MOVIES AT LA PLAZA: THE DOCUMENTARY FESTIVAL

Movie Review by Sergio Martinez

The documentary genre cannot be absent from the film festival scene. In fact, most festivals with a general mandate include documentaries among their categories. A festival dedicated exclusively to this genre, however, has its challenges, but in its 28 years of existence, the Rencontres internationales du documentaire de Montréal / Montreal International Documentary Festival has successfully overcome them, arousing unusual enthusiasm among many young people.

The value of this film genre lies precisely in its ability to convey real stories to an audience that undoubtedly needs information about events that affect us all in different ways: climate change, humanitarian crises in war-torn regions, or sometimes also issues that may have a more segmented resonance, but no less significant for that: gender violence, the effect of certain diseases, or simple human problems of coexistence or merely existential issues.

The RIDM (as it is known by its French acronym) has successfully focused on these themes, and this year's edition was no exception. In this regard, we will analyze in greater detail two of the films that most caught our attention, namely the opening and closing films of the festival.

LETTERS FROM WOLF STREET: A look at migration

Dir. Arjun Talwar (Poland-Germany)

The filmmaker himself tells his story as an immigrant from India who decided to study film in Poland. After some ups and downs, he manages to make a film that recounts his experience as a film student and his attempt to integrate into Polish society. The documentary captures the viewer's attention, who can learn, among other curious things, why the street is named as it is (not after a wolf, but after the surname of a notable neighbor, which allows us to know that, as in Spanish and English, the reference to the powerful animal is also found in a surname in the Polish language).

Talwar's exchanges with the postman are perhaps the most interesting examples of the relationship between him, as an immigrant, and a Polish native and worker. This aspect also has other facets in the filmmaker's relationship with a gypsy who, despite being a native of the country, has suffered discrimination on more than one occasion. The film presents its darkest side when it shows a massive demonstration by Polish nationalists who—naturally—do not welcome the arrival of immigrants, whom they resent because, according to them, they would alter the identity of the Polish nation. (A message that is already familiar in many places, as we well know).

This is a documentary in which the director has skillfully interwoven his personal experiences, sometimes in an intimate tone, while also portraying the collective feelings of those who, for various reasons, have settled in a country with a culture very different from their own—people who, like Talwar, have developed a genuine affection for Polish society.

The film is well made, and one can see from the use of various techniques and image handling that the director is a recent film school graduate, as it is clear that he has put the techniques he learned into practice. And the important thing is that he has used them well, without turning the film into a showcase for filmmaking techniques. We hope this film will be distributed in North America, as it would be relevant to the current debate on migration.

LES BLUES DU BLEUET (THE BLUES OF THE BLUEBERRY)—Life revolving around the small fruit

Dir. Andrés Livov

The relationship one may have with blueberries in an urban environment is likely very utilitarian: this small dark blue fruit is appreciated in baking, and its consumption as a fruit has increased in recent years as its health benefits have been revealed. However, beyond our immediate interaction with them at the supermarket, we don't give the fruit much thought. Here, Andrés Livov, originally from Argentina, offers us not only a reflection on the fruit itself, but also on the entire rural life that revolves around blueberries.

Set in the Lac Saint-Jean region in northern Quebec, the film offers a very lyrical view of life around the cultivation of the fruit, from the time when large forest fires, more than a century ago, helped fertilize the soil, facilitating the growth and expansion of blueberry cultivation.

From “Madame Patate” to the musicians of the small town and including the seasonal workers who come every summer from Mexico and Central America, the film shows us the whole culture of blueberries, with its sorrows and joys, but above all with an existential sense of connection to the land and work. These are the lives of the people in the region where the slightly tart and sweet blueberry is grown and harvested. When we buy it again at the supermarket, we will also be remembering the men and women who make it possible for it to reach our tables. And, of course, Livov, who with his documentary has given a human face to this small fruit.

THE AWARD WINNERS

Some of the main awards at this year's International Documentary Festival were as follows:

Grand Prize for International Feature Competition

Imago by Déni Oumar Pitsaev (France, Belgium)

Special Jury Prize for International Feature Competition

 Waking Hours by Federico Cammarata and Filippo Foscarini (Italy)

A special mention was given to Evidence by Lee Anne Schmitt (United States).

