“We’ve got to be nicer with the dead, because we spend more time dead than alive. Anyway, we all are born to die. What do we learn here? A bust, and sometimes not even that…lots of work, many troubles… When we’re born, we’re carrying our death in the liver, or in the stomach, or here in the heart that one day will beat no more. It can also be outside, sitting under a tree, that hasn’t grown yet, but will fall on you when you’re old.”
Roberto Gavaldón’s “Macario” takes place on the Day of the Dead in Mexico. The story revolves around Macario, a underpriveleged wood-cutter who lives his days as a poor man struggling to feed his wife and children. He often gives up his own food so his family could eat. In fact, life is so hard, that he forgot what it actually feels like to be full. Macario has been living at the edge of starvation all his life. On the eve of the Day of Dead, as people offer food for the dead, he sets his eye on a deliciously cooked turkey, and everything is about to change.
Gavaldón’s fable is widely considered to be one of the greatest achievemens in Mexican cinema. It was the first Mexican film to be nominated for an Academy Award and was even competing for the Palme d’Or at the Cannes Film Festival. Yet, despite being so successful in 1960, the film has faded into obscurity, and is rarely seen outside of Mexico. In fact, getting your hands on a copy of this film with English subtitles is a nightmare. Last time I checked, there were two copies being sold on Amazon for over $380. The film rarely pops on eBay for sale, and even if you were lucky enough get your hands on a copy of this film at a garage sale, chances of the quality being any good are fairly slim.
We can only hope that one day, a label such as Eureka’s Masters of Cinema or the Criterion Collection restores it to its original glory so it can be seen by cinephiles all over the world. “Macario” is a treasure of Mexican cinema, and it should be celebrated by film fans all over the world. When I was finally able to see it, I was immersed in the beauty of Mexican tradition and culture. It also happens to have one of the greatest “last shot” twist endings ever committed to film.
Mike Leigh’s “Naked” could very well be the director’s most brilliant exercise of his unorthodox filmmaking approach. The script was created as the cast improvised during eleven weeks of rehearsal before shooting. Instead of just making a film about chaos, Leigh applied “chaos” in the actual making of his masterpiece. This may sound like an oxymoron, but Leigh chaotic filmmaking method displays a master in complete control of his craft.
It is said Leigh made David Thewlis read Voltaire’s “Candide”, the teachings of Buddha, the holy Bible, the Qur’an, and James Gleick’s “Chaos” so he could be well versed in completely destroying anyone’s belief system. Thewlis plays an unemployed wanderer who embarks on a nocturnal odyssey across east London. In his journey, he bumps into strangers and begins to completely destroy their faith in humanity by sharing his philosophical musings on life.
The eloquently spoken dialogue flows out of Thewlis like a man on a destructive mission to vent his frustrations with the world; his central performance is one of the most fascinating and captivating acts ever captured on film. “Naked” explores themes of misogyny, addiction, depression, capitalism, evolution, chaos and anarchy. It should not be missed.
Perhaps the most controversial shot in Luis Buñuel’s “Viridiana”- The composition of the shot is an imitation of Da Vinci’s The Last Supper, only it was re-enacted by homeless beggars. The Christ like figure in the middle was depicted by a street beggar who is blind. The shot implies that blindness is at the core centre of religion. The plot follows Viridiana’s awakening to reality from the illusion of faith.
When surrealist master, Luis Buñuel, screened his social satire, “Viridiana”, at the Cannes Film Festival, it shook the world. The film won the Palme d’Or, got banned in its home country, and was completely denounced by the Vatican. The Catholic Church described the film as blasphemous and excommunicated everyone who worked on it. Soon after, the Franco government ordered the immediate destruction of every copy in existence. Thankfully, not every single copy was destroyed, and “Viridiana” is just as shocking today as it was back then.
A film that triggered such a strong reaction from the powers that be must be doing something right. The first time I watched it, it blew my mind and confirmed my belief that Buñuel is the bravest most fearless film director to ever walk this planet. The film revolves around a nun, who before taking her holy vows, gets sent to visit her perverted widowed uncle. There, she does everything as the holy book taught her, yet somehow all of her choices have extremely bad repercussions; acts of goodness result in the worst human behavior imaginable. Buñuel’s destruction of religious morality is fascinating. The film is filled with taboo imagery and disturbing scenarios designed to make you question the role of organized religion in a world that doesn’t want to be saved by it.
