swinton

La Tarea.

Incredible film. I love it. I think Hermosillo should try something similar without the time limitations of film, he can easily shoot it digitally now. 

swinton:

JUNE 2012

My theme this month was LUIS BUÑUEL FILMS, meaning I tried to watch as many of them as I could. In total, I watched 11 Buñuel Films.

TOTAL WATCHED: 27 films - including 12 television episodes

The Passion of Berenice, The Legend of Korra (Season 1), Solaris, The Maltese Falcon, Hedwig and the Angry Inch, Belle de Jour, Magnolia, 2001: A Space Odyssey, Dead Calm, The Silence of the Lambs, Moon, The House of Sand, Viridiana, Amélie, The Milky Way, L’Âge D’or, Camelia, The Young One, Snow White and the Huntsman, The Avengers, Prometheus, The Adventures Of Robinson Crusoe, The Great Madcap, Land Without Bread, The Criminal Life of Archibaldo de la Cruz, The Brute, Diary of a Chambermaid, 

TOTAL FILMS 2012: 189 films (51.78% of total)

TOP 5 FILMS

1. THE PASSION OF BERENICE

2. 2001: A SPACE ODYSSEY

3. DIARY OF A CHAMBERMAID

4. THE ADVENTURES OF ROBINSON CRUSOE

5. THE YOUNG ONE

RUNNER UPS

EL BRUTO

VIRIDIANA

HEDWIG AND THE ANGRY INCH

1. THE PASSION OF BERENICE

A great example of Mexican film during Echeverria’s presidential term. The national film industry had been in decline since the mid to late fifties, and had reached its nadir in the sixties. It wasn’t until 1970, when Echeverria came into power, that the national film industry had a mini-renaissance. Echeverria understood that the arts, and particularly film were instrumental in diffusing a good national image. Thus, film received state support. In 1976, at the end of his presidential sexennium, the film industry was once-again allowed to decline. The 60s and 80s are usually considered the worst years in the national film industry.

The Passion of Berenice is one of those films made during the 70s. The quality is great, and there is great mastery of the filmic arts. The performances, writing, and editing are all great, but one needs to mention the direction as the best element. Hermosillo’s vision is auteristic, and even though many films suffer from having aged rather badly, this is not a problem here. In fact, for the fist third of the film, the time setting is rather unclear for a contemporary viewer. The owner of house where this takes place is old, as well as all of her possessions. We do not become aware of the setting until later, when characters are seen riding the well-know 70s cars.

Hermosillo’s approach to shooting has to be commended. What inspired him to make the takes as long as he did could be a matter of discussion (Budget? Artistry?). But the fact is that most of the sequences contain takes that are longer than customary. Long tracking shots while the characters walk down the street, talking, dominate the film halfway through its duration; but that is nothing compared to the scene that follows. In fact, let’s call those shots preparation or a rehearsal for the 7-minute-and-26-seconds scene that takes place within a fond. The characters walk in to a fully-occupied restaurant, walk around looking for an empty table, finally find one, sit down, order food, and eat pozole and tostadas, all the while while having a conversation. It’s subtle and doesn’t draw attention to itself, but it’s a hell of a feat.

After talking about this, one must talk about the actors. I do not know much about them, except that Armendáriz Jr. is the son the legendary Pedro Armendáriz, and that’s not really much. But what is clear is that both him and Martha Novarro are incredibly talented. Novarro’s character is cold and distant. One is never sure what she is thinking of doing next, and believe me when I tell you that she does some unexpected things. Her performance is chilling, and you walk away feeling somewhat frightened of her character.

While I don’t want to talk about specific, it is necessary to talk about the transgressive themes of sexuality, gender roles and disregard of sensibilities of a conservative society presented here in the film. I feel that Novarro’s Berenice is a precursor to Huppert’s Pianiste (The Piano Teacher, Haneke). Both characters are very similar, although with somewhat different outcomes. Hermosillo, known for this type of work, portrays realist scenarios without much attention to social mores, as was the case with Doña Herlinda and her Son, which is (probably) the first complex and non condescending portrayal of gays in the national cinema.

There are not that many flaws, but I did feel the editing was uneven in the first 15 minutes, but overall it is a great example of cinema. I highly recommend this film.

I saw it on a DVD released by Desert Mountain Media, which is rather cheap on Amazon. The quality is great. I’m saying this after seeing other Mexican films on DVD that were scanned off VHS. Sad. So sad. No special features either, aside from biographies. But this version is good, and it includes subtitles in English. And that’s like a miracle. Sadly the subs are not Deaf or HH friendly.

2. 2001: A SPACE ODYSSEY

On one hand it’s a science fiction film that avoids most of the elements that are considered necessary to make ‘an exciting film,’ and on the other it’s an ambience film that is like no other. I have yet to see it on the big screen, and I am sure I am missing a lot, especially with the sound. Every viewing is like a new experience, even if you continue to ask yourself “HOW DID THEY FILM THAT?” each time.

