Truffaut, Claude Chabrol, and other notable directors shone. Excellent performances allow today's viewers to be transported in a very real way to the atmosphere of that movement in the 1950s and 1960s. 

Palestine 36

Dir. Annemarie Jacir (Palestine / United Kingdom / France / Norway / Qatar / Saudi Arabia / Jordan)

A powerful story that, although fictional, presciently portrays the tragedy that had been unfolding since 1936 for the Palestinians, then in a territory administered by the British as mandataries of the League of Nations. The gradual displacement of Palestinian communities for the benefit of Jewish settlers was already underway with the tacit complicity of the British authorities. A convincing performance portrays very well this period in the history of a people who are still suffering the consequences of losing their land.

Unidentified

Dir. Haifaa Al Mansour (Saudi Arabia)

A very pleasant surprise at this festival was the presence of this crime thriller with an unpredictable ending and an ingenious plot. When the body of a young student is found in a desert area, police chiefs request the support of the only woman available at the police station, the young archivist Nawal (Mila Alzahrani). Apparently empowered in her new role as an investigator, even though she is not an agent, Nawal will devote herself with particular zeal to the task of discovering the perpetrator of the crime. However, a twist in the outcome of the investigation will leave all viewers surprised—a brilliant ending.

The Wizard of the Kremlin

Dir. Olivier Assayas (France)

Another ingenious film, albeit set in a completely different scenario: what goes on behind the scenes of Kremlin politics. Incidentally, this is a fictional story in which the invented character of Vadim Baranov (Paul Dano) also becomes a central figure in Vladimir Putin's (Jude Law) rise to power. A story that touches on situations that could be probable, sometimes with humorous or ironic overtones, and at other times in a more dramatic way. Another of the high-quality films presented at TIFF.

Two Pianos

Dir. Arnaud Desplechin (France)

This French film deserves a very different assessment, as it is the worst one seen by this critic. After an extended stay in Asia, pianist Mathias Vogler (François Civil) decides to return to his native Lyon, invited by his former mentor, pianist Elena (Charlotte Rampling), who is about to retire and with whom he hopes to give a series of concerts. However, from there on, a series of highly implausible events unfold. While walking in a park, Mathias encounters a child who bears a striking resemblance to himself at that age. Strangely obsessed by this discovery, the event leads him to meet a lover from his youth. The boy would then be his son. All this amid far-fetched coincidences and chance encounters. Add to that a mediocre dialogue.

Easy’s Waltz

Dir. Nic Pizzolatto (United States)

Set in Las Vegas, this film explores the dilemma of balancing family loyalty with the pursuit of personal success. Easy (Vince Vaughn) is a talented singer, but not very ambitious in pursuing a successful career. In contrast, his brother Sam (Simon Rex) has the qualities to promote his brother. The opportunity arises when a powerful businessman (Al Pacino) discovers Easy and brings him to his casino as a star attraction. Things look good until Sam, who is actually a criminal, causes a situation that will force Easy to make a difficult decision.

Wake Up Dead Man: A Knives Out Mystery

Dir. Rian Johnson (United States)

Another notable film at this year's TIFF. Detective Benoit Blanc (Daniel Craig) travels to a small town where he attempts to solve a crime with certain macabre elements. A young priest (Josh O'Connor), who had been a boxer before entering the priesthood, had been sent to the town some time earlier. The parish priest is an authoritarian and eccentric priest (Josh Brolin), while the church is assisted by a woman (Glenn Close) who also has her peculiarities. When the old priest is strangely murdered in the church itself shortly before giving his Easter sermon, the small congregation is embroiled in a series of intrigues and conflicts. To make matters even stranger, at one point, the murdered clergyman's body disappears from its grave and security camera footage records his apparent resurrection. Although some of the events are somewhat exaggerated, the film is very entertaining and keeps the audience interested until the end.

Frankenstein

Dir. Guillermo del Toro (United States)

As he did previously with Pinocchio, the director has rewritten Mary Shelley's novel, with mixed results. On the one hand, there is a very good recreation of the atmosphere of the story; on the other hand, the fact that it has been reimagined, particularly the part where the “creature” (Jacob Elordi) tells his version of events, is probably the most controversial aspect. For some, it is a kind of vindication and “humanization” of the creature created by Victor Frankenstein (Oscar Isaac). In contrast, for others it is a departure from the original story and loses the novel's sense of denunciation of a scientific quest that ultimately becomes a threat.

