MOVIES AT LA PLAZA: DADDIO— The cab, between a confessional and a psychologist's office

Movie Review by Sergio Martinez

Making a film whose story takes place in real-time is a challenge, even more so if the entire plot takes place in the claustrophobic space of a cab. It's a challenge that director Christy Hall manages to overcome successfully: Daddio manages to keep the viewer's attention throughout the 100 minutes it takes for cab driver Clark (Sean Penn) to take the young woman we only know as Girlie (Dakota Johnson) from JFK airport to her home in Manhattan. That's exactly the time from the time the young woman leaves the airport and the attendant at the cab stand (Marcos A. Gonzalez) asks her for the destination of the ride, opens the door, the woman gets in, and the cab departs until the cabbie and passenger say goodbye.

"Girlie" (Dakota Johnson) takes
an exceptional taxi ride 

Certainly, the ride from the airport to Manhattan would not last that long, for the director makes a little "cheat": shortly before taking the I-495 highway an accident caused a traffic jam on the route, this will take enough minutes to cover the time of the story, but at the same time to raise the dramatic tension in the interaction of driver and passenger.

Even with all these dramatic elements, the scenes could have become tedious after a certain time, but here we find the brilliant hand of cinematographer Phedon Papamichael, who, while the exchange takes place inside the car, intersperses images of the urban environment: lights, commercial signs, road traffic signs, mundane and everyday objects that anyone travelling in a cab will probably not notice, but that in the film contribute to creating the background of loneliness that both protagonists share while the trip lasts.

Clark (Sean Penn): a cab driver but at times
a confessor and a psychologist

Shortly after getting into the cab, Girlie receives messages on her cell phone, mostly requests from her boyfriend, most of them expressed in foul language with references to sex. Gradually the dialogue between the woman and Clark transcends the tone of the typical cab conversation. She breaks the ice when she asks him for his name, which he later remembers specially.

The woman continues to receive messages from her lover, always in a vulgar tone, until a moment comes when he stops sending them. Girlie will reveal to Clark the nature of the relationship with her lover, at which point the tone of the conversation becomes more personal. Clark for his part, also has a lot to say, both personally, and in what, now taking on an almost paternal role, he conveys to Girlie.

The ride's end

During the moments when the conversation had become less formal, she had asked Clark about what name he would have liked to have had. The cab driver's response will later serve as a closure to the encounter where there were difficult questions, upsetting memories they both relived and many questions still open, especially for Girlie.

Daddio is a brilliant film of impeccable realization. The challenges to developing the story the director turns into one more dramatic element of the search that both protagonists, beyond their differences in age and jobs, still have unfinished.

Running time: 100 min.

CINE EN LA PLAZA: DADDIO—El taxi, entre confesionario y consultorio psicológico

Comentario de Sergio Martínez

Hacer una película cuya historia transcurra en tiempo real es un desafío, más aun si prácticamente toda la trama tiene lugar en el claustrofóbico espacio de un taxi. Se trata de un desafío que la directora Christy Hall sortea con éxito: Daddio logra mantener la atención del espectador a través de los 100 minutos que al taxista Clark (Sean Penn) le toman llevar a la joven que sólo conocemos como Girlie (Dakota Johnson) desde el aeropuerto JFK hasta su casa en Manhattan. Es exactamente el tiempo desde que la joven sale del aeropuerto y el asistente en la parada de taxis (Marcos A. González) le pregunta por el destino de la carrera, le abre la puerta, la mujer sube y el taxi parte, hasta que taxista y pasajera se despiden.

Girlie (Dakota Johnson), la pasajera
en un viaje muy especial

Ciertamente la carrera desde el aeropuerto a Manhattan no duraría todo ese tiempo, para eso la directora hace una pequeña “trampita”: poco antes de tomar la carretera I-495 un accidente ha causado un embotellamiento en la ruta, ello tomará los suficientes minutos para cubrir el tiempo de la historia, pero al mismo tiempo para subir la tensión dramática en la interacción de chofer y pasajera.

Aun con todos esos elementos dramáticos, las escenas podrían haberse hecho tediosas después de cierto tiempo, pero aquí entre la genial mano del director de fotografía, Phedon Papamichael, que mientras transcurre el intercambio al interior del coche nos intercala imágenes del ambiente urbano: luces, letreros comerciales, avisos de tráfico carretero, objetos mundanos y cotidianos a los que cualquiera que vaya viajando en un taxi probablemente no le llamen la atención, pero que en la película contribuyen a crear el trasfondo de soledad que ambos protagonistas comparten mientras dura el viaje.

Clark (Sean Penn) taxista, un poco confesor y psicólogo

A poco de haber subido al taxi, Girlie recibe mensajes en su celular, se trata de pedidos de su novio, la mayor parte expresados en un lenguaje soez con referencias al sexo. Poco a poco el diálogo entre la mujer y Clark trasciende el tono de la típica conversación de taxi. Ella rompe ese hielo cuando le pregunta a él por su nombre, cosa que él luego recordará de modo especial.

