Scenes from “Satanás” [2007 Colombia, Mexico]

You’d be forgiven for assuming that any Latin American film titled “Satanás” must be a nunsploitation flick from a bygone age. As it turns out, this 2007 drama is a recreation of a shocking 1986 massacre in Colombia when a Vietnam vet killed 29 people including his own mother, before turning the gun on himself. For a feature-length directorial debut, Andrés Baiz had constructed a brilliant crime drama indeed. He makes us follow not just the protagonist but some of the victims before they find themselves at the restaurant where the final act happens.

When I bought the film, I thought it was a psychological thriller, that this was a crime drama inspired by true events was a revelation. Damián Alcázar gives a restrained performance as the soft spoken Eliseo, an English professor and former soldier in the US Army, getting lonelier and depressed by the day, until he finally snaps. The screenplay is particularly well written – we see some of the victims even interact innocently with Eliseo days earlier, and that is not all – some background stories not directly related to the massacre, but may have contributed to the victims being in the wrong place at the wrong time were also conjured up to give us a bigger picture. It is cinema of high calibre along the lines of early Gaspar Noé works, and I’m surprised that so little is known about this film outside Spanish-speaking countries. The direction, dialogues, editing, cinematography and set design are all of high quality, including the performances by all the main characters. Needless to say, Highly Recommended Viewing..!



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Irm Hermann & Ingrid Caven in “Der Händler der vier Jahreszeiten” [1971 W.Germany]

Going through Rainer Werner Fassbinder’s filmography, I find his 1971 melodrama, “Der Händler der vier Jahreszeiten” [Eng. Title: The Merchant of Four Seasons] a beautifully ‘designed’ piece of cinema, albeit a highly stylised one. You won’t find conventional realism portrayed here, far from it – it’s as if Fassbinder had conducted a Pulcinella using his actors – puppets held by strings to recreate his own little world. I use the word ‘designed’ because it is magnificently conceived and produced, almost Bergman-like in detail, but with Fassbinder’s own vision. One could also see strong influences from his theatrical background, the film could just as well work as a conventional play.

The story itself is simple – about a man’s longing for acceptance by society for who he is, more importantly by his airs-and-graces middle-class mother – she is even embarrassed to tell anyone what her son Hans does for a living – a street hawker selling fruits. The condescension heaped upon him by all around only add to his insecurities, to the point of despair, and eventual depression.

I agree this all sounds horrible, but Fassbinder succeeds in forcing us to look at the protagonist’s anguish objectively rather than emotionally, by creating a disassociation between Hans and the audience. He achieves this by making his cast give toned-down, almost wooden performances, that we never get to connect with, and end up watching their plight in a detached manner. His theory, I presume, is that while it is important to get to see someone from their perspective, it is also important to know how a detached world would view their circumstances. The family members, baring Hans’ sister Anna, also prescribe to the same viewpoint.

Technically, it is splendid – for such a prolific film maker (Fassbinder made forty three full-length films in a career spanning just fifteen years, no mean achievement), to pay so much attention to detail – set arrangement, angles, lighting, composition, and even the editing, in addition to writing it in the first place, is simply mind-boggling. Here was one man possessed, it’s as if Fassbinder foresaw his own early death, and wanted to bequeath as many unique works to humanity as possible before then. To surmise, if you want to watch something challenging and unique, and love cinema, you should give this a try – just allow enough time to let it sink in. Highly Recommended Viewing..!

The Arrow Films DVD from which this compilation was made, came with an excellent quality transfer, and also includes goodies like fascinating and revealing interviews from the actresses in this film – held 10 years after Fassbinder’s death, and also a feature-length retrospective of Fassbinder’s filmography. Great value for money.



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Emma Suárez & Rosario Flores in “Contra el Viento” [1990 Spain]

Paco Periñán’s directorial full-length feature debut, “Contra el Viento” [Eng. Title: Against the Wind] should have kick-started a successful career – he was also nominated for a Goya the following year, but for reasons unknown, it was also the last film he’s directed – he is an assistant director (1st or 2nd) these days.

It is a strange film with several plot elements in it which go nowhere. It is also a rare film and I’ve never been able to get hold of it in its native Spanish language. The DVD from which these scenes were cut is from an Italian version, and as with all dubbed films, subtle nuances are lost in narration. The end product looks like a cheap 80’s thriller.

Juan leaves his parental home to live in an Andalusian village, fleeing an incestuous relationship with his sister Ana. We are given very little background regarding this, considering the fact that they don’t come from a broken home. But Ana comes looking for him after a year without contact, and decides to live in his one-room shed, much to Juan’s discomfort – he’d been trying to leave behind his past and had just started a relationship with local girl Rosario. We see the siblings still in love, but while Juan knows the relationship is wrong, Ana continues to harbour a distorted vision of familial love. She demands his attention even as he tries to avoid her, and when she’d just about given up, notices evidence that he still has feelings for her as before, and decides to stay in the village with an engineer, by lying to Juan that she’s leaving.

