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Sadourni’s butterflies: Escaping the hermetic alienation
Dario Nardi’s film, Sadourni’s Butterflies is a story of desperation.It is a story of passion and betrayal. It is a story of a man who tries hard to escape the shackles of his physical appearance.
The film opens with a shot of a dwarf clown being taken in to prison. Right from that point, it leads the way to a dark and disturbing story. The film takes off with the dwarf Sadourni, played by Christian Medrano recounting his act of murder of his pregnant partner.
This Spanish film that pays homage to silent cinema flutters the silences of the mind with its shocking visual details. The film is shot in black and white, strengthening the timelessness and internal captivity of the characters. The eyes of the characters move the viewer to a tense and troubled position, more so because of failure of comprehension of the expressions.
Centred on Sadourni,who is released from prison, struggling in the holds of an estrangement from society and attempting to change his physical appearance to fit within the societal norms of acceptance, it is at most scenes, difficult to come in terms with the parallel narratives.The narratives drown in the astonishing visual depictions making the film difficult to grasp.
Sadourni on his release from prison meets Nora who is an alliance of his inmate at prison. The story of Nora and the inmate entwine in that of Sadourni’s only to reveal later the similarities of circumstances. He then goes on to being a porn dubbing artist where he meets Alexia who falls in love with the dwarf. The money from the job is important to Sadourni who remains trapped in the unceasing desire to ‘grow’ into a part of the society.
Even at the end of the movie, the role and intentions of the character named Dr.Simonki who seems to help Sadourni in his attempts at ‘elongating’ himself remain unclear. Apart from the strewn details, it seemed extremely difficult to make sense of the proceedings of the characters. The movie allows the viewer to delve into a hermetic dark world of confusion.
The film is intense and so are its characters Sadourni, Nora,Alexia and Dr.Simonki. Each of them coupled with the brilliant camera close up angles, did their parts extremely well in heightening the element of suspense throughout the film,only to fail in revealing the purpose of the unduly intensified anticipation. The film can be recounted in parts but difficult to put together as a whole.
By Wailana Rafeeq
Anthony Hopkins and Helen Mirren bring back memories of ‘Hitchcock’
Paying homage to the ‘poet of screens’ and ‘Master of suspense’ Hitchcock focuses solely on the period in the director’s life from 1959 through to 1960, during which he shot his classic film ‘Psycho’.
Director Sacha Gervasi’s biopic lets Anthony Hopkins and Helen Mirren take to center stage and narrate to the world the life of one of the most influential film makers of the 20th Century and his complicit relationship with his wife Alma Revile who happens to be his invigilator, confidante and the touchstone to his talent.
After Hitchcock beats his own record by making North by Northwest and enjoying his own success, he is at loose ends for a new project. He then encounters the ever controversial Robert Bloch’s Freudian shocker ‘Psycho’.
For every horror buff this film is an absolute delight, transporting the viewer back to the sets and scenes of Psycho. In the process we also get not a glimpse but a great revelation on how this great director worked his magic.
Besides the horror we also get a glimpse into the efforts of film making like the accurate portrayals of Janet Leigh (by Scarlett Johansson) and Vera Miles (by Jessica Biel), both abetted by impeccable wigs, along with Alma, Hitchcock’s wife, who was his unnoticed and back benched collaborator. She was also believed to create magic with screenplays and in the editing room.
Anthony Hopkins nails down the mannerisms and incongruous movements of the great filmmaker and despite being buried under a considerable amount of prosthetics, manages to do a splendid job. The icing on the cake however is Helen Mirren who gives the best performance in the movie and comes out of the shadows as the unsung hero.
The story may have its weak ends such as the overdose of prosthetics that interfere with Anthony Hopkins expressions and also the added possible love affair of Alma with Whitfield, one of Hitchcock’s past collaborators. At the end when Hitchcock and Alma bask in the glory of ‘Psycho’ and walk off into the sunset, the words of Alfred Hitchcock ring, “It’s only a movie”.
By Danielle Ferns
Don’t stop believin’: Everyman’s Journey
Sometimes all you need is a few hours with a film to get inspired and that’s exactly what Ramona S. Diaz‘s docufeature, Don’t stop believin’: Everyman’s Journey does.