La mujer sigue recibiendo los mensajes de su enamorado, siempre en un tono vulgar, hasta que llega un momento en que se modera y deja de enviarlos. Girlie revelará a Clark el carácter de la relación con su amante, en ese momento el tono de la conversación se hace más personal. Clark por su parte, también tiene mucho que decir, tanto en lo personal, como en lo que, ahora asumiendo un rol casi paternal, le transmite a Girlie.

El final del viaje

Durante los momentos en que la conversación se había hecho menos formal, ella le había preguntado a Clark sobre qué nombre le hubiera gustado tener a él. La respuesta del taxista servirá más tarde como un cierre del encuentro donde hubo cuestiones difíciles, memorias molestias que ambos revivieron y muchas interrogantes aun abiertas, especialmente para Girlie.

Daddio es un brillante film de impecable realización y donde los desafíos para desarrollar la historia la realizadora los torna en un elemento dramático más de la búsqueda que ambos protagonistas, más allá de sus diferencias de edad y trabajos, tienen aun inconclusas.

Duración: 100 min. 

WHEN ART FOR THE MARKET WAS BORN

Saints, Sinners, Lovers & Fools: Three Hundred Years of Flemish Masterworks at the Montreal Museum of Fine Arts

Commentary by Sergio Martinez

The Garden of Eden with the Four Elements 
(Hendrick de Clerck, and Denijs van Asloot, 1613)

Until October 20, 2024, you can visit this interesting exhibition mounted by the Montreal Museum of Fine Arts with the support of the Phoebus Foundation of Belgium. The show covers the period from the 15th to the 18th century, with works by celebrated creators such as Hans Memling, Peter Paul Rubens, Anthony van Dyck, Jacob Jordaens and Michaelina Wautier, among others. Many of these works were created or unveiled in Antwerp, then one of the world's leading commercial and cultural centres.

The region of Flanders itself was then an important centre of commercial activity and the focus of political tensions and rivalries between the powers of the time: the Dutch, the Spanish and the French dominated or disputed the territory at different times in history. These confrontations also left an echo in religious and political matters and, of course, also impacted artistic creation.

A Pantry with Game (Frans Anyders, 1640) 

Book illustrations

However, the central fact that substantially changed the way art was made and why Antwerp and Flanders are so important, is that it was there that art began to be made for the market. During the Middle Ages works of art had been commissioned: the Church was in this sense the main entity that commissioned works to the creators of the time, the others who commissioned works were the kings and members of the nobility, who generally commissioned portraits. The artists of Flanders, on the other hand, began to create works that were to be sold in a market now open to the new fortunes that had arisen mainly from the trade of goods that began to come from the American continent to Europe from the 16th century onwards. The creation of an art market resulted in greater creative freedom for artists, although over the centuries this commercial approach would also have its downsides.

A sculpture of
that period

In terms of the aesthetics of this art, the emphasis on the human character of the subjects should be highlighted. Even in the works that present biblical or divine characters, this new way of looking at them by the artists of this period is notable.

A sarcastic look
at life 

The exhibition is divided into seven sections featuring some 150 works, including monumental paintings, sculptures, books, silver works and maps. These sections include works of a religious nature, portraits of famous figures of the time, works with a satirical tone and also some engravings and drawings that show the curiosity aroused in Europe by America, the new continent which, on the other hand, thanks to the flourishing trade, generated the fortunes of many of those who could now acquire the paintings of the famous artists of the time.

The New World arises
great curiosity

Vice, vertu, désir, folie: trois siécles de chef-d'œuvre flamands / Saints, Sinners, Lovers & Fools: Three Hundred Years of Flemish Masterworks is presented at the Michal and Renata Hornstein Pavilion, Level 2, Montreal Museum of Fine Arts, main entrance through the Jean Noël Desmarais Pavilion, 1380 Sherbrooke West. Admission: $24 (ages 31 and over), $16 (ages 21 to 30), Free for children under 20. Tickets can be purchased online at mbam.qc.ca.

CUANDO NACE EL ARTE PARA EL MERCADO

Santos, pecadores, amantes y locos: Tres siglos de obras maestras de Flandes en el Museo de Bellas Artes de Montreal

Comentario de Sergio Martínez

MOVIES AT LA PLAZA: KIDNAPPING—The Power of Rituals

Movie Review by Sergio Martinez

The power of the Catholic Church, the vicissitudes of a minority and the tumultuous times of Italian unification intersect in this film by Marco Bellocchio based on a real historical event: the forced removal of the child Edgardo Mortara (Enea Sala, child) from his Jewish family by agents of the then Papal States, a territory that encompassed Rome and much of central Italy and was governed by the pope. In 1858 in the Jewish quarter of the city of Bologna, then part of the papal dominions, the boy, then seven years old, was taken by the authorities under the pretext that he had been secretly baptized. Now considered a Christian, the boy could no longer live with his Jewish family according to the law of the Papal States but should instead be raised and educated as a good Catholic.