CINE EN LA PLAZA: 50a EDICIÓN DEL FESTIVAL INTERNACIONAL DE CINE DE TORONTO — Parte 2 LA MIRADA MUNDIAL

Comentario de Sergio Martínez

El Festival Internacional de Cine de Toronto (TIFF por su sigla en inglés) celebró su 50ª edición de un modo que reafirma su condición de ser uno de los más importantes eventos cinematográficos del mundo. El TIFF en esta edición, además, ha terminado por remover de su imagen el moquete de ser un espacio para lanzar importantes producciones de Hollywood; en cambio, ha puesto en la pantalla un amplio y muy heterogéneo despliegue de notables obras de cineastas de todo el mundo.

A continuación, comentamos algunas de esas obras:

It Was Just an Accident (Simplemente un accidente)

Dir. Jafar Panahi (Irán / Francia / Luxemburgo)

Ambientado en el Irán actual, un automóvil en que viaja de noche un hombre, su mujer y su hija, sufre un desperfecto lo que permite desencadenar un drama de venganza que recuerda la obra de Ariel Dorfman La muerte y la doncella, llevada también al cine y en el que como en ese film una simple casualidad pone a una víctima de la represión frente a quien él cree fue quien lo torturó cuando estuvo en prisión. No exenta de escenas de humor, la trama se va complicando cuando nuevos personajes se van agregando en busca de vengarse del presunto torturador. Una historia bien narrada, con un buen balance entre el drama y lo absurdo de ciertas situaciones que se desatan durante el proceso de identificar al presunto represor.

The Man in my Basement (El hombre en mi zótano)

Dir. Nadia Latif (Reino Unido / Estados Unidos)

Charles Blakey (Corey Hawkins) un hombre negro que se halla en dificultades económicas que podrían llevarlo a perder su casa—no sólo una vivienda sino un preciado bien familiar—inesperadamente recibe la visita de un misterioso hombre blanco (Willem Dafoe) quien podrá resolverle sus problemas de dinero, a cambio de un muy insólito acuerdo de alquiler en su sótano. Se trata de una historia con un desarrollo de tensiones muy peculiar y que de algún modo retrata—de manera inversa—las condiciones que históricamente forjaron las relaciones entre blancos y negros.

Good News (Buenas noticias)

Dir. Byun Sung-hyun (Corea del Sur)

La trama, ambientada en los años 60 cuando un grupo de extrema izquierda montaba diversas acciones armadas, permite a este film más que narrar el hecho mismo—el secuestro de un avión japonés de pasajeros durante un vuelo doméstico—incursionar de manera crítica e irónica sobre cómo los medios de comunicación manipulan la información. En este cometido, también se involucran las propias autoridades, tanto en Japón como en Corea del Sur, que es donde el avión se ve obligado a aterrizar, aunque mediante un ardid, a los secuestradores se les ha hecho creer que han llegado a Corea del Norte. Una aguda crítica, con ingeniosas notas irónicas, a los servicios de inteligencia, autoridades políticas y militares de los dos países.

Arco

Dir. Ugo Bienvenu (Francia)

Film de animación que intenta jugar con las nociones de viaje en el tiempo. Sin embargo, no tiene un foco claro. La historia se supone que transcurre en un futuro próximo, pero el viajero del tiempo (un niño llamado Arco) ha viajado desde un futuro aun más lejano. En su viaje encuentra a una chica llamada—convenientemente—Iris, lo que conduce a un juego de palabras que se supone que tiene una cierta significación. La historia es poco convincente y por momentos confusa.

The Christophers

Dir. Steven Soderbergh (Reino Unido)

Cuando Lori (Michaela Coel), una artista que hasta ese momento sólo hace restauraciones y trabaja en un negocio de comida rápida, recibe una interesante oferta que puede resolver sus problemas, aunque a cambio de un trabajo de dudosa licitud, ella descubrirá un interesante personaje, el excéntrico pintor Julian Sklar (Ian McKellen). La película nos sumerge entonces en el intrincado negocio del arte. Se trata de un film que mientras nos entretiene, también nos hace reflexionar sobre algunos pormenores menos conocidos en el negocio del arte.

Orphan

Dir. Laszlo Nemes

Una bien construida historia donde lealtad, valores familiares y adaptación a lo que ha deparado el destino se intercalan para entregarnos una historia en que la búsqueda de la identidad por parte de un hijo que no ha conocido a su padre lo llevará a enfrentar lo que era inevitable. “Mientras más lo odias, más te pareces a él”, le dice su madre en una ocasión en que el niño ha descargado su enojo contra su presunto padre.