The documentary revolves around the long and final search of Journey’s new lead singer after the legendary Steve Perry resigned in 1998 took five years make.
The film documents, Arnel Pineda, a young poverty stricken Pinoy from Manila, Philippines, and his journey from a boy who sang at funerals and street corners to support his family, to his success as a lead singer for the all American rock band “Journey” – all thanks to Youtube.
A positive vibe comes from the protagonist Arnel whose humble nature and down to earth character binds the whole film together. One does not need to be a die-hard Journey fan to enjoy this movie, because it doesn’t just speak to the fans of the band, but it speaks to the entire mass, enlightening them that, there is always hope if you just believe in yourself and your capability.
The film highlights the role of social media in today’s generation – just like Arnel, many other singers like Justin Bieber, Rebecca Black etc have attained fame via online broadcasting channel, YouTube. The documentary clearly states that, in the absence of social media, the band would have been unaware of the talent they discovered.
The film’s narrative is subjective, the script is well documented accompanied with the band’s classic tunes that are soothing be it if you’re a fan or not. The filmmakers were generous enough to pad the film with the brief history of Journey (pre-Pineda) and provide scenes from their older tours which showed how differently the band functioned before their “lucky” find.
If the film fails to make you reminiscence the band or covert you into a fan, it will leave you to ponder upon, how a nobody became a someone via a simple YouTube find or it may amaze you how a person who gained monumental success overnight, can still be so humble at heart – is it because of this quality, he is where he is today? I think so.
By Srijita Chattopadhyay
Recounting history with Hyde Park on Hudson
Politicians and their secrets always make for an interesting topic of discussion. But when it is treated as an anecdote rather than a scandal, the whole thing can turn out to be quite charming. And that, is what Hyde Park On Hudson aims to do.
This movie is a subtle exposé of a politician’s relationships from the point of view of his distant cousin and companion. The politician in question here is Franklin Delano Roosevelt (Bill Murray) and Hyde Park on Hudson is where it all takes place.
When Franklin’s domineering mother ( Elizabeth Wilson) decides he needs some fresh company to distract him from his bothersome sinusitis, the only person she can get hold of is Daisy (Laura Linney), Franklin’s 5th cousin who lives in the vicinity with her old aunt.
Completely unfitting of the royal world, Daisy is shy and awkward in the company of Franklin, whom she last met quite a few years back. Contrary to her notions, he turns out to be amicably human, happy in his own world of stamps, mid-afternoon cocktails and long drives.
What becomes of their first meet is an unspoken understanding, further developing into a close relationship of more than just distant cousins. While the president takes delight in Daisy’s company, she in turn enjoys this as the pleasant escape she always longed for from her dreary life.
Based on the hidden diaries and letters of Daisy, a storyline is created out of what she discovers of her relationship and how it changes her life of solitude.
Simultaneously, the movie also gives account of the British monarch’s first visit to America. The visit turns out to be a humorous one where while the president’s mother persistently aims for perfection, the president himself is all too cavalier.
Baffled by American culture, especially their love for hot dogs, Elizabeth (Olivia Colman) and Bertie (Samuel West) are a couple to love. While she is frank and uptight, he with his prominent stammer is adorably passive.
The story does not demand much of the cast. However, Olivia Williams’ small but significant part as the first lady does manage to stand out and Bill Murray fans can look forward to enjoying his established talent. The movie also stars Elizabeth Marvel as Missy, President Roosevelt’s private secretary.
Although refreshing in terms of the cinematography, the movie is not consistent in keeping the audience engaged. It has its dull moments but the British monarchs and Bill Murray manage to perk up the mood with their wry humor. There is nothing to take back from this movie, it’s a one time watch for when there is nothing else to do.
By Prathima A Narayan
Amour – A story to love
Love is an overused concept, no doubt. Yet, it still has the scope to surprise you, especially when it is communicated through a winning French film like Amour.
Amour which means love in French is the story of the surviving love between an old couple – Georges and Anne. As retired music teachers, they live life in quiet bliss, more than content in the solitude of each other’s company.
When Anne suffers a stroke, Georges takes it on himself to look after her. As her condition worsens with a second stroke and life becomes increasingly difficult for both, the old man’s patience is put to the test. He promises to never send Anne to a hospice but how long will he be able to watch her suffer?
