The Festival du nouveau cinéma has nabbed Alfonso Cuaron’s new film Roma. Roma won the Golden Lion at the Venice Film Festival and was also shown to great acclaim at the Telluride Film Festival and Toronto International Film Festival.
According to an email from FNC “the film follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.”
Roma will be shown on Sunday, Oct. 14, 2018, at 6 p.m. at the Imperial Cinema, 1430 Bleury, Montréal, QC H3A 2J1
Roma will be available in theatres and on Netflix in December. But why not see it this month? And of course, a theatre would be the best place to see it.
Black comedy, dark comedy, parody, spoof, all those words are suitable to describe the Iranian film Pig (Khook).
I don’t know how a script that includes murders, adultery and dancing was approved by Iranian censors, but it was, and I enjoyed it a lot. Check it out for laugh and surprises!
Acclaimed actress Leila Hatami gets to show her lighter side. You can read my review here.
Directed and written by Mani Haghighi
Cast: Hasan Majuni; Leila Hatami; Leili Rashidi; Parinaz Izadyar; Mina Jafarzadeh; Aynaz Azarhoosh; Ali Bagheri; Siamak Ansari; Ali Mosaffa
Language: Farsi with English subtitles
Length: 107 minutes
You can see Pig on Tuesday, Oct 9, 2018, at 9:30 p.m. at Cinémathèque Québécoise (355 de Maisonneuve E.) as part of the Festival du nouveau cinéma.
A Taxi Driver is the closing film of the 2017 edition of the Fantasia International Film Festival. It’s a dramatization of chilling, real-life events from South Korea’s tumultuous history.
In May of 1980, Jurgen Hinzpeter, a German reporter, stationed in Tokyo, hears rumours about government violence against citizens in Gwangju South Korea. News is not getting out because phone lines have been cut and roads into and out of the city are blocked. The country is under martial law; many schools are closed and news reports are censored.
Hinzpeter (played by Thomas Kretschmann) flies to Seoul and hires a taxi driver named Mr. Kim (Song Kang-ho) to drive the 300 km to Gwangju. (In those days, the city’s named was rendered as Kwangju in English.) With advice form local farmers, the two men manage to bypass the barricades and enter the city using tiny back roads.
Once in the city they see a real spirit of solidarity among the citizens, who are hungry for democracy and an end to military rule. Then they see soldiers shooting the protestors, young and old, along with people who try to help the wounded. They capture these events on film while trying to avoid arrest, injuries or their own deaths.
The film’s only screening, today, Wednesday, Aug. 2, 2017, is sold out, but if you are among the lucky people who have a ticket, here are some links to recent articles and ones written at the time, that will give you some background information to the events depicted in the film.
An article in today’s New York Times says: “With the Korean news media muzzled by martial law, only the handful of foreign correspondents present could publish reports on what was happening in Gwangju. . .Mr. Hinzpeter was one of the few foreign correspondents to document the carnage, and his footage was seen around the globe.”
“Mr. Hinzpeter, who died last year at 78, has long been celebrated in South Korea for his part in exposing Mr. Chun’s atrocities. A memorial to the journalist stands in Gwangju. . . Behind a hospital, ‘relatives and friends showed me their loved ones, opening many of the coffins that had been placed in rows,’ Mr. Hinzpeter wrote. ‘Never in my life, even filming in Vietnam, had I seen anything like this.’ “
This article from The Hankyoreh calls the massacre Korea’s Tiananmen, referring to the 1989 massacre of students in Beijing, China. Lee Gang-jun lost his twin brother Lee Gang-su. “When he asked a forensic pathologist to determine the cause of death in 1997, just before the body was moved from a cemetery in Gwangju’s Mangwol neighborhood to the May 18th National Cemetery, it was because he wanted the truth to come out. ‘My brother’s skull was caved in, and even the specialists couldn’t figure out what the marks were caused by,’ (Lee) said. Gang-jun believes that his brother died during torture at the Sangmudae military base. After his death, soldiers shot him to create the impression that he died from a bullet would instead of complications suffered during torture.”