Two Prosecutors (Dos fiscales)

Dir. Sergei Loznitsa (Francia / Alemania / Países Bajos / Letonia / Rumania / Lituania)

Ambientado en los tiempos más oscuros del período staliniano, a fines de los años 30 del siglo pasado, un joven fiscal recientemente graduado intenta investigar lo que ha sucedido a un preso, un ex fiscal ahora caído en desgracia, y que se halla encarcelado en dependencias de la NKVD, la policía secreta del régimen. Un drama bien estructurado con una convincente actuación que retrata bien a personajes que son engranajes de una maquinaria implacable.

Nouvelle Vague

Dir. Richard Linklater (Francia)

Sin duda una de las mejores películas exhibidas en esta edición del TIFF. Filmada en blanco y negro, Nouvelle Vague retrata de modo muy vívido las vicisitudes y peculiaridades de los notable creadores de ese período de la historia del cine francés en que brillaron Jean-Luc Godard, cuya realización de su icónica Sin aliento es el foco del film, François Truffaut, Claude Chabrol y otros notables directores. Excelentes actuaciones permiten al espectador de hoy trasladarse de modo muy real al ambiente de ese movimiento en los años 50 y 60 del siglo 20. 

Palestine 36

Dir. Annemarie Jacir (Palestina / Reino Unido / Francia / Noruega / Catar / Arabia Saudita / Jordania)

Una impactante historia que, aunque ficticia, retrata de modo premonitorio la tragedia que ya desde 1936 se desencadenaba sobre los palestinos, entonces en un territorio administrado por los británicos en calidad de mandatarios de la Liga de las Naciones. El paulatino desplazamiento de las comunidades palestinas en beneficio de los colonos judíos ya estaba en ejecución con una tácita complicidad de las autoridades británicas. Una convincente actuación retrata muy bien ese período de la historia de un pueblo que hasta hoy sufre las consecuencias de la pérdida de su tierra.

Unidentified (Sin identificar)

Dir. Haifaa Al Mansour (Arabia Saudita)

Una muy grata sorpresa en este festival ha sido la presencia de este thriller policial con un final imprevisible y una ingeniosa trama. Cuando el cadáver de una joven estudiante es encontrado en una zona desértica, los jefes policiales solicitan el apoyo de la única mujer disponible en la comisaría, la joven archivista Nawal (Mila Alzahrani). Aparentemente empoderada en su nuevo rol como investigadora, aunque no es una agente, Nawal se dedicará con especial celo a la tarea de descubrir al autor del crimen. Sin embargo, un vuelco en el resultado final de la investigación dejará a todos los espectadores sorprendidos. Un brillante final.

The Wizard of the Kremlin (El mago del Kremlin)

Dir. Olivier Assayas (Francia)

Otra ingeniosa película ambientada, eso sí, en un escenario completamente diferente: lo que habría en la trastienda de la política del Kremlin. Por cierto, se trata de una historia ficticia en la que también el inventado personaje de Vadim Baranov (Paul Dano) llega a convertirse en figura central en el ascenso al poder de Vladimir Putin (Jude Law). Una historia en que se bordean situaciones que podrían ser probables a veces con ribetes humorísticos o irónicos, en otras de modo más dramático. Otro de los filmes de gran calidad presentados en el TIFF.

Two Pianos (Dos pianos)

Dir. Arnaud Desplechin (Francia)

Una apreciación muy diferente es la que merece este film francés, el peor de los vistos por este crítico. El pianista Mathias Vogler (François Civil) después de una larga estada en Asia decide regresar a su nativa Lyon, invitado por quien fuera su mentora, la pianista Elena (Charlotte Rampling) que pronto se retirará, con quien espera dar una temporada de conciertos. Sin embargo, a partir de allí hechos muy implausibles se suceden, paseando por un parque, Mathias encuentra a un niño muy parecido a él mismo cuando tenía esa edad. Extrañamente obsesionado por el hallazgo, ello lo lleva a encontrarse con una amante de su tiempo juvenil. El niño entonces sería su hijo. Todo esto en medio de coincidencias y casualidades muy rebuscadas. Agréguese a ello diálogos de mediocre calidad.