Amour is about the human tendency to slip every once in a while. It is about allowing yourself and your lover to feel intolerant sometimes and then be honest about that feeling. The movie is human; there is no unnecessary melodrama of a reckless romantic.
Yes, there are sweet moments that show their true compassion and affection for one another. But what’s impressive is that they are not overly sentimental. They leave you with a smile and you begin to like and respect the old couple, as they are.
The movie does not allow you to take sides. You recognize the perspective of the once independent woman having to grudgingly admit she needs help. And then there is the husband, who has to listen to his daughter’s badgering, neighbor’s sympathies and whose concern often goes unacknowledged. They both know that death is imminent, but it is never allowed to overshadow the element of love.
The movie is painfully slow. But it seems like director Micheal Haneke has a purpose in it being like that – to experience the struggle of living a life that slow and be completely helpless about it. You are made to realize every moment spent in introspection and every step taken in silent acceptance. Once you understand this, you develop patience, something the old couple is already an expert in. Despite the pace, the movie does not fail to shock you, more than once.
The script is simple with a few striking dialogues. Actors Jean-Louis Trintignant and Emmanuelle Riva are both seasoned actors and deliver outstanding performances as Georges and Anne; they are natural in their happiness and in their sorrow.
Amour is a love story, but it is different because it is told differently. I think the director meant for us to feel a little exasperated, a little intense and overall moved but in a non-romantic way. There are some things in the movie you agree with and some you don’t but you cannot deny that all of it is real.
Amour won the Palme D’or at the 2012 Cannes Film Festival. It has also been selected as the Austrian entry for the Best Foreign Language Film at the 85th Academy Awards.
Recently the movie won the title of Best Picture at the Los Angeles Film Critics Association awards. It was also nominated in six categories at the 25th European Film Awards, where it won in four – Best Film, Best Director, Best Actor and Best Actress.
By Prathima A Narayan
Ahluwalia shows the raw, bold and flashy side of Bombay’s film business in his film ‘Miss Lovely’
Mumbai is India’s city of dreams. Every day, hundreds of people pour into the city, desperate to make it big, especially in the so called glamorous world of Bollywood. But among those hundreds, plenty get side tracked and eventually all they want is simply to survive.
Miss Lovely is about the parallel world of Indian cinema wherein the porn industry sadly but successfully thrives. Set in the mid 1980s, the movie is raw, bold and flashy, true to the attributes of the era and well representing of the theme of the film.
The movie focuses on two brothers, Sonu and Vicky where the latter is more dominating of the two. Vicky’s twisted talent lies in directing sex horror films. He takes utmost joy in exciting his lewd audience and his sick passion for the industry allows him to do anything for it to survive.
We see the movie from the perspective of Sonu, the lead character and reluctant sidekick of his director brother. He constantly disapproves of his brother’s ways and although he would like to get out of this racket, even he knows he is already in too deep.
Enter Pinky, a naive low grade actress, eager to become a leading Bollywood heroine. When Sonu meets Pinky, the movie begins to take shape. Hope is born of delusional dreams and Pandora’s Box is opened to reveal a melting pot of love, envy, betrayal and lust.
Ashim Ahluwalia’s Miss Lovely divulges how the thin line between reality and fiction is completely non-existent in the porn industry. It is not just an unpleasant side of life, it is an epidemic on the rampage, ruthlessly swallowing the sanity and sanctity of society. As much as the characters think and feel in control, Sonu, Vicky and Pinky are nothing but victims of their own greed, heading towards destruction.
Nawazuddin Siddiqui has been in the spotlight for his notable roles in movies likeKahaani, Gangs of Wasseypur and more recently Talaash. Miss Lovely is his first movie where he plays the lead role and his performance is more than convincing, it is gut wrenching and captivating. Sonu is clearly the star of the movie.
Anil George plays his perverse brother and along with Siddiqui, the duo hit the spot when it comes to showcasing Indian cinema’s much loved concept of deceit between brothers. Their contempt for each other is not a bubbling volcano of drama; it is an underlying current that silently tugs them farther apart from each other than they already are.
