Malena Solda in “Juntos para Siempre” [2010 Argentina]

Screenwriter Pablo Solarz makes an impressive directorial feature film debut through the bitter-sweet comedy drama, “Juntos para Siempre” [Eng. Title: Forever Together]. Tinged with typical Argentinian irony, it is also mildly self-indulgent, but nevertheless very enjoyable with some hilarious moments thrown in.

Storyline:
Javier is so engrossed in the screenplay he’s writing that he ignores girlfriend Lucía’s cry for attention. Which inevitably leads to her seeking attention elsewhere. Guilt-ridden, she informs Javier that she had sex with their neighbour, but Javier takes it without batting an eyelid, and enquires instead whether she feels better after having confessed. He tries to console her by saying it is quite common these days, and that she shouldn’t be unduly worried, as long as it doesn’t become a habit. Frustrated, she leaves him, asking him to go and see a psychotherapist instead. In a bid to get Lucía back, Javier even follows her advice. But when therapy gets him nowhere, he starts seeing his dentist’s slightly dim but curvy daughter Laura, and pretty soon they start living together, closing the door for any possible rapprochement with Lucía. Laura meanwhile, ever the tolerant, allows Javier all the liberties, whether he is in one of his ‘thinking’ modes, or even when he frequently addresses her as Lucía. And running parallel to Javier’s story is the harrowing film screenplay he’s creating – and the parallel also extends to his protagonist’s mindset…

This is a well-written and neatly executed film with some fine performances all around – it is intelligent, funny, but also sad – and the film is certain to stick with you for a while. Recommended Viewing!

eBay DVD Link


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Scenes from Thomas Vinterberg’s “Festen” [1998 Denmark, Sweden]

Thomas Vinterberg is among the brilliant young directors to emerge from Europe over the past decade, and by some pleasant coincidence, I’m starting his filmography with a film where he isn’t even formally credited – “Festen” [Eng. Title: The Celebration], is a fine example in Dogme 95, a film movement that I’m also gradually but surely warming up to…

Storyline:
A family gathers to celebrate the father’s sixtieth birthday. One family member is however missing for the first time, after her recent suicide. Her twin brother Christian has been entrusted with toasting to her memory by saying a few words, and he had come prepared with two sets of speeches – one written on a yellow piece of paper, and the other on green. He offers the choice to the father, and after he picks the green one, proceeds to read a speech that reveals a truth that’s nothing short of cataclysmic. So shocking was the revelation that the gathered family members refuse to believe it and pretend to take it as a joke. And this is where the drama begins – because Christian has his work cut out to get everyone to come to terms with it and acknowledge it openly. Only then will his burden ease, only then will he be able to pick up the pieces and move on…

What struck me after watching the film was its marvellous screenplay- a situation that would conventionally call for a melodrama is astonishingly shaped into a gripping thriller. As for the characterisation, it is so wholesome that we would get to know every family member as if we’ve known them for years, and this will not all be down to the script – it is thanks to some thoughtful cinematography and superb performances by the main cast. A film concept like this requires a lot of thought, observation, and reflection. It might sound a touch odd, but simplicity is one of the hardest things to achieve. This film may have its tiny imperfections, but it is still beautiful – and they only add to its charm. In the process it stirs up a beehive by holding a mirror to a society in denial. The family portrayed could be from anywhere – traditional or modern, wealthy or otherwise, and from any part of the ‘civilised’ world – we all do have our prejudices, ostrich syndromes, and superficiality, and this film reminds us of that. Needless to say, this is Highly Recommended Viewing..!

Amazon DVD Link (a good deal going here)


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Scenes from Alejandro Jodorowsky’s “Fando y Lis” [1968 Mexico]

Any worthwhile discussion about nudity in cinema is simply incomplete without mention of a certain Alejandro Jodorowsky, mystic guru of the absurd – with a capital ‘A’..!

