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Film: Nénette
Year of production: 2010
UK Release date: 23rd May 2011
Distributor: Artificial Eye
Certificate: PG
Running time: 70 mins
Director: Nicolas Philibert
Genre: Documentary
Format: DVD
Country of Production: France
Language: French
Review by: Lucy Judd
In the words of director Nicolas Philibert, “Nénette is a mirror… we attribute all kinds of feelings, intentions and even thoughts to her. In talking about her, we talk about ourselves.” These words act as a great introduction to this film, but they still manage to go only some of the way in explaining the unusual appeal of this film-documentary which centres on Nénette the orangutan, a key attraction of the Jardin des Plantes Zoo, Paris.
Transferred to captivity from her natural habitat in Borneo 37 years ago, Nénette, is now over 40 years old, and has far surpassed the usual life-expectancy of her species. She is still, though, as one of the zoo’s visitors points out, the “victim of her own rarity,” and - as the camera focuses on her from the other side of her glass cage - we learn of her life, of the three mates she has outlived, and of the four children she has born (three of which have been transported to other locations in the interest of conservation)…
In reviewing a documentary, you expect to be able to offer little to nothing on aspects such as characters and scripting. However, if there is one thing that Philibert can be congratulated for in Nénette, it is his well-executed inclusion of these elements within this genre. For example, the subtle establishment of Nénette’s character and history is incredibly successful, with the viewer more than likely to be drawn into her story. Be warned, though, this is achieved largely through the use of extended close-ups, and the passing comments and interviews of unseen visitors and staff at Jardin des Plantes. As a result, it does require some concentration to get the very best out of the story. Philibert’s ‘script’ technique is interesting, too, owing to the unusual combination of impromptu reactions and comments from visitors with a handful of staff interviews, which were probably useful in allowing some scope for the management of structure and theme-development in the film.
It might not be quite right to say that this documentary has a plotline so much as that some carefully considered framing and audio-visual editing have managed to highlight a series of themes which are interesting enough to occupy and entertain most people for seventy minutes. Similarly, we won’t be crediting Nénette and her orangutan companions with award-winning ‘performances’. However, Philibert can be worthily commended for capturing the very charm of these animals that first inspired him to create this short film. The human-like behaviours that Nénette exhibits are the most captivating of all, and the choice to include images from her ‘tea time’ was brilliant - there is something quite enthralling about watching an orangutan masterfully open and enjoy a flask of tea and a yoghurt as though she were a sun-worshipping picnicker in the park.
The running theme of this film seems to be that of the similarities between human and orangutan behaviours. The ‘mirror’ effect between the two sides of the glass emphasises the possibility of Nénette being capable of sharing human thoughts and feelings, and this is established by stark facial close-ups and a fly-on-the-wall filming style. All of this encourages the viewer to question how much Nénette is able to take in and understand, and, more importantly, how she might feel about all of it. With this, Nénette inevitably raises some of the moral and ethical questions that exist around keeping wild animals in captivity. However, crucially, this is left up to the viewer to make up their own mind, and thankfully, while there is plenty of room for sympathising with Nénette’s seeming depression, with the little orangutans playing happily nearby, too, there is little chance of this film being misinterpreted as any kind of animal rights propaganda.
This film certainly evokes curiosity about this little-known and little-understood species, and it does invite the viewer to ask many questions that unfortunately Nénette is, quite literally, unable to offer any answers to. This is, though, a truly fascinating picture, and part of its magnetism lies in this inherent inability of Nénette to give you any of your answers. Individual interpretation of her moods, thoughts and feelings mean that this film might potentially mean quite different things to different people. LJ
Film: From Beginning To End
Release date: 28th March 2011
Certificate: 18
Running time: 96 mins
Director: Aluizio Abranches
Starring: Gabriel Kaufmann, Rafael Cardoso, Lucas Cotrin, João Gabriel Vasconcellos, Júlia Lemmertz
Genre: Drama/Romance
Studio: TLA
Format: DVD
Country: Brazil
From Beginning To End is essentially a love story which examines the emotional and physical development of a relationship between two men. By subject focus alone, the picture might put you in mind of say, the well-known Brokeback Mountain, or maybe some other more underground feature which strives to portray the stark realities of gay love. This however, is likely to be different; firstly, in being Brazilian, and secondly, by simultaneously tackling what very few directors have dared, or had the inclination to cover, and what is arguably the last real taboo subject in modern society – that is, incest.
This film tells the tale of two half-brothers, Francisco and Thomás and their increasingly developing special bond. The first half of the film - which centres on their childhood - is set against the backdrop of their loving, supportive and almost unrealistically idyllic childhood home, whilst the second part of the film transports us right through to an adulthood that is marked significantly by the death of their mother. It is here that their exceptionally close relationship is affirmed as sexual to the viewer, but is soon to be blighted by their long-term separation as the younger brother, Thomás, begins to have his Olympic dreams as a swimmer realised. In order to truly live them, though, he is required to move to Russia to train for the three years leading up to the games - heart-breaking stuff for the young lovers to endure.
Once the difficult decision that Thomás should go to Russia has been made, the emotional trauma of being separated for the first time in their lives is the focus of the second half of the film. It details the strain on their relationship that results from their communication being reduced to mere web-based exchanges, and the emotional, behavioural and sexual effect that being left behind has on Francisco. In his state of torturous despair he begins a drink-and-party tirade that is obviously impacting on his health and mental state. The unfolding events leave us wondering – will this separation lead to the demise of their relationship, or will it withstand the unlikely odds?
