MOVIES AT LA PLAZA: MEMOIR OF A SNAIL—A metaphor for a girl's life

Movie Review by Sergio Martínez

This animated film, directed by Adam Elliot, is undoubtedly something very special. For one thing, it deals with a subject that requires a certain degree of maturity, so despite having a girl as the main character, it is not a film for a child audience.

The film is made using the animation technique known as stop motion, that is, a process by which objects made of flexible material (plasticine in this case) are physically manipulated in small increments each time they are captured by the camera-undoubtedly quite arduous and time-consuming work-that once filmed and projected on the screen gives the illusion of movement. Unlike traditional cartoons, because they are real objects, they also provide a certain three-dimensional effect like that of a live-action film.

After the death of their mother, Grace Purdel and her twin brother Gilbert live with their father, who is wheelchair-bound after an accident. The siblings' life is spent between reading and, in Grace's case, her hobby of collecting snails. The life of the two siblings, however, will be disrupted when their father dies, and the kids are sent to live with adoptive families. Grace will have a somewhat unexpected life with her new family, but it will not change her habits, although she will not have a good time at school. Her brother, on the other hand, is adopted by a family of fanatical evangelicals who have an apple orchard business and who will eventually drive him to desperate action.

Grace also has, at one point, the support of Pinky, an eccentric octogenarian who, in her youth, had a very hectic life but who now becomes a close confidant and advisor to the young girl.

The snail, a collector's item for Grace, can be said to be a metaphor for her own life. She is, in a way, the snail. Her memories record those quiet times when she read with her brother in her father's house, the anguish of being separated from her brother, and the time shared with Pinky.

We recommend this film for the deep tenderness of its main characters, the nostalgic vision of small-town life, the sarcastic criticism of fundamentalist religious fanaticism, and the simplicity and expressive richness of its images, which result in great creative work.

Running time 94 min.

CINE EN LA PLAZA: MEMOIR OF A SNAIL (MEMORIAS DE UN CARACOL)—Metáfora por la vida de una chica

Comentario de Sergio Martínez

Este film de animación dirigido por Adam Elliot es sin duda algo muy especial, por de pronto, aborda una temática que requiere un cierto grado de madurez, por lo que, a pesar de tener a una niña como protagonista, no es una película para un público infantil.

La película está realizada con la técnica de animación conocida como stop motion, esto es, un proceso por el cual objetos de material flexible (plasticina en este caso) son físicamente manipulados en pequeños incrementos cada vez que son captados por la cámara—sin duda un trabajo bastante arduo y que consume tiempo—y que una vez filmados y proyectados en la pantalla dan la ilusión de movimiento. A diferencia de los dibujos animados tradicionales, por tratarse de objetos reales, proveen también un cierto efecto tridimensional, parecido al que presenta un film con actores en vivo.

Luego de la muerte de su madre, Grace Purdel y su hermano mellizo Gilbert viven con su padre que luego de un accidente está en silla de ruedas. La vida de los hermanos transcurre entre lecturas y en el caso de Grace, su afición por coleccionar caracoles. La vida de los dos chicos, sin embargo, se verá trastocada cuando el padre muere y los chicos son enviados a vivir con familias adoptivas. Grace tendrá con su nueva familia una vida un tanto inesperada pero que no cambiará sus hábitos, aunque en la escuela no lo va a pasar bien. Su hermano, en cambio, es adoptado por una familia de evangélicos fanáticos que tiene un negocio de manzanas y que eventualmente lo llevará a una desesperada acción.

Grace tiene también en un momento, el apoyo de Pinky, una excéntrica octogenaria que en su juventud tuvo una vida muy agitada, pero que ahora se transforma en una cercana confidente y consejera de la joven.

El caracol, objeto de colección para Grace, puede decirse que es una metáfora por la vida misma de Grace. Ella es, de algún modo, el caracol. Registrado en sus memorias quedan esos tiempo de vida tranquila, cuando leía junto a su hermano en la casa paterna, o el tiempo compartido con Pinky y la angustia de haber sido separada de su hermano.

Este es un film que recomendamos por la profunda ternura de sus personajes principales, la visión nostálgica de la vida pueblerina, la sarcástica crítica al fanatismo religioso de corte fundamentalista, la sencillez, pero al mismo tiempo riqueza expresiva de sus imágenes que resulta en un gran trabajo creativo.

Duración 94 min.

MOVIES AT LA PLAZA: CONCLAVE - The Vatican Intrigues

Movie Review by Sergio Martínez

The Pope has died, and the members of the College of Cardinals are summoned to Rome for this ancient and arcane procedure full of rituals and formalities: the conclave. During this meeting, the cardinals must elect the successor to the deceased pontiff. According to tradition, the solemn procedure is conducted by the dean of the College of Cardinals, in this case, Cardinal Lawrence (Ralph Fiennes), who must deal not only with the administrative aspects of the conclave but also with the vagaries, ambitions and polarized political views of the pretenders to the pontifical throne. If the Vatican, in normal times, is a focus of tensions and intrigues in times of papal elections, this character is amplified and exacerbated by the secrecy of many of the decisions.

One of these reserved decisions of the recently deceased pontiff introduces a first surprising element to the conclave: an unexpected new cardinal, the Latin American Benítez (Carlos Diehz), is admitted after it is revealed that it was a last papal appointment “in pectore” (the appointment of a cardinal not made public immediately but kept secret; at the end, we learn why).

As expected, the first votes do not achieve the necessary majority for any of the contenders; the “white smoke” will take time to appear while outside, an anxious crowd awaits the results. Meanwhile, the cardinals play their cards: the conservative Tedesco (Sergio Castellito) proclaims that the Church must return to a path from which the late pontiff and other “liberals” have led it astray. His ideological opponent Bellini (Stanley Tucci), on the other hand, tries to gain support under the slogan “stop Tedesco” since if he were to win, all the advances made under the previous papacy would be lost. On the other hand, Cardinal Tremblay (John Lithgow) tries to position himself as an alternative between the progressive and conservative positions, but doubts will also arise about his procedures. The possibility that an African Cardinal Adeyemi (Lucian Msamati), could be anointed as Pope is also part of the game of manoeuvres, not entirely clean, that unfolds behind the scenes of the election process.

The conclave is prolonged for a few days before a winner finally emerges, but this does not end the game of mysteries surrounding the old institution but rather opens a whole new and unprecedented situation. Cardinal Lawrence can finally conclude his task.

This film directed by Edward Berger, with screenplay by Peter Straughan and Robert Harris, author of the novel on which it is based, conveys very well the atmosphere of a process that has all the traits of a political campaign not unlike those we see in other contexts, combined with the ritual and mystical elements of an institution that, by the way, claims divine inspiration, but operates with all the imperfect human qualities.

Good camera work and setting contribute to the realism of the story, especially at the moment of an incident that interrupts the election process and serves to give arguments to Cardinal Tedesco and his anti-liberal discourse. Fiennes stands out in the acting by giving his character the necessary nuances to sometimes exercise authority while simultaneously being immersed in doubts.  Also outstanding is actress Isabella Rossellini, who, as Sister Agnes, at a crucial moment, will provide information that will surprise the cardinals (“Although we sisters are supposed to be invisible, God has nevertheless given us eyes and ears”, says the nun before delivering the news).

Conclave is a film that we recommend for those interested in a good story of intrigue, suspense, and unforeseen endings, as well as for those who are captivated by the many vicissitudes of an old institution such as the Catholic Church.

Running time: 120 min.