Easy’s Waltz

Dir. Nic Pizzolatto (Estados Unidos)

Ambientado en Las Vegas, este film presenta el dilema de la confrontación entre la lealtad familiar y las perspectivas de éxito personal. Easy (Vince Vaughn) es un cantante talentoso, pero no muy ambicioso en la persecución de una carrera exitosa. En contraste, su hermano Sam (Simon Rex) tiene las cualidades para promover a su hermano. La oportunidad se presenta cuando un poderoso empresario (Al Pacino) descubre a Easy y lo lleva como figura estelar a su casino. Las cosas pintarán bien, hasta que Sam, que en verdad es un delincuente, provoca una situación que forzará a Easy a tomar una difícil decisión.

Wake Up Dead Man: A Knives Out Mystery

Dir. Rian Johnson (Estados Unidos)

Otro de los notables filmes en esta edición del TIFF. El detective Benoit Blanc (Daniel Craig) se traslada a una pequeña localidad donde intentará resolver un crimen con ciertos elementos macabros. A la localidad había sido enviado un tiempo antes un joven sacerdote (Josh O’Connor), quien antes de su vida religiosa había sido boxeador. El párroco es un autoritario y excéntrico cura (Josh Brolin) en tanto que de las labores de asistencia en la iglesia se halla una mujer (Glenn Close) que también tiene sus peculiaridades. Cuando el viejo párroco es extrañamente asesinado en la propia iglesia poco antes de dar su sermón de Semana Santa, la pequeña congregación se ve envuelta en una serie de intrigas y conflictos. Para hacer las cosas aun más extrañas, en un momento el cadáver del clérigo asesinado desaparece de su tumba y grabaciones de una cámara de seguridad registran su aparente resurrección. Aunque algunos de los sucesos son un tanto exagerados, gracias a que el film es muy entretenido, el interés de la audiencia se mantiene hasta el final.

Frankenstein

Dir. Guillermo del Toro (Estados Unidos)

Tal como antes hizo con Pinocho, el director en esta ocasión ha hecho un re-writing de la novela de Mary Shelley con resultados disparejos. Por un lado, hay una muy buena re-creación de la atmósfera de la historia; por otro lado, el hecho de su replanteamiento, en particular su parte en que da lugar a que la ‘criatura’ (Jacob Elordi) cuente su versión de los hechos es probablemente lo más controvertido. Para algunos es una suerte de reivindicación y “humanización” de la criatura fabricada por Víctor Frankenstein (Oscar Isaac) en tanto que para otros es un alejamiento de la historia original y que pierde el sentido de denuncia que la novela hacía de un afán de búsqueda científica que en última instancia se convierte en amenaza. 

MOVIES AT LA PLAZA: THE 50TH TORONTO INTERNATIONAL FILM FESTIVAL—Part 1 THE LATIN AMERICAN AND SPANISH PRESENCE

Movie Review by Sergio Martinez

In this first instalment, we take a look at the Latin American and Spanish films that were screened at the Toronto International Film Festival (TIFF).

The Condor Daughter

Dir. Álvaro Olmos (Bolivia/Peru/Uruguay)

This film uses excellent cinematography (Nicolás Wong Díaz) to beautifully capture the contrasts between the traditions of a village in the Andes (Totorani) and modern city life. Clara (Marisol Vallejos) helps her adoptive mother, Ana (María Magdalena Sanizo), with her work as a midwife. The girl also accompanies these procedures with ritual songs. Although Clara has a genuine affection for the woman who raised her, the attraction of modern urban life will also exert a strong pull on her.

The Mysterious Gaze of the Flamingo

Dir. Diego Céspedes (Chile)

An inhospitable place in the middle of the desert is the setting for a small community of transvestites who provide entertainment and sex to the miners in the area. Somehow, the community has introduced a very special kind of family. All this is seen through the eyes of Lidia (Tamara Cortés), an eleven-year-old girl, daughter of one of the transvestites, but in reality, a girl who is cared for by everyone in this unusual community. Set in 1982, the outbreak of AIDS will hit the group hard and also cause a clash with the few inhabitants of the village.

Oca

Dir. Karla Badillo (Mexico / Argentina)

In a semi-abandoned convent, the last three nuns of the congregation still insist on staying there. Rafaela (Natalia Solián) is the youngest nun and has disturbed the mother superior with her apparent ability to foresee events in her dreams. The young nun is sent by the mother superior to meet the new bishop who is coming to a town not far from there. Rafaela sets off on a motorcycle, but it soon breaks down and she has to continue on foot. On her journey, she meets a group of pilgrims carrying the image of a saint who are also going to see the new bishop. Also on the road, the nun will meet a military paratrooper who has had a conflict with his superior and has his own reasons for going to the city. They are a group of human beings motivated by rather mundane factors, far removed from Rafaela's mystical quest. Excellent photography and convincing performances made this film an enjoyable experience.