Grand Prize for National Feature Competition

Partition by Diana Allan (Palestine, Lebanon, Quebec/Canada)

Special Jury Prize for National Feature Competition presented by Télé-Québec and Post-Moderne

Kindergarten by Jean-François Caissy (Quebec/Canada)

New Visions Award presented by FIPRESCI and the Société civile des auteurs multimédia (SCAM)

Soul of the Foot by Mustafa Uzuner (Canada, Turkey)

Magnus Isacsson Award presented with the participation of DOC Québec, ARRQ, Funambules Médias, Cinema Politica and Main Film

Spare My Bones, Coyote! by Jonah Malak (Quebec/Canada) 

CINE EN LA PLAZA: RIDM 2025

Comentario de Sergio Martínez

En la escena de los festivales de cine, el género documental no puede estar ausente. En los hechos, la mayoría de los festivales que tienen un mandato general incluye entre sus categorías la de los documentales. Un festival dedicado exclusivamente a este género, sin embargo, tiene sus desafíos, pero en sus ya 28 años de existencia, el Rencontres internationales du documentaire de Montréal / Montreal International Documentary Festival los ha sorteado con éxito, despertando un inusitado entusiasmo entre no pocos jóvenes.

El valor de este género cinematográfico estriba precisamente en su capacidad de transmitir historias reales a una audiencia que, sin duda, necesita información sobre hechos que de distintas maneras nos tocan a todos: el cambio climático, las crisis humanitarias en regiones golpeadas por la guerra, o a veces también, temas que pueden tener una resonancia más segmentada, pero no por ello menos significativa: la violencia de género, el efecto de ciertas enfermedades o simples problemas humanos de convivencia o meramente existenciales.

El RIDM (por sus siglas en francés) ha enfocado con éxito esas temáticas, y la edición de este año no fue la excepción. A este respecto, analizaremos en mayor detalle dos de los filmes que más nos llamaron la atención, precisamente el inaugural y el que cerró la muestra.

LETTERS FROM WOLF STREET (CARTAS DESDE LA CALLE LOBO): Una mirada a la migración

Dir. Arjun Talwar (Polonia-Alemania)

El realizador narra por sí mismo su historia como inmigrante de la India que decidió ir a estudiar cine a Polonia. Luego de algunas vicisitudes, él logra realizar la película que narra su experiencia como estudiante de cine y su intento de integrarse a la sociedad polaca. El documental capta la atención del espectador, que puede enterarse, entre otras cosas curiosas, de por qué el nombre de la calle (no es por un lobo, sino por el apellido de un vecino notable, lo que nos permite saber que, como en español y en inglés, la referencia al poderoso animal también se encuentra en un apellido en el idioma polaco).

Los intercambios de Talwar con el cartero son quizás las instancias más interesantes de la relación entre él, en tanto inmigrante, y un hombre, nativo de Polonia y trabajador. Este aspecto también tiene otras facetas en la relación del cineasta con un gitano, que, pese a ser nativo del país, ha sufrido discriminación en más de una ocasión. El lado más oscuro lo presenta el film cuando muestra una masiva manifestación de nacionalistas polacos que—naturalmente—no ven con buenos ojos la llegada de inmigrantes, a quienes resienten porque, según ellos, vendrían a alterar la identidad de la nación polaca. (Un mensaje ya familiar por muchas partes, como bien sabemos).

Este es un documental en el que el realizador ha sabido intercalar muy bien sus experiencias personales, a veces con un tono intimista, pero al mismo tiempo capaz de retratar el sentir más colectivo de quienes, por diversos motivos, han llegado a asentarse en un país con una cultura muy diferente a la suya. Gente que, como Talwar, ha desarrollado al mismo tiempo un genuino afecto por la sociedad polaca.

El film está bien realizado, uno puede advertir en el uso de diversas técnicas y manejo de la imagen que el director es un graduado reciente de una escuela de cine porque en su realización se nota que ha puesto en práctica esas técnicas aprendidas. Y lo importante es que las ha utilizado bien, sin que se convierta en un muestrario de didáctica cinematográfica. Esperamos que este film se distribuya en Norteamérica, ya que sería pertinente en esta atmósfera de debate sobre el tema migratorio.

LES BLUES DU BLEUET (LOS BLUES DEL ARÁNDANO)—La vida en torno al pequeño fruto

Dir. Andrés Livov

La relación que uno puede tener con el arándano en el ambiente urbano es probablemente muy utilitaria: ese pequeño fruto de color azul oscuro es apreciado en la pastelería y su consumo como fruta ha aumentado en años recientes al revelarse sus beneficios para la salud. Sin embargo, más allá de nuestra inmediata interacción en el supermercado, no le damos mucho tiempo más al fruto. He aquí que Andrés Livov, argentino de origen, nos entrega no solo una reflexión sobre el fruto mismo, sino también a propósito de toda la vida rural que se desarrolla en torno al arándano.