Click here for a superb series of photos taken during production.

3. DIARY OF A CHAMBERMAID

In many regards, a direct and uncomplicated film. Buñuel knew what he wanted to say, and it shows. And yet, it’s ambiguous by choice, and this is its greatest strength. Moreau’s performance is great as the complex chambermaid. The script foreshadows many details, and they pay off nicely. The critical look at society, from all angles is expertly accomplished. Probably one of my favorites by him.

4. THE ADVENTURES OF ROBINSON CRUSOE

In many ways a very commercial film. Reading Buñuel talking about the film adds another layer, so that’s recommended. There are several moments where the film allows him as a filmmaker to shine through, and for that it’s worth it. Interesting exploration of man vs wild, outside of society. However, Crusoe’s racist and colonialist mindset, the source material is at fault for this but it’s nonetheless uncomfortable.

5. THE YOUNG ONE

A tale of complex morality. It’s aggressive in portraying characters with flaws, but even more so by siding with a black character. This happened as the Civil Rights Movement was barely becoming gaining momentum. It may surprise a casual viewer that the master of surrealist cinema would produce a film so sober. I feel this strengthens the film, while maintaining little moments that define his style.

It’s also only appropriate to point out Figueroa’s cinematography who does a great job, yet again.

Runner ups

EL BRUTO

With a fairly standard plot, one relies on Buñuel to make interesting choices, and he does. There are several scenes that are great. The ones with earthy and sensual Katy Jurado made the film for me. This also made me appreciate Pedro Armendariz as an actor even more. I’m used to seeing him on a horse, on a rural location. But he translates very well into an urban setting. One of the best from Buñuel’s Mexican films.

VIRIDIANA

Buñuel and Alatriste made great films. I wish there had been more. Watching this for the second time, the effect was less, but I still see greatness. But watching it with others who had never seen it was great. I could hear them gasp at Buñuel’s most irreverent moments. There was even a “oh my god, he didn’t” when the last supper scene came on. It’s still one of my favorites.

HEDWIG AND THE ANGRY INCH

The film moves forward rather quickly. I suppose that has to do with the way the songs come at you. I feel there needed to be more time between them since the format is not fluid. The ending is not conclusive enough; sometimes ambiguity works, but here it feels unfinished. Aside from that, it’s fun and deep. Hedwig is not perfect, but then again, no one is. This makes her character all the more complex and realistic.

JUNE 2012

My theme this month was LUIS BUÑUEL FILMS, meaning I tried to watch as many of them as I could. In total, I watched 11 Buñuel Films.

TOTAL WATCHED: 27 films - including 12 television episodes

The Passion of Berenice, The Legend of Korra (Season 1), Solaris, The Maltese Falcon, Hedwig and the Angry Inch, Belle de Jour, Magnolia, 2001: A Space Odyssey, Dead Calm, The Silence of the Lambs, Moon, The House of Sand, Viridiana, Amélie, The Milky Way, L’Âge D’or, Camelia, The Young One, Snow White and the Huntsman, The Avengers, Prometheus, The Adventures Of Robinson Crusoe, The Great Madcap, Land Without Bread, The Criminal Life of Archibaldo de la Cruz, The Brute, Diary of a Chambermaid, 

TOTAL FILMS 2012: 189 films (51.78% of total)

TOP 5 FILMS

1. THE PASSION OF BERENICE

2. 2001: A SPACE ODYSSEY

3. DIARY OF A CHAMBERMAID

4. THE ADVENTURES OF ROBINSON CRUSOE

5. THE YOUNG ONE

RUNNER UPS

EL BRUTO

VIRIDIANA

HEDWIG AND THE ANGRY INCH

1. THE PASSION OF BERENICE

A great example of Mexican film during Echeverria’s presidential term. The national film industry had been in decline since the mid to late fifties, and had reached its nadir in the sixties. It wasn’t until 1970, when Echeverria came into power, that the national film industry had a mini-renaissance. Echeverria understood that the arts, and particularly film were instrumental in diffusing a good national image. Thus, film received state support. In 1976, at the end of his presidential sexennium, the film industry was once-again allowed to decline. The 60s and 80s are usually considered the worst years in the national film industry.

The Passion of Berenice is one of those films made during the 70s. The quality is great, and there is great mastery of the filmic arts. The performances, writing, and editing are all great, but one needs to mention the direction as the best element. Hermosillo’s vision is auteristic, and even though many films suffer from having aged rather badly, this is not a problem here. In fact, for the fist third of the film, the time setting is rather unclear for a contemporary viewer. The owner of house where this takes place is old, as well as all of her possessions. We do not become aware of the setting until later, when characters are seen riding the well-know 70s cars.