This is an unusual role for the beautiful Emma Suárez, who plays Ana. Technically, the film is so-so, the soundtrack isn’t all that appealing, and I wouldn’t comment on the direction because I’ve only seen the dubbed version. The film was shot in full frame, due to which some close-ups have an abstract quality about it. The lighting could have been better, but difficult to tell as this may also be due to average DVD mastering.

 

The Nudity: Emma Suárez and Rosario Flores
The film is here for its rarity – Emma Suárez, playing the incestuous Ana, appears nude in several scenes, as does Rosario Flores who plays Rosario – she hadn’t taken her kit off even for Almodóvar in Habla con Ella!

 

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Chiara Pavoni & Eveline in “VigasioSexploitation II” [2011 Italy]

“…and now for something completely different..!”

If you’d enjoyed Monty Python’s Flying Circus, you might want to check out this refreshing oddity – a Sci-Fi comedy quite unlike Avatar.

Sebastiano Montresor is an interesting young director who has some strong convictions about what cinema shouldn’t be – passive, suggestive, and anaesthetising the viewer’s critical faculties, as he puts it. A proponent of the so-called “Agrestic Cinema”, it is about deliberately de-constructing the film into a primitive state (or one devoid of any pretence or make-believe) – let the audience construct their own using what they hear, listen and see, as raw materials.

I remember watching his first feature, “L’eredità di Caino” (starring an up-and-coming Filippo Timi – a major star now) at a friend’s and found a lot of it went over my head. His latest film however, “VigasioSexploitation II” is certainly more accessible, and funny too. I recommend checking out Montresor’s website to discover more about his theories and work. What’s more – you also get to download the film, “VigasioSexploitation I” for free.

As for volume 2, it is grotesque, crazy, but strangely endearing – there is nothing pretentious about it – it doesn’t take itself seriously, but technically it is very well made with fine cinematography, an eclectic albeit interesting soundtrack, and neat editing. He does however indulge in taking the piss of some of the big names in ‘B’ cinema like Brass, Franco and Rollin – you’ll know what I mean when you watch the scenes. The film has extensive and gratuitous nudity, but it is all hilarious – not intended to titillate. For twisted people like me, this little film is Recommended Viewing..!

The story in a nutshell – aliens are invading the earth, and a human scientist is unwittingly conscripted for this purpose. The plan was to inseminate a human female with their sperm to produce a hybrid. The scientist’s ‘assistant’ is drawn for this purpose, but it backfires – instead she turns into a rabid bitch, feeding on humans and aliens alike. For the sake of this post, I have also retained the subtitles in the compilations, so you guys can guess what’s going on. Don’t expect Oscar winning performances here – just enjoy the ride..!

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Note:
The post is left open to all because the producer-director wishes it to be available publicly.

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Giovanna Mezzogiorno & Francesca Inaudi in “La Bestia nel Cuore” [2005 Italy[

Cristina Comencini’s film, “La Bestia nel Cuore” [Eng. Title: Don’t Tell. Lit. Trans: The Beast in the Heart] is a sombre drama dealing with childhood trauma, in this case, adult siblings who had shut out what they endured as children from memory, only for it to resurface at a later date.

Sabina is a kind and loving young woman, non-confrontational, and willing to compromise where necessary. Franco and Sabina, aspiring stage actors meet and fall in love, and while Sabina had pragmatically taken up a job as a dubbing artist for the time being, Franco is persuaded by a director to switch to Television serials. When Sabina becomes pregnant, she begins to have nightmares of herself as a child. She visits her brother Daniele living in the US to make sense of the recurring nightmares and piece together events from her childhood.

The film is well produced and directed, but has a few loose ends. For e.g., Daniele refuses to return to Italy, and afraid of hugging his own little son, despite having ‘conquered’ his demons through extensive counselling. From what we see he certainly requires as much help as his sister, and yet he’s the person counselling her. It’s the stand-out performance from Giovanna Mezzogiorno, playing Sabina, who carries this film through. The film was also nominated for Oscar and a clutch of David’s the following year.

 

The Nudity: Giovanna Mezzogiorno and Francesca Inaudi

Scenes of Giovanna Mezzogiorno and Francesca Inaudi in La Bestia nel Cuore

Scenes of Giovanna Mezzogiorno and Francesca Inaudi from the 2005 film, “La Bestia nel Cuore”.

Scene Guide:

  • Sabina with Franco, when she expresses her desire to become pregnant. Later a brief scene of Franco thinking about Sabina who’s away in the US.
  • The TV shoot in process with Franco playing the doctor treating Anita, the actress playing the patient.
  • In the absence of Sabina, Franco finds it difficult to resist the charms of Anita, who had turned up at the flat uninvited – he even tries to call a cab to take her come, but changes his mind. Anita is played by Francesca Inaudi.



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