Ambientada en la región de Lac Saint-Jean en el norte de la provincia de Quebec, la película nos entrega una visión muy lírica de la vida en torno al cultivo de la fruta, desde los tiempos cuando grandes incendios forestales, hace ya más de un siglo, contribuyeron a fertilizar el terreno facilitando el crecimiento y expansión del cultivo de arándanos.

Desde la “Madame Patate” hasta los músicos de la pequeña localidad, y pasando por los trabajadores temporales que cada verano provienen de México y Centroamérica, el film nos muestra toda una cultura del arándano, con sus tristezas y alegrías, pero, por sobre todo, con un sentido existencial de conexión con la tierra y el trabajo. Esas son las vidas de la gente de la región donde se cultiva y se cosecha el ligeramente ácido y dulce arándano, que, cuando lo volvamos a adquirir en el supermercado, también estaremos recordando a esos hombres y mujeres que hacen posible su llegada a nuestra mesa. Y, por cierto, a Livov que con su documental le ha puesto un rostro humano al pequeño fruto.

LOS PREMIADOS

Algunos de los principales galardones de esta edición del Festival Internacional del Documental fueron los siguientes:

Gran Premio en la Competencia Internacional de Largometrajes:

Imago de Déni Oumar Pitsaev (Francia, Bélgica)

Premio Especial del Jurado en la Competencia Internacional de Largometrajes:

Waking Hours de Federico Cammarata y Filippo Foscarini (Italia)

Mención Especial: Evidence de Lee Anne Schmitt (Estados Unidos).

Gran Premio en la Competencia Nacional de Largometrajes: Partition de Diana Allan (Canadá-Palestina-Líbano)

Premio Especial del Jurado en la Competencia Nacional de Largometrajes: Kindergarten de Jean-François Caissy (Quebec/Canadá)

Premio Nuevas Visiones, presentado por FIPRESCI y la Société civile des auteurs multimédia (SCAM): Soul of the Foot de Mustafa Uzuner (Canadá-Turquía)

Premio Magnus Isacsson presentado con la participación de DOC Québec, ARRQ, Funambules Médias, Cinema Politica and Main Film:

Spare My Bones, Coyote!  de Jonah Malak (Quebec/Canadá)

MOVIES AT LA PLAZA – A NEW EDITION OF CINEMANIA

Movie Review by Sergio Martinez

The 31st edition of the French-language film festival known as Cinemania took place between November 4 and 16 in various theaters in Montreal. Founded in 1995 by Maidy Teitalbaum, this event has played an interesting role in this city, which, although bilingual in practice, often finds that its two linguistic groups do not interact much in the cultural sphere. Cinemania presents a wide-ranging and up-to-date selection of French-language films, the vast majority of which are shown with English subtitles.

THE DISCREET CHARM OF A REMARKABLE STAR

Like other events of this nature, Cinemania also featured the presence of some important figures from the world of cinema. This year, the most outstanding guest was undoubtedly French actress Juliette Binoche, who presented a film in which she made her directorial debut: In-I in Motion, a documentary that recounts her own experiences as a dancer alongside British dancer Akram Khan in 2007 and 2008.

During a press conference, the actress spoke in more detail about this work, as well as another film in which she stars and which was screened at the festival: Camille Claudel 1915.

CAMILLE CLAUDEL 1915

Dir. Bruno Dumont (France)

The artist and former lover of the famous sculptor Auguste Rodin finds herself confined to an asylum for the mentally ill. Camille's (Juliette Binoche) life during the days explored in the film is spent between moments of routine, sharing with other inmates, moments of paranoia when she cooks her own food for fear of being poisoned, a new interview with the doctor who runs the establishment in which she begs to be let go, and—above all—waiting for a visit from her brother Paul (Jean-Luc Vincent). The reference to 1915 is due to the year she was admitted, a situation Camille hopes to reverse. The film strongly denounces the procedures by which someone could be admitted—against their will—to a psychiatric hospital. As was the reality in the 19th century, these institutions, rather than centers for the treatment of mental illness, were places of confinement from which, once admitted, it was difficult to leave. Camille was a clear example of this situation, which this film portrays realistically, with a solid performance by Juliette Binoche.

RUE MÁLAGA (MALAGA STREET)

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

A remarkable 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.

DEUX PIANOS (TWO PIANOS)

Dir. Arnaud Desplechin (France)

This French film deserves a very different assessment, as it is the worst film this critic had previously seen at the Toronto Festival. 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 unfolded. 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.