Edgardo, in fact, had been baptized secretly from his family by a Catholic maid who had worked for the Mortara family. When the head of the Inquisition, Pier Gaetano Feletti (Fabrizio Gifuni), learns of the boy's secret baptism, he orders him to be taken by force from his family and sent to Rome where he will undergo a process of conversion. Edgardo becomes one of Pope Pius IX's (Paolo Pierobon) favourite forced converts.

The Mortara child became
one of the favourite converts of
Pope Pius IX 

While his parents, the Jewish community and even several foreign governments demand that the Church return the boy to his Jewish family, the pope does not budge. Edgardo will only occasionally see his parents, on one such occasion the boy assures his mother that every night he silently repeats words from a Jewish ritual.

However, Edgardo (Leonardo Maltese, adult) will not have new contacts with the family until several years later and under very different circumstances: the Italian peninsula enters a very tumultuous political period that culminates in the unification of the country and with it also the end of the temporal power of the pope.

The demands of the father for the 
child to be returned to his family
were not heard

The film gives a good historical account of the elements that contributed to the case of Edgardo Mortara: the situation of discrimination to which the Jewish minority was subjected at the time, the power of the ecclesiastical institutions, such as the Holy Office (Inquisition), which for its arbitrariness is abolished when Bologna is liberated by the forces that favour Italian unification. Above all, the power that a ritual like baptism had, even though in this case it was not done by a priest but by a very young and illiterate woman who had believed that the child was in danger of death as a baby and then proceeded to baptize him, so, in her way of thinking, she wanted to avoid that the baby, once dead, would go to limbo.

A recommended film for those interested in historical facts, the power of rituals and how religious prejudices worked.

Running time: 135 min.

Italian with English or French subtitles (check theatres)

 

CINE EN LA PLAZA: L’ENLÈVEMENT / KIDNAPPING—El poder de un ritual

Comentario de Sergio Martínez

El poder de la Iglesia Católica, las vicisitudes de una minoría y los tiempos tumultuosos de la unificación italiana se entrecruzan en este film de Marco Bellocchio basado en un hecho histórico real: la forzosa remoción del niño Edgardo Mortara (Enea Sala, niño) de su familia judía por parte de agentes de los entonces Estados Pontificios, un territorio que abarcaba a Roma y gran parte del centro de Italia y que era gobernado por el papa. En 1858 en el barrio judío de la ciudad de Boloña, entonces parte de los dominios papales, el niño que a ese momento tenía siete años, fue tomado por las autoridades bajo el pretexto de que había sido bautizado secretamente. Considerado ahora un cristiano, el chico ya no podía seguir viviendo con su familia judía, según la ley de los Estados Pontificios, en cambio debería ser criado y educado como un buen católico.

En verdad Edgardo, había sido bautizado a escondidas de su familia por parte de una criada católica que había trabajado para los Mortara. Cuando el jefe de la Inquisición, Pier Gaetano Feletti (Fabrizio Gifuni), se entera del bautismo secreto del chico ordena tomarlo por la fuerza de su familia y enviarlo a Roma donde será sometido a un proceso de conversión. Edgardo llega a ser uno de los conversos forzados favoritos del papa Pío IX (Paolo Pierobon).

El niño Mortara pasa a ser 
uno de los conversos favoritos
del papa Pío IX

Mientras sus padres, la comunidad judía e incluso varios gobiernos extranjeros reclaman que la Iglesia retorne al niño a su familia judía, el papa no da su brazo a torcer. Edgardo verá sólo ocasionalmente a sus padres, en una de esas ocasiones el niño asegura a su madre diciéndole que cada noche repetía en silencio palabras de un ritual del judaísmo.

Sin embargo, Edgardo (Leonardo Maltese, adulto) no tendrá nuevos contactos con la familia sino hasta varios años más tarde y bajo circunstancias muy diferentes: la península itálica entra en un período político muy tumultuoso que culmina con la unificación del país y con ello también el término del poder temporal del papa.

Las protestas de la familia
para que el niño fuera devuelto
no fueron escuchadas

La película hace un buen recuento histórico de los elementos que contribuyen al caso de Edgardo Mortara: la situación de discriminación a que estaba sujeta la minoría judía entonces, el poder de las instituciones eclesiásticas, como el Santo Oficio (Inquisición) que por sus arbitrariedades es abolida cuando Boloña es liberada por las fuerzas que propician la unificación italiana. Por sobre todo, el poder que entonces tenía un ritual como el bautismo, incluso cuando en este caso no había sido hecho por un sacerdote sino por una mujer muy joven y analfabeta que había creído que el niño estaba en peligro de muerte cuando era un bebé y entonces había procedido a bautizarlo, así, en su modo de pensar, ella quería evitar que el bebé una vez muerto fuera a dar al limbo.

Un film recomendable para quienes se interesen en hechos históricos, el poder de los rituales y de cómo funcionaban los prejuicios religiosos.

Duración: 135 min.

En italiano con subtítulos en inglés o francés (chequear el cine)