Former Miss India Earth, Niharika Singh is appreciable as Pinky but fails to create a memorable impact. Zeena Bhatia on the other hand is commendable in her role as the raunchy pornstar.
Miss Lovely is a daring insight into the crudeness of the sex film industry. Be it the title or the costumes, the locations or the background scores, every aspect of the movie is authentic to the tee. We see vintage Indian cinematic art, thanks to the director who shot the whole movie on film, giving it a grainy old school appearance.
The movie succeeds in transporting you to a Mumbai that is not evident to the common eye. It walks you directly through the front door of the truth, exposing all the ugly details of this audacious industry. Be prepared for an absolutely uncensored ride.
By Prathima A Narayan
You can catch this film at MOE11 on Sat, 15 Dec 2012, 11:30 AM
Shutter: Unbiased, enjoyable and memorable contribution to Malayalam cinema
Who said a film screened at a film festival can’t be entertaining? With Shutter, director and scriptwriter Joy Mathew has proved that a good film doesn’t have to fall in the category of ‘commercial’ or ‘art’ films – categories that have become too deep-rooted in our society today.
The movie focuses on the events of the life of Rasheed, Suran, Thankam and Manoharan in Kozhikode, Kerala over two days. There are several twists and each character has a surprising role to play in the climax.
What I appreciate most about this film is the unadulterated honesty with which it presents life in a town in Kerala. The characters Joy Mathew built are not exaggerated or fanciful. They are characters you can expect to meet when you visit Kerala.
Lal Jose delivers a stellar performance as Rasheed, an NRK (Non Resident Keralite) who is home on holiday. Sajitha Madathil’s performance as Thankam, a sex worker, was realistic, and riveting. The absence of gaudy clothes and raunchy body language from her portrayal of a prostitute is refreshingly humane as well as true to life. Vinay Forrt as the auto rickshaw driver Suran is also well approached. One cannot expect anything less than a wonderful performance by Srinivasan, who played the role of Manoharan, a struggling film director.
Every good review is supposed to talk about the theme of the movie. But here Joy Mathew has left me in a lurch. Is the theme friendship? Rasheed’s ‘videshi’ money and alcohol have got him friends but he knows that he can’t trust any of them. But Thankam, who belongs to a marginalised section of the society which people generally mistrust, has friends she can rely on. So does Rasheed’s daughter Naila, whose friends he initially mistrusts.
Is the theme the changing cultural environment of Kerala, where privacy is an alien concept and people care nothing for meaningful relationships? Or is it about how Rasheed, a controlling and opinionated man, breaks down when he loses control over everything and becomes a powerless audience to life around him? Maybe the theme is a man’s realisation of how his home, friends and society operate when he is away in Dubai. Or him appreciating how important our family is, even though we take them for granted.
There’s a lot to take back from this movie.
The camera angles were interesting, and unique, while the cinematography made me yearn to go back home to Kerala. The film could have been confusing with the multiple narratives running through it, but Mathew has succeeded in keeping it easy to follow while keeping the audience alert. Ironically, the flash forwards heighten the suspense.
The two parallel stories in the movie – of the director and of Rasheed – intersect with interesting results. The link between all the characters and their stories is Suran, the auto driver. The film is the result of a careful study of characters, situations and culture. It is an authentic portrait of life in Kerala. Kudos to the director and cast for creating an unbiased, enjoyable and memorable contribution to Malayalam cinema.
By Georgina E. Paul
Round Trip: Defying the conventions of romance, but still romantic
Round Trip is a story of many journeys – of a train journey, of a relationship, and of two individuals. Directed and written by Meyar Al Roumi and starring Ammar Haj Ahmed and Alexandra Kahwagi in the leading roles, the movie surprised me. But it was a surprise I thoroughly enjoyed.
The movie opens with shots of the city that represent a contrast between stillness and movement. It’s easy to connect these with the two main characters, Suhair and Walid.
Suhair is a free-spirited girl, and her presence always fills the screen. Her vivaciousness cannot be contained in the small space Omar’s taxi offered. But beneath all this, we later find a scared, unhappy young woman.
In contrast to this, Walid is a man of few words. His passivity is apparent from the start. He is quite content with their oft-interrupted intimacy in his taxi. At times, he even seems quite disinterested.