About the great man:
It’ll be a challenge to keep this brief, but I shall try – born in Chile and established in Mexico, Sr. Jodorowsky has dabbled into pretty much anything one might call art or craft – be it puppetry, mime, illustration, painting, literature, or theatre, he’s dipped his brush and left lasting imprints on everything that had aroused his curiosity. Even if it was his cinema that opened him up to a worldwide (and devout) audience. Founder of the so-called ‘Panic’ movement (after the mythical Greek Pan) as a reaction to surrealism that was becoming in his words ‘petit bourgeois’, it aims to express itself in an uninhibited free form by using whatever motifs at disposal. Subsequently his works can either be seen as unadulterated genius in full flow, or an absurd exercise. The latter is also true, but the absurdity is methodical, like in a dream, like a trance, borne through knowledge and logic. But his work is anything but heavy – there are no profound truths to reveal that you may not already know, and contrary to what some believe, it is also not surrealism. Inquisitive, playful, and mischievous even – it is merely an unabashed expression through various motifs, sometimes symbolic. You don’t watch a Jodorowsky for its technical merits, but if you allow, it will take you on a trippy journey beyond all kinds of ‘isms’. Alejandro Jodorowsky is part of a special group of people I’d dearly love to have a chat with, but for now I’ll contend with discussing his films, starting with his first full-length feature, “Fando y Lis” [Eng. Title: Fando and Lis].

Storyline:
After the world as we know is bombed to rubble, Fando takes his paraplegic fiancée Lis on a journey to ‘Tar’, supposedly the only city to have survived unscathed – to cure her, and possibly start life afresh. But neither knows how to get there despite setting out enthusiastically on their journey. They meet different characters along the way, sometimes asking for direction, but none seems to know for sure. Where is this ‘Tar’ – is it really somewhere you need to travel to find? Is it actually a place or a state of being? Whatever the case, can they ever get there..?

About the film:
Based on a play by the same name and originally penned by his long-term associate, the equally great Fernando Arrabal (The Guernica Tree), Jodorowsky adapted it freely to infuse some of his own themes into his project – I won’t go into those details, you can gather all his thoughts in his revealing commentary that comes with the DVD. Personally, I can look at the film from two viewpoints – as a post-apocalyptic version of The Pilgrim’s Progress, or as a story about man and woman, inseparable – possibly an Adam and Eve trying to make sense of life after loosing innocence. Either way, it’s a mystical film with the odd bit of visual outrage thrown in. Though tame by today’s standards, the film’s festival premiere in Acapulco actually caused a furore with people out to lynch Jodorowsky – he escaped with his life that day. The eventual theatrical release also caused a riot. As an exercise in cinema, it is raw and uncultivated, but you’ll nevertheless see inspirations drawn from it in Fellini’s “Satyricon” (1969), Antonioni’s “Zabriskie Point” (1970), and even more recently in Medem’s “Lucía y el Sexo” (2001) – not too bad for a ‘crazy’ Latin American’s debut feature, don’t you think. As a post-surrealist response and symbolic allegory, as crude as it might be, it is an important film that expanded cinematic horizons, and for that reason, Highly Recommended Viewing..!

About the DVD:
Mine is from the Anchor Bay box-set. It comes with 4 DVDs (4 of his films and a feature-length documentary), and 2 audio sound track CDs. The problem is they needlessly have a Region 1 lock on it, but if you know how to work around it, great value for money.
Amazon Box-set Link


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Kristin Scott Thomas in “Un Été Inoubliable” [1994 Romania, France]

The sojourn into eastern European cinema continues with a film from renowned Romanian director Lucian Pintilie, the Franco-Romanian production, “Un Été Inoubliable” [Romanian Title: O Vara de Neuitat, English Title: An Unforgettable Summer].

Multifaceted Pintilie started making films in communist Romania, but moved to France in order to pursue his career until the 1989 Romanian Revolution. But even while in France, he often interpreted Romanian literature and its culture in his work. Noted for his stark yet lyrical depictions while examining themes relating to his region, its culture, politics, and conflicts, Pintilie, considered among the world’s leading film makers, had his career interrupted several times, mostly due to censorship from communist authorities. Having seen a handful of his films, I have begun to thoroughly enjoy discovering his filmography. Rest assured, we will be discussing more of his films here too.

About the film:
For those like me who are not well acquainted with eastern Europe in general, there are several informative nuggets in this film that will give a pretty good picture of the region’s recent history, and it also makes connections to tumultuous happenings in neighbouring Yugoslavia during the time of the film’s production. Pintilie himself admits to have been inspired by events next door to explore the screenplay from a balkanisation perspective – the symptoms and causes. He also establishes through subtle means his appreciation of communism as an inherently good idea badly executed by people. We even have brilliant satire of hypocrisy in high places, and widespread xenophobia getting in the way of realising a Greater Romania that they’re trying to create.