Noviembre

Dir. Tomás Corredor (Colombia/Brazil/Mexico/Norway)

Times of violence in Colombia, but with interesting twists that make it relevant today. The film recreates the details surrounding the takeover of the Palace of Justice in Bogotá in November 1985 by the M-19 guerrilla group and the bloody storming of the building by the army, which resulted in the deaths not only of most of the guerrillas but also of the hostages, including Supreme Court justices and other officials who worked in the building. The film presents a remarkably realistic reconstruction of the events that unfolded and conveys the sense of anguish and uncertainty that everyone experienced during those days.

The Secret Agent

Dir. Kleber Mendonça Filho (Brazil/France/Netherlands/Germany)

A complex story set during the dictatorship in 1977, which forces Marcelo (Wagner Moura) to play a role for which he was not prepared. It is more interesting as a political thriller with unexpected developments and well-defined characters than as a social commentary. At the end, the characters' storylines are clarified in a curious way.

Olmo

Dir. Fernando Eimbcke (United States / Mexico)

A family story with elements of social realism focused on the immigrant experience. Set in 1979, this film also focuses on the conflict between teenager Olmo's (Aivan Uttapa) desire to have fun and his family responsibilities, especially with regard to his father (Gustavo Sánchez Parra), who is bedridden due to multiple sclerosis. However, the young man is not the only one who shirks his responsibilities.

Under the Same Sun

Dir. Ulises Porra (Dominican Republic / Spain)

Although a fictional story, the film alludes to an attempt during colonial times to introduce silkworm breeding in the Dominican Republic. Lázaro (David Castillo), a Spanish explorer, and Mei (Valentina Shen Wu), a Chinese silk weaving master, venture into the Dominican forest in search of the place where Lázaro's father had planted mulberry trees, the food source for silkworms.  There, they find the Haitian Baptiste (Jean Jean) living, who joins the trio in their unique and dangerous adventure. Excellent cinematography (Sebastian Cabrera Cheli) allows us to appreciate the challenging natural environment in all its splendour, in which the story unfolds.

Barrio triste (Sad Neighborhood)

Dir. Stillz (Colombia/United States)

Filmed in a cinéma verité style, this movie attempts, with moderate success, to portray the details of a gang of juvenile delinquents in a marginal neighbourhood of Medellín in the 1990s.  There is a mixture of reality and hallucinatory scenes that make a strong impact, but some scenes are too long, and in the end, the director seems unsure of how to end the film. One could say that he misses that opportunity in one of the scenes where the protagonists seem to be swallowed up by a great light. That would have been the perfect ending.

***

SPANISH CINEMA

El cautivo (The Captive)

Dir. Alejandro Amenábar (Spain/Italy)

Amenábar's new film has been eagerly awaited. It portrays Miguel de Cervantes' years of captivity in Algiers and how he manages to survive the harsh conditions imposed on prisoners by their captors. It also takes a very raw look at the betrayals and intrigues among the captives themselves, as well as the homosexual relationship between Cervantes (Julio Peña Fernández) and the governor (Alessandro Borghi). Excellent recreation of the city’s atmosphere and excellent photography.

Forastera

Dir. Lucía Aleñar Iglesias (Spain / Italy / Sweden)

A very interesting and moving take on the relationship between a grandfather and his granddaughter. Tomeu (Lluís Homar) is emotionally devastated when his wife Catalina (Marta Angelat) dies in a domestic accident. Cata (Zoe Stein), who has always been very close to her grandparents, somehow takes on aspects of the deceased's identity, thereby strengthening her emotional bond with Tomeu. A film that pays tribute to intergenerational relationships, it also won the award given by the International Federation of Film Critics (FIPRESCI).

Calle Málaga

Dir. Maryam Touzani (Morocco/Spain/Germany/Belgium)

Another high-quality Spanish film, both for the quality of the acting and the magnificent and realistic staging that conveys the warmth of the street where a large number of Spaniards lived in Tangier, Morocco. María Ángeles (Carmen Maura) is a retired woman who lives independently in her home. A visit from her daughter, Clara (Marta Etura), brings bad news. Facing financial problems in Madrid, Clara has decided to sell the property where her mother lives—the house was in her name. The contrast between Clara's selfishness and her mother's determination to maintain her independence will trigger new situations, some of them very unexpected.