We don’t know for how long they have been in love. But we do know that they don’t really know each other that well. Their relationship seems more driven by something between passion and lust. When they find out more about each other on the train, they seem surprised. They are also on a journey of self-discovery and evolution. Away from the confines of the city they always knew, they open up more to each other and ultimately to themselves as well.
The majestic landscapes are mute witnesses to their journey. The deserts seem to represent the emptiness in Suhair’s and Walid’s lives. After they have satisfied their physical longing for each other, there seems to be a void.
The movie is reminiscent of Italian movies of the 60s. Lighting is bright – their love and intimacy is not hidden in shadows as it so often is in movies. Their passion is celebrated, but there is no melodrama. Everything is subtle. Even a look, a movement could mean a lot, but the actors have delivered average performances. There was a lot of potential in the roles that both the actors failed to reach up to.
Meyar has beautifully contained the life of a relationship is into a train journey. The constant movement – both forward and backward – captures the evolution of the characters. But there is a lot more to this movie. It’s one of those movies I can watch over and over again, and keep discovering something new.
By Georgina E. Paul
Film Review #3
Töte mich (Kill Me) – “A relationship with death, without fear”
Still from the film, Kill me
15 year old Adele is lonely, depressed and unafraid. She is suicidal.
Timo is a murderer. He has escaped from prison and now he must escape from the country to acquire freedom.
Their journey together begins when Adele finds Timo hiding in her house. She agrees to help him escape but only on one condition, he must kill her. Töte Mich captures this journey between a murderer and a suicidal teenager, both on a quest to escape their present life, in their own way.
During the course of the movie, the story reveals little truths and secrets, giving shape to the characters, their intentions and motives. An unlikely relationship forms between the two people who are otherwise distrusting of anybody, maybe even themselves.
The charm of the movie lies in the fact that it emanates a mood contrary to intensity of the characters. In the words of the director, Emily Atef, even though there is a longing for death, the movie is not melodramatic at all.
It is a pleasant adventure where the audience travels with the duo all the way from Germany to the border of France. Despite the low budget of the film, the director manages to showcase some brilliant landscapes complemented with natural lighting, all of which add to the beauty of this movie. “I wanted the landscapes to be one of the characters,” says Emily and she succeeded in doing so.
The dialogues, which are in German and French, are kept to a minimal. Considering the personality of the two individuals, this accentuates the message and inspiration of the movie – “If you’re not afraid, then nothing happens.”
In fact, Emily says had she more time, she would have liked even lesser dialogues. The script took her and her co-writer 6 years to complete.
Töte Mich is actress Maria Dragus’ first time playing a lead role. Apart from the challenge of having to cut her waist long hair, she says she also put herself through a period of isolation for 3 months to understand Adele’s depression. Roeland Weisnekker plays the role of Timo. He manages to surprise the audience with his simplistic performance.
Whether Timo keeps his word to kill Adele or not, one can only watch to find out. But the movie is about more than that. It is a unique depiction of two characters outside their stereotypical images. This movie is recommended to anyone who is willing to watch with an open mind.
Emily Atef and Maria Dragus were present at the first screening of the movie on Monday, 10th December 2012 at MOE. The quotes and attributions used in this article are sourced from the Q&A session that took place following the screening.
Tote Mich (Kill Me) is also showing on Wednesday, 12th December 2012 at MOE.
By Prathima A Narayan
Film Review #2
Bekas – A Story of Resilience and Hope
Bekas is a film that takes you back to your childhood. It is a film that makes you appreciate the little things in life. It is a film that makes you realize that the journey is far greater than the destination.
- Still from the film, Bekas (Left to Right) Sarwar Fazil (Dana) and Zamand Taha (Zana)
The film is set in the year 1990, in war-torn Iraq, and revolves around two young Kurdish brothers, Dana (Fazil) and Zana (Taha), who have been orphaned in Saddam Hussein’s brutality. After catching a glimpse of the movie Superman in a theatre, the duo decide to set off to America to meet the superhero. It is this journey that brings the two brothers closer and truly strengthens the bond and love they have for each other.
The subject of childish innocence is often considered adorable and sweet, but Bekas manages to enhance this view that the audience and uses the subject to captivate. Whether or not the boys reach their destination, it is their perseverance and persistence that makes you admire the film and the protagonists.