Storyline:
Petre Dumitriu, a respected Army captain, and his charming wife and mother of three Marie-Thérèse attend a ball organised in honour of the prince, who also happens to be the Army’s Chief of Staff. Marie-Thérèse has aristocratic roots too – she’s a niece of the royal family, and her father belonged to the Magyar (Hungarian) aristocracy, the fact her maternal relatives openly resent. After noticing the prince openly making advances on his wife (which Marie-Thérèse politely spurns), Petre is furious but helpless in standing up to a superior. He asks to be transferred to a different location, and the prince, out of spite assigns him to a garrison in a restive and godforsaken border outpost. While disappointed initially at the Spartan living conditions, Petre, Marie-Thérèse, their beautiful children, and their nanny decide to make the best out of a bad situation. The optimist in Marie-Thérèse almost succeeds against odds to establish themselves in the new environment by befriending local Bulgarians and keeping everyone’s spirits up. But when some soldiers are killed in an ambush by militants, the inept army headquarters must find a scapegoat, and the locals tending to Marie-Thérèse’s salad garden are targeted for extra-judicial execution, one that Petre objects to knowing pretty well he could loose his job, and he does. And there is someone always at hand to replace Petre, but despite this Marie-Thérèse tries to save her gardeners’ lives…

This is not a light film by any means – as engrossing as it was, it was also uneasy to watch, and in a way I was a bit relieved when it ended. The screenplay is very well structured, the art direction is magnificent, and the cinematography shines in places – notably the frantic opening scene which give us a horseback saddle-seated view. Well performed by all the main actors, British-born Kristin Scott Thomas sparkles as the stoic heroine Marie-Thérèse von Debretzy, a noble woman who tries in vain to stop bloodshed around her. Needless to say, this film is Highly Recommended Viewing..!

Amazon.fr DVD Link [PAL]




The Nudity: Beatha Fülop and Kristin Scott Thomas
Made from two scenes – the first is of Erji, a Hungarian (and communist) prostitute who moons at the prince and gathered crowd, and is promptly ordered to be ‘removed’. The funny part however is, for all their holier-than-though attitude, everyone seems to remember her by name, without even looking at the owner’s face! Feisty Erji is played by Beatha Fülop. The second is a famous nude scene of Marie-Thérèse bathing with her children in very little privacy, and soldiers moving about, some stopping by to stare. Petre himself finds it hard keeping his hands off his wife, but it appears not everyone is pleased to see them either. Marie-Thérèse is played by the BAFTA-winning, beautiful, and intelligent British-born actress Kristin Scott Thomas. Now that’s, a rose..! 😉

Beatha Fülop and Kristin Scott Thomas in Un Ete Inoubliable

Luciane Pintillie’s evocative historical drama, “Un Été Inoubliable” features some scenes of nudity, including a famous one by British-born actress of repute. Kristin Scott Thomas.

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Leonor Watling in “Lo Mejor de Eva” [2011 Spain]

I’m not very familiar with the work of Mariano Barroso, having seen only one of his films before this, and his latest thriller “Lo Mejor de Eva” [Eng. title: Dark Impulse], although stylish, is not quite in the same league as the earlier film (Éxtasis).

Storyline:
Eva is a dedicated and forthright prosecutor at a Madrid court, and her latest case relates to the murder of a stripper. While the suspect is in custody she is desperate for some hard evidence and witnesses, and the suspect – a powerful man, is intent on digging up some dirt from Eva’s past to force her to compromise her integrity. Enter Rocco, a gigolo and friend of the murdered girl, who offers to help in Eva’s prosecution. By a turn of events, Rocco gets much closer to Eva than anyone else could imagine, and it now appears he holds the key to unravelling Eva’s past…

While there are some strong performances from the lead actors – Leonor Watling as Eva, Miguel Ángel Silvestre as Rocco, and the talented Adriana Ugarte as Eva’s sister Marta, my biggest problem with this film is that it lacks credibility, with the screenplay being the main culprit. The cinematography is decent, but nothing special. On the whole, this is an average film that’ll struggle to stay in memory after the credits roll.


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