***

Cinemania is certainly a welcome addition to Montreal's cultural and cinematic landscape, and this edition has confirmed it.

CINE EN LA PLAZA: UNA NUEVA EDICIÓN DE CINEMANIA

Comentario de Sergio Martínez

La 31ª edición del festival de cine francófono conocido como Cinemania tuvo lugar entre el 4 y el 16 de noviembre en diversas salas de Montreal. Este evento, fundado en 1995 por Maidy Teitalbaum, ha cumplido una tarea interesante en esta ciudad que, aunque bilingüe en la práctica, a menudo encuentra a los dos grupos lingüísticos que la componen sin mucha interacción en el ámbito cultural. En efecto, Cinemania presenta una amplia y actualizada muestra de cine francófono en la que la inmensa mayoría de los filmes se exhibe con subtítulos en inglés.

EL DISCRETO ENCANTO DE UNA NOTABLE ESTRELLA

Como otros eventos de esta naturaleza, Cinemania también contó con la presencia de algunas importantes figuras de la cinematografía, este año sin duda la invitada más sobresaliente fue la actriz francesa Juliette Binoche quien en esta oportunidad presentó un film en el que ha debutado como directora: In-I in Motion, un documental que recoge sus propias experiencias como bailarina junto al bailarín británico Akram Khan en los años 2007 y 2008.

Durante un encuentro con la prensa, la actriz se explayó en más detalle sobre esa obra, así como sobre otro film que protagoniza y que estuvo en cartelera en el festival: Camille Claudel 1915.

A nuestra consulta sobre su experiencia como actriz, que ha actuado con igual facilidad en francés e inglés (recordamos sus actuaciones en El paciente inglés y Damage, entre otras), ella respondió que esas instancias habían sido muy importantes y que, para actuar en otro idioma, uno también tenía que gustarle esa otra lengua, en este caso, el inglés. Ella remarcó que su bilingüismo ciertamente le había ayudado en su carrera.

CAMILLE CLAUDEL 1915

Dir. Bruno Dumont (Francia)

La artista y ex amante del famoso escultor Auguste Rodin se halla recluida en un asilo para enfermos mentales. La vida de Camille (Juliette Binoche) durante esos días que el film explora, transcurre entre momentos de rutina, compartiendo con otras internas, sus momentos de paranoia cuando cocina su propia comida por temor a ser envenenada, una nueva entrevista con el médico director del establecimiento en que ella ruega que la dejen irse, y—sobre todo—la espera por la visita de su hermano Paul (Jean-Luc Vincent). La referencia a 1915 se debe al año en que fue internada, situación que Camille espera revertir. El film refleja una fuerte denuncia de los procedimientos por los cuales alguien podía ser internado—contra su voluntad—en un hospital psiquiátrico. Tal como era la realidad en el siglo 19, esos establecimientos, más que centros de tratamiento de las enfermedades mentales, eran centros de reclusión desde los cuales, una vez internado, resultaba difícil salir. Camille fue un claro ejemplo de esa situación, la que este film retrata de manera realista, con una sólida interpretación de Juliette Binoche.

RUE MALAGA (CALLE MÁLAGA)

Dir. Maryam Touzani (Marruecos / España / Alemania / Bélgica)

Este film, que antes tuvimos la oportunidad de ver en el Festival de Toronto, sorprende tanto por la calidad interpretativa como por la magnífica y realista puesta en escena, que transmite, en toda su calidez, el ambiente de la calle donde vivía un buen número de españoles en Tánger, Marruecos. María Ángeles (Carmen Maura) es una mujer jubilada que vive de manera independiente en su casa. La visita de su hija Clara (Marta Etura) le traerá malas noticias. La hija, que enfrenta problemas económicos en Madrid, ha decidido vender la propiedad donde vive su madre—la casa estaba a su nombre. El contraste entre el egoísmo de Clara y la porfía de su madre para mantener su independencia desencadenará nuevas situaciones, algunas muy inesperadas.

DEUX PIANOS (DOS PIANOS)

Dir. Arnaud Desplechin (Francia)

Una apreciación muy diferente es la que merece este film francés, el peor visto por este crítico en el Festival de Toronto de este año. El pianista Mathias Vogler (François Civil), después de una larga estada en Asia, decide regresar a su ciudad natal, Lyon, invitado por quien fuera su mentora, la pianista Elena (Charlotte Rampling), que pronto se retirará y 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.

***

Cinemania es, ciertamente, una buena adición al panorama cultural y cinematográfico de Montreal, y esta edición lo ha confirmado.

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.