Hermosillo’s approach to shooting has to be commended. What inspired him to make the takes as long as he did could be a matter of discussion (Budget? Artistry?). But the fact is that most of the sequences contain takes that are longer than customary. Long tracking shots while the characters walk down the street, talking, dominate the film halfway through its duration; but that is nothing compared to the scene that follows. In fact, let’s call those shots preparation or a rehearsal for the 7-minute-and-26-seconds scene that takes place within a fond. The characters walk in to a fully-occupied restaurant, walk around looking for an empty table, finally find one, sit down, order food, and eat pozole and tostadas, all the while while having a conversation. It’s subtle and doesn’t draw attention to itself, but it’s a hell of a feat.

After talking about this, one must talk about the actors. I do not know much about them, except that Armendáriz Jr. is the son the legendary Pedro Armendáriz, and that’s not really much. But what is clear is that both him and Martha Novarro are incredibly talented. Novarro’s character is cold and distant. One is never sure what she is thinking of doing next, and believe me when I tell you that she does some unexpected things. Her performance is chilling, and you walk away feeling somewhat frightened of her character.

While I don’t want to talk about specific, it is necessary to talk about the transgressive themes of sexuality, gender roles and disregard of sensibilities of a conservative society presented here in the film. I feel that Novarro’s Berenice is a precursor to Huppert’s Pianiste (The Piano Teacher, Haneke). Both characters are very similar, although with somewhat different outcomes. Hermosillo, known for this type of work, portrays realist scenarios without much attention to social mores, as was the case with Doña Herlinda and her Son, which is (probably) the first complex and non condescending portrayal of gays in the national cinema.

There are not that many flaws, but I did feel the editing was uneven in the first 15 minutes, but overall it is a great example of cinema. I highly recommend this film.

I saw it on a DVD released by Desert Mountain Media, which is rather cheap on Amazon. The quality is great. I’m saying this after seeing other Mexican films on DVD that were scanned off VHS. Sad. So sad. No special features either, aside from biographies. But this version is good, and it includes subtitles in English. And that’s like a miracle. Sadly the subs are not Deaf or HH friendly.

2. 2001: A SPACE ODYSSEY

On one hand it’s a science fiction film that avoids most of the elements that are considered necessary to make ‘an exciting film,’ and on the other it’s an ambience film that is like no other. I have yet to see it on the big screen, and I am sure I am missing a lot, especially with the sound. Every viewing is like a new experience, even if you continue to ask yourself “HOW DID THEY FILM THAT?” each time.

Click here for a superb series of photos taken during production.

3. DIARY OF A CHAMBERMAID

In many regards, a direct and uncomplicated film. Buñuel knew what he wanted to say, and it shows. And yet, it’s ambiguous by choice, and this is its greatest strength. Moreau’s performance is great as the complex chambermaid. The script foreshadows many details, and they pay off nicely. The critical look at society, from all angles is expertly accomplished. Probably one of my favorites by him.

4. THE ADVENTURES OF ROBINSON CRUSOE

In many ways a very commercial film. Reading Buñuel talking about the film adds another layer, so that’s recommended. There are several moments where the film allows him as a filmmaker to shine through, and for that it’s worth it. Interesting exploration of man vs wild, outside of society. However, Crusoe’s racist and colonialist mindset, the source material is at fault for this but it’s nonetheless uncomfortable.

5. THE YOUNG ONE

A tale of complex morality. It’s aggressive in portraying characters with flaws, but even more so by siding with a black character. This happened as the Civil Rights Movement was barely becoming gaining momentum. It may surprise a casual viewer that the master of surrealist cinema would produce a film so sober. I feel this strengthens the film, while maintaining little moments that define his style.

It’s also only appropriate to point out Figueroa’s cinematography who does a great job, yet again.

Runner ups

EL BRUTO

With a fairly standard plot, one relies on Buñuel to make interesting choices, and he does. There are several scenes that are great. The ones with earthy and sensual Katy Jurado made the film for me. This also made me appreciate Pedro Armendariz as an actor even more. I’m used to seeing him on a horse, on a rural location. But he translates very well into an urban setting. One of the best from Buñuel’s Mexican films.

VIRIDIANA

Buñuel and Alatriste made great films. I wish there had been more. Watching this for the second time, the effect was less, but I still see greatness. But watching it with others who had never seen it was great. I could hear them gasp at Buñuel’s most irreverent moments. There was even a “oh my god, he didn’t” when the last supper scene came on. It’s still one of my favorites.

HEDWIG AND THE ANGRY INCH

The film moves forward rather quickly. I suppose that has to do with the way the songs come at you. I feel there needed to be more time between them since the format is not fluid. The ending is not conclusive enough; sometimes ambiguity works, but here it feels unfinished. Aside from that, it’s fun and deep. Hedwig is not perfect, but then again, no one is. This makes her character all the more complex and realistic.