Both Fazil and Taha have delivered stellar performances and portrayed convincing characters, despite their lack of acting experience. What impressed me the most was the climax, that showed an incredible and previously unseen maturity amidst a string of innocent and childish incidents in the film.
Director, Karzan Kader has created a masterpiece in not only Kurdish, but international cinema as well. He has taken a setting which is not only historically relevant, but has also been shown from a unique point of view. It is rare to find a film that moves and captivates so effectively. Our team strongly recommends this one to all film goers.
You can catch the next screening at MOE 7 on Sat, 15 Dec 2012, 06:45 PM (Note that this screening is on standby.)
By Lavanya Narayan
Film Review #1
The Life of Pi – Which Story do you prefer?
Synopsis
A young man who survives a disaster at sea and is hurtled into an epic journey of adventure and discovery. While cast away, he forms an amazing and unexpected connection with another survivor…a fearsome Bengal tiger.
My Thoughts
I must confess, I loved the book when it came out 10 years ago. It was a challenge to follow it through completely, nevertheless the book at the time won several accolades for it’s brilliant narrative, visual poetry and it touched upon a very interesting aspect on telling a story, the way we choose to envision it. So when the movie version was announced I was hoping to get a visual treat, and in the end I wasn’t disappointed with what director, Ang Lee intended to show with “Life of Pi”.
Lee even added that it was the most difficult movie he ever made from a cinematic context. His work paid off and from what I gather it’s considered to be the 3rd best film of this year.
Film Critic Roger Ebert even described the film to be a “miraculous achievement of storytelling and a landmark of visual mastery”
That being said it’s not a film without its flaws but I’ll get there soon enough.
The movie shot mostly at sea, in jaw dropping 3D does well to give you some faith in digital cinema. My fear was that it would have made it lackluster and even not allow me to enjoy the vibrant visuals to it’s complete potential. However, once the movie began, and the opening cuts of the animals at the Pondicherry Zoo were shown in the 3D format, you cannot help but admire the level of detail that goes into this film and it doesn’t detract from the viewing experience at all, if anything you must watch it the way it was intended to be shown.
The narrative, done quite brilliantly by Irfan Khan as he narrates his tale to a writer as he often flashes backs to his childhood, with Ayush Tandon playing the role of Piscine as a young boy. In the latest flashback we see a teenage Pi played wonderfully by newcomer,Suraj Sharma, narrating his circumstances as he tries to maintain his sanity and maintain his life while juggling it with an animal that’s so humanly named Richard Parker. While he’s pretty much CGI in the film, the animation done on the animal is near convincing.
Other characters include, Pi’s parents played by Tabu and Adil Hussain respectively as mother and father. Ravi, his brother and minor characters such as the cook played byGérard Depardieu.
India has its limelight here with scenes coming from Pondicherry and Munnar ( Kerala), it’s a stark polarizing image we last saw of India in mainstream cinema (Slumdog Millionaire). The Jungle Book meets castaway story line can prove to be a drag for the 2 hours 6 minutes it runs for but the visuals do try and hold the weight for the film, while some may not agree with it’s varying themes on spirituality and symbolism that is in the film, it doesn’t try to leave the viewer open ended to the true themes of the book.
Does it do justice to the Martel’s best selling novel ? Visually yes, story wise, not as much as I’d like to think so. While Ang Lee tried to stay best to the story’s true nature , there are clear cut differences that aren’t shown in the film. What brings this on is the film’s PG rating. There are plenty of instances in the book that aren’t for the fainthearted but the movie steers the audience clear from those themes. Then again that wasn’t Lee’s intention to completely adapt to the novel and that in retrospect is alright.
Life of Pi is an amazing eye opening experience that you have to watch this year. It will also dangerously veer you away from the true nature of the story but watch it even if you haven’t read the book and you’ll still admire at nature’s beauty amidst her wrath.
As Pi finally asks the writer, “Which story do you prefer?” You will want to watch and savor another taste of Pi and see what story you prefer yourself.
Catch the screening of “Life of Pi” at Dubai International Film Festival:
MOE 3
Sat, 15 Dec 2012, 03:45 PM
By Kevin Sebastian
#DIFF12 (December 9 - 16) 