“The great modern cities: New York, Paris, London, hide behind their magnificent building homes of misery that shelter malnourished children without hygiene, without schools, a harvest of future delinquency. The society tries to correct this evil, but the success of its effort is very limited. Only in a future where children’s and adolescent’s rights are vindicated will they be useful for society. Mexico, the great modern city is not an exception to this universal rule. That’s why this film based on facts from real life is not optimistic, and it leaves the solution to the problem to the society’s progressive forces” _The opening statement to “Los Olvidados”
Luis Buñuel directed “Los Olvidados”, aka “The Young and the Damned” or “The Forgotten Ones”, an unapologetic depiction of children living in the crime infested slums of Mexico City. Apparently, this film was the main inspiration behind “City of God”, and I can see how. It is just as brutal, if not more so. When it was released in 1950, “Los Olvidados” didn’t last more than three days in theaters due to the outrage it caused. The press, government, and upper class audiences were furious with the film. They labeled it as bad publicity for Mexico and Third World countries. “Los Olvidados” was simply being brutally honest in its portrayal of the never-ending cycle of street violence in the slums of a city.
Buñuel doesn’t shy away from exposing his audience to this cruel rotten world, we are forced to watch old men sexually abuse young girls, slum children beating up cripples for the heck of it, and kids stabbing one another for a few pesos. This is one of the bleakest films ever made about poverty and street children. It is an under-seen work of art that deserves to be mentioned amongst the greats. I hope one day Criterion restores the film to its original glory, so it could receive the respect it deserves. “The Young and the Damned” is an unflinching look at hell on earth; once seen, it will never be forgotten.
In Theo Angelopoulos’ “Landscape in the Mist”, two kids run away from their home in Athens in search for their father whom they were told lives in Germany; but beneath the surface this film is about so much more. The journey they embark on is a metaphor of life itself. We all travel through time in search of something that may not even be there.
Everything goes by so fast, the cities we visit, the strangers we meet, painful chapters and joyful occurrences- it all comes and goes in a flash. At one point, a traveller looks at the kids, smiles and utters words that ring so true for each and every one of us.
“You’re funny kids you know that? It’s as if you don’t care about time passing, yet I know that you are in a hurry to leave. It’s as if you’re going nowhere, and yet you’re going somewhere…Me? I’m a snail slithering away into nothingness. I don’t know where I’m going. Once I thought I knew.”
We’re all aware of time passing, yet we pretend that we have all the time in the world. In a way, we’re all clueless kids travelling in a chaotic odyssey through time. We think we know where we’re going, but we really don’t. We’re all searching for different things, yet ultimately we’re looking for the same things, closure, wholeness, a sense of fulfilment. Everything seems like it’s within reach yet completely unattainable.
Will we ultimately reach our destination? Or will everything we long for forever remain a landscape in the mist? Theodoros Angelopoulos creates films with images so hauntingly beautiful, they will be seared into your brain. “Landscape in the Mist” transcends the medium with poetic lyricism that is rarely matched by any work of art.
Lukas Moodysson’s “Lilya 4-ever” chronicles the life of a sixteen year old girl after she gets abandoned by her mother who flees to America to escape poverty in Sweden. The viewer is quickly plunged into a downward spiral of human trafficking, Scandinavian sex slavery and betrayal. Based on the true story of a Lithuanian girl, “Lilya 4-ever” is one of the saddest films ever made and a powerful reminder of what life can do to people who aren’t as lucky as you. The film left me completely devastated and Oksana Akinshina’s performance is absolutely heartbreaking. It hurts me to know that there are children who go through this all over the world.
After this film was released and heavily promoted by the campaigning groups UNICEF and End Child Prostitution, the Swedish minister debated the problems of sex trafficking. It was also exported to Russia and Easter Europe as a means to influence policy makers in countries where victims are often sourced. The director’s aim was to make a film that would awaken Europe into following Sweden’s lead in dealing with the exploitation of women. “Lilya 4-ever” was so powerful it helped reshape laws within society. This is as important and urgent as cinema gets.
“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the light into the peace and safety of a new dark age.”_H.P. Lovecraft
I firmly believe that decades from now people will look back at the work of Bela Tarr in the same light as that of Tarkovsky, Bresson, Dreyerand, and Ozu- cinema of the highest order. To watch “Werckmeister Harmonies” is to look the unknown dead in the eye and see the insignificance of humanity and accept our inevitable mortality. This bleak vision of chaos attempts to reinvent cinema as we know it; and while doing so, it will make you question everything you know about the construct of society and the world around you. The imagery in this film is as daunting and intimidating as anything I’ve ever seen. It reminds me of the feeling you get when you look at the black emptiness of cosmic space. The more you attempt to grasp its vastness, the more you realize how insignificantly small you are. Watching this film felt like I was inadvertently peaking at something that is beyond myself. If there was ever a film worthy of the word life-changing, this is it.