This article from ThoughtCo. says “Troops shot dead twenty girls at Gwangju’s Central High School. Ambulance and cab drivers who tried to take the wounded to hospitals were shot. One hundred students who sheltered in the Catholic Center were slaughtered. Captured high school and university students had their hands tied behind them with barbed wire; many were then summarily executed.”
An article in The Korea Observer includes quotes from Na Byung-un, who was there in Gwangju. “In those days, South Korea’s GDP per capita was just under $4,000 per person, or less than one-sixth than that of the United States, according to World Bank data. As a country with few natural resources recovered from Japanese colonization, it struggled to find its footing politically, economically, and socially. This was especially true in Gwangju, a city nestled in the one of the poorest regions of South Korea, agricultural South Jeolla Province. ‘People were very, very poor, and they led miserable lives.’ Na recalls. ‘They didn’t even have one dollar.’ “
“According to Na, there was a rumor that those who criticized the government would be kidnapped and murdered in secret. . . .Na recounts, “People had been uprising and protesting against dictatorship continuously under Park Chung-hee and Chun Doo-hwan. They put innocent people into prison and oppressed the masses by force of arms. So people all rose up. . . All Gwangju citizens were involved in the protests, because all of us were together as one. Everyone thought we had to stand against injustice,’ says Na. ‘Even the police were on our side. They changed into normal clothes at night and joined us.’ “
Tim Shorrock of The Nation has reported extensively on Korea. In this article he says that the Korean troops who injured and killed civilians were “sent with the approval of the U.S. commander of the US-Korea Joint Command, Gen. John Wickham.”
“That decision, made at the highest levels of the US government, forever stained the relationship between the United States and the South. For the people of Gwangju, many of whom believed that the US military would side with the forces of democracy, it was a deep betrayal that they’ve never forgotten. And once the rest of Korea knew the truth about the rebellion and understood that the United States had helped throttle it, anti-American sentiment spread like wildfire.”
(U.S. president Jimmy) “Carter decided that the Gwangju uprising—despite the US knowledge that it had been sparked by the slaughter of unarmed civilian protesters—had to be crushed militarily. Five days after the meeting, South Korea’s crack 9th Army Division rolled into the city and killed the remaining rebels holed up in the provincial capital building.”
Shorrock’s article contains links to many, many others.
A Taxi Driver is distributed by Well Go USA. Perhaps it will return to Montreal for a general run in the future.
Montreal’s Fantasia International Film Festival showed Nacho Vigalondo’s quirky first feature film Timecrimes (Cronocrimenes) way back in 2008, so it’s highly appropriate that the festival show Colossal.
Though most of Colossal is set in the U.S. (actually, British Columbia, for the small town parts) there is also a giant monster attacking Seoul, South Korea. So it REALLY fits in the Fantasia lineup.
In fact, it’s so appropriate, that when I first heard about Colossal, I thought that it might have its premiere at Fantasia. But, no, it was released months ago.
Anne Hathaway, Jason Sudeikis, and Dan Stevens are among the stars.
It will be shown on a terrace behind the Hall Building, at 1445 de Maisonneuve West. Enter by Mackay St.
The French film Django presents the life of renowned jazz guitarist Django Reinhardt during the last years of World War II in Occupied France. The music is wonderful, but the plot is disappointing. It features a fictional, generic, femme fatale while all but ignoring Dietrich Schulz-Koehn, a real-life Luftwaffe officer who loved the very music that the Nazis criticized as degenerate. Schulz-Koehn wrote about jazz and even supervised recording sessions under the name Dr. Jazz. More than once he helped Reinhardt and other musicians get out of trouble. Wouldn’t you want to know more about such a conundrum? (Director Stanley Kubrick had hoped to make a film about Schulz-Koehn. The Atlantic wrote an article about that.)
Many German officers attend jazz concerts in Paris, despite that degenerate label. (Signs warn that they’d better not try any dancing, though.) Django (played by Reda Kateb) does not mind playing for Nazis. Music is all he knows and he has to make a living, after all. He also declares “It’s not my war.” On the other hand, he’s in no rush to leave the familiarity of France for an extensive tour of Germany, and the idea of playing for Minister of Propaganda Joseph Goebbels and other bigwigs holds no appeal at all, especially since solos, syncopation, quick tempos and other musical flourishes are strictly controlled, when not banned altogether. (Does that fall under the “banality of evil?”)
