Festival du nouveau cinéma: Some of the Best and Some of the Worst

Commentary by Sergio Martínez

The 51st edition of the International Festival of New Cinema was held in Montreal from October 5 to 16. Since its beginnings, this event has had an imprint of innovation, an emphasis on the less conventional productions of world cinema. Over time it has also incorporated more mainstream films, but it maintains that original vocation. Although that does not necessarily mean, as we have always said, that what is not conventional is necessarily good. This time, apart from mentioning a couple of films from the general program, we are going to focus mainly on a few Latin American and Spanish productions that were part of the program.

The best? I would go for its closing film, Les cinq diables (The Five Devils), a French film directed by Léa Mysius. An interesting film because of the intertwining of fantasy and mystery in terms of the relationships between the characters and the reason for their present situation. The past comes to haunt the protagonist Johanne and her daughter, Vicky, when the mysterious Julia returns to the village. A good film that will hopefully be released in Montreal.

On the other hand, of the worst of the Festival, I would have to mention Rimini, an Austrian film by Ulrich Seidl. The story centres on Ritchie Bravo (Michael Thomas), a singer in decline who tours hotels in Rimini. This is a holiday destination that attracts a lot of people from Austria, especially women, some of whom he lures for sex in exchange for money. There is also a whole situation of subsistence and marginality. And in this, his daughter also appears, which complicates his existence. Basically, it is a film without major aesthetic relevance and with a banal story.

As for the Latin American and Spanish presentations, it must be admitted that it was rather disappointing. In general, they were mediocre films. Without much transcendence.

Dos Estaciones: A film by Juan Pablo Gonzalez from Mexico focuses on the story of a woman owner of a medium-sized tequila factory, who is threatened by competitive circumstances, on the one hand, and by some somewhat hidden forces, which are conspiring against her. The story, however, never achieves a real focus. There are confusing things, in particular the relationship of this woman of lesbian tendency, but who does not openly manifest it, with the young assistant. It is a film that is not well made, although it has good images and at least gives some insight into the tequila-making process.

From Argentina came the film La Edad Media, directed by Alejo Moguillansky and Luciana Acuña, who are also the actors in the film but do not do well in that capacity either. Perhaps what is interesting is that it is a pandemic film, in this case, people who worked in theatre and video production activities trying to survive under the new circumstances created by confinement and isolation. The only factor that gives the film a certain original dynamic is the presence of Cleo (Cleo Moguillansky), the couple's daughter, who introduces a somewhat absurd element, but which enlivens the sluggish plot.

Scene from the Spanish movie Alcarras

Slightly more interesting were a pair of films, one from Spain, Alcarrás, directed by Carla Simón, and a Portuguese film, Alma Viva directed by Cristele Alves Meira. Alcarrás is a reflection on a situation that affects many parts of the world and seems more serious in Spain: the emptying of the population in rural regions. In both, this film and the Portuguese one, there are also elements of the myths and religiosity of rural areas. Alma Viva is an interesting film in terms of the relationship of the girl (Lua Michel) with her grandmother, the family environment and the tensions that arise there. Without being an extraordinary film, it keeps the audience's interest mainly because of the emotionality it conveys.

Lua Michel, as the charming granddaughter in Alma Viva