Django’s manager reminds Django and his bandmates that saying “No” to the Germans is a very dangerous thing to do. The fictional femme fatale, Louise de Klerk (Cécile de France) points out that travelling into the heart of Nazi darkness would also be dangerous. There’s no happy solution to this problem.
After a certain amount of dithering in Paris, Django and his entourage head for the border in hopes of crossing into neutral Switzerland. It’s a closely watched border, though, so they must wait (and wait and wait) while hoping that members of the Resistance will deign to help them eventually. The film pretty much grinds to a halt at this point. Django plays in local bars to earn some food money, sometimes hiding his face under a hat, sometimes not. It seems extremely foolhardy considering his fame and unique style.
(SPOILER!) In one laughably silly scene Django is being chased by tracking dogs, so he lies down in the snow and sprinkles a few handfuls of the white stuff on top of himself. Somehow, I don’t think that would fool the dogs at all.
As many viewers will already know, Django did indeed survive the war, but as far as I can tell, the film fudges his escape attempt. The implication is that he made it into Switzerland and presumably stayed there until the war was over, but in fact, the Swiss border guards would not let him in.
What I did not know before seeing this film: Django Reinhardt could also play huge honking church organs and compose for them, too.
Things I learned later from Google: Django Reinhardt was touring England with his Quintette du Hot-Club de France when England declared war on Germany on Sept. 3, 1939. Django returned to France immediately, but the Quintette’s violinist, Stéphane Grappelli, stayed in England until the war was over.
In regard to spending the war in France, Django said: “It is better to be frightened in your own country than in another one.”
In France during the war you could trade a Django Reinhardt record for two kg of butter on the black market. Django Reinhardt died May 16, 1953 at the relatively young age of 43.
Django is 115 minutes long
Director: Étienne Comar.
Screenplay: Étienne Comar and Alexis Salatko, based on the novel Folles de Django by Alexis Salatko.
With: Reda Kateb, Cécile de France, Beata Balya, BimBam Merstein, Gabriel Mirété, Vincent Frade, Johnny Montreuil, Raphaël Dever, Patrick Mille, Xavier Beauvois (In French, German, English, Romani dialogue)
Music by the Rosenberg Trio.
In Montreal, Django is playing, with English subtitles, at the Quartier Latin Cinema, 350 rue Emery, H2X 1J1.
Django Reinhardt’s music, as performed by Nomad O Swing, Eclectic Django and Denis Chang, can often by heard at Montreal Jazz Bar Diese Onze, 4115-A, rue St. Denis, H2W 2M7.
In the summer of 2013, Montreal’s Fantasia Film Festival showed an Indian action film called Commando. Fantasia fans loved it. (Me, too!)
The headline for my Montreal Gazette blog post was handed to me on a silver platter when I heard a (female) audience member exclaim “That’s the sexiest man I’ve seen in my life!” She was referring to the star of Commando, Vidyut Jammwal.
Jammwal plays a super-skilled, extremely fit Indian soldier who is captured and brutally tortured by another state, in some faraway outpost. Of course, he escapes his tormentors. I wrote that his “skills include, but are certainly not limited to: punching, kicking, stabbing, setting traps, swinging on vines, running up walls (or people) leaping off rooftops, cliffs and bridges, over cars or through the windows of their open doors, etc., etc.”
“He gives good glare, where the bad guys are concerned, but is also ready with great smouldering looks, when the heroine (Pooja Chopra) needs one. Multi-talented!”
The film’s subhead “A One Man Army,” was an understatement, if anything.
If ever a film was crying out for a sequel, it was Commando. And now. . .it’s almost here! Commando 2: The Black Money Trail,opens in Montreal (and many other places, I’m sure!) on Friday, March 3, 2017. Whoohoo! The film is about money-laundering on a massive scale, along with a double kidnapping in Malaysia.
Take a look at the exceptional action choreography in the trailer below. (More than 16 MILLION people have already watched it since January 23, 2017!) The action is even more impressive than what we saw in the first film. The leaps, spins, the tumbles! Good grief! How does Jammwal slip through that tiny window? He has been studying Kalaripayattu, a martial art from the Indian state of Kerala since he was three years old. That probably helps!
In an interview with the Hindustan Times, Jammwal said “Commando 2 will be the biggest action film in recent times.” “We created a new genre of action, where no cables and wires were used. It will be a visual spectacle.” I believe it! I’m also thinking, maybe it’s time to redefine the concept of a “chick flick.” We don’t necessarily need female bonding, singalongs, weddings, alcohol, flowers, fancy food or clothes, you know?
I usually avoid opening weekends, because the films often sell out and audiences can be too unruly, but in this instance. . .I don’t think I’ll have the patience to wait five whole days until (my unofficial name for it) “Cheapo Tuesday.”
Commando 2: The Black Money Trail, written by Ritesh Shah, directed by Deven Bhojani, starring Vidyut Jammwal, Adah Sharma, Freddy Daruwala, Thakur Anoop Singh, Esha Gupta, Adil Hussain, Suhail Nayyar.
We can rely on Cinema Politica to bring us interesting documentaries throughout the school year. Tonight’s selection is Regarding Susan Sontag. Sontag was once one of the more visible intellectuals in the U.S.
I haven’t seen the film, but I certainly want to, based on several very enthusiastic reviews that I found. How often is a documentary film reviewed by newspapers, and Vogue and The Economist? Interesting company!
Nathan Heller in Vogue: “She saw writing as a personal act that bore global responsibility. ‘I didn’t feel that I was expressing myself,’ she’s quoted as saying in Regarding Susan Sontag. . . ‘I felt that I was taking part in a noble activity.’ ”
In Vancouver’s Georgia Straight, Ken Eisner writes:
“this (film) should be seen by anyone with an interest in language and history.”
He also says that it “looks at how the great essayist (and not-so-great novelist) was viewed before the role of public intellectual became obsolete.”
But, but. . . don’t we still need “public intellectuals?” What do you think? On with info about the film.
Robert Lloyd In The Los Angeles Times: “Sontag’s best writing gives one permission to see things in a new way — or makes it impossible to continue to see them in the old one.” “Among American intellectuals, she was the rare rock star, and though her work stands on its own with allowance made for any writer’s ups and downs, her personal magnetism is very much part of the story; she was a thinking person’s pinup, friendly and formidable, impish and intense, bright-eyed, wide-smiled, with a head of hair that amounted almost to a signature.”
J. Bryan Lowder in Slate: “Ten years after her death, Sontag’s supreme writerly confidence remains both an inspiration and a terror to would-be critics and public intellectuals, and for good reason—she was the embodiment of a certain school of serious, morally committed, iconoclastic, and often deliciously haughty 20th-century criticism.” “. . .what this film provides, is an honest introduction to the person—in this case, a person who comprised qualities both deeply admirable and terribly off-putting in equal measure. Watching Regarding Susan Sontag, I felt awash in that person, carried aloft on the waves of her exquisite curiosities and pulled by the undertow of her messy personal life, suspended in the trough between the figure she wanted to be and the human being she was. . . I thoroughly enjoyed Kates’ attempt to do justice to that package—the whole package—sex, uncertainty, hubris, and brilliance, all mixed up together.”
BTW: Lowder’s review reveals that there is such a things as a master’s degree in criticism. Go ahead, call me naive, but I had no idea! Learn something everyday!
More details about this screening and Cinema Politica can be found on the Cinema Politica web site. According to the web site the “screening will be followed by a Skype Q&A with director Nancy Kates. Venue is wheelchair accessible.”
REGARDING SUSAN SONTAG, directed by Nancy Kates, / United States / 2014 / 100 ‘ / in English
Monday, March 30, 7 p.m.
1455 de Maisonneuve Blvd., W., H-110
Admission: Pay what you can – $5 to $10 are suggested amounts.