In the first half of the film, the child actors playing Francisco (Lucas Gotrin) and Thomás (Gabriel Kaufmann) put in astoundingly good performances - a particularly impressive feat for Kaufmann at his mere 8 years of age. They are both adorable, too, and set the basis of the characters’ unusually close relationship. So well do they play their parts in fact, that there are times when you might ask yourself if there is anything more to this brotherhood than just the innocent actions of childhood and familial love. This is where the vitally good performances of the adults around them come through, particularly their mother, Julieta (Júlia Lemmertz), in keeping the potentially darker side of their relationship to the forefront of the viewers mind in the early phases of the film (when the young actors, and the characters themselves, are too young to bring forth the gritty side of this story).
Surprisingly, it is in these early phases of the film, with young Gotrin and Kaufmann at the helm, that the most interesting themes come out. Where some have said that the relevance of Thomás being born with his eyes closed has been lost on them, it is here, with his ‘decision’ as a newborn to open them only to look squarely into the eyes of the older brother he will come to love passionately that the question of the meaning of ‘free will’ is raised. Similarly, Francisco’s young character talks about “true happiness” felt by his whole family at an uncomplicated point of their lives. These themes could have been made into so much more, however, but sadly seem to get lost somewhere along the way - never really touched upon openly again in the second part of the film.
There are one or two enduring aspects of the film across the two distinct halves, though. Firstly, a striking resemblance between the child and adult actors playing Francisco and Thomás, serve to minimise the sense of disjointedness that the sudden child-to-adult transition might have incurred. Secondly, when the concerned Julieta speaks to the Francisco about his relationship with his younger brother, she speaks of there being both a good and bad side to all things in life, and this becomes a continuing theme throughout their adult life. For example, as Thomás lives out a momentous opportunity in his career in going to Russia to train for the Olympics, the upshot is a long and arduous separation, with cracks beginning to appear in the brothers’ usually faultless bond. Even in their own understanding of what they feel for each other, they recognise both the good and the bad, as Thomás says to Francisco: “I love you because… to understand our love, they’d need to turn the world upside down.”
The second half is somewhat lacklustre in comparison to the first. There is nothing particularly critical to be said about the performances of João Gabriel Vasconcellellos (Francisco) or Rafael Cardoso (Thomás), from whom the passion and sincerity of their relationship comes through quite convincingly.
Credit is also due for the plot not taking the expected route of there being an intrusion from someone who discovers their affair and makes it their sole intention to bring it to an enforced end. Quite the contrary, they seem to experience nothing other than open acceptance from all whom they are in contact with. The problem with this, though, seems to be that of it reducing the plot (and all of the building dramatic tension) to little more than the difficulties of a long-term relationship that could be felt by any two people in love. As a result, the real issue at hand seems somehow diluted, and the lack of adversity means a relative lack of action in the second half of the film. Now, if it was the intention of the director, Aluzio Abranches, to bring the brothers’ extraordinary relationship down to something dour and fairly uninteresting, so as to bring it into the realms of normality, then it should be said that it was achieved quite brilliantly.
This picture may, on the surface, be primarily about homosexuality and incest, but it ends up being nothing but a simple and eloquent love story. It is up to the viewer then to decide whether this simplification is to the detriment or to the merit of the film as a whole – either highlighting the insignificance of their blood-relation in their unwavering love and affection for one another, or alternatively, dismally understating the emotional trauma and mental turmoil of their unique situation for both themselves and their family (which arguably makes it a totally unrealistic representation of the topic). This does, however, depend on viewpoint and perception alone and can only be decided by sitting down and watching it yourself.
While the subject area might dissuade some people from taking the time to see From Beginning To End, it is those who are most adamant that they won’t enjoy it that should certainly take the time to give it a go. Whatever might be said about its actual entertainment value, not only is there something quite gripping and emotional about this film - but it might surprise you - as it allows the viewer to learn about, and question, their own attitudes and behaviours as much as (and in some ways, more than) it does Francisco and Thomas’.
This is, in spite of its fair few weaknesses and unanswered questions, a truly enlightening picture which manages to tackle this taboo issue in a surprisingly graceful manner. Well worth a watch. LJ
Film: Nénette
Release date: 4th February 2011
Certificate: PG
Running time: 70 mins
Director: Nicolas Philibert
Starring: N/a
Genre: Documentary
Studio: Artificial Eye
Format: Cinema
Country: France
In the words of director Nicolas Philibert, “Nénette is a mirror… we attribute all kinds of feelings, intentions and even thoughts to her. In talking about her, we talk about ourselves.” These words act as a great introduction to this film, but they still manage to go only some of the way in explaining the unusual appeal of this film-documentary which centres on Nénette the orangutan, a key attraction of the Jardin des Plantes Zoo, Paris.
Transferred to captivity from her natural habitat in Borneo 37 years ago, Nénette, is now over 40 years old, and has far surpassed the usual life-expectancy of her species. She is still, though, as one of the zoo’s visitors points out, the “victim of her own rarity,” and - as the camera focuses on her from the other side of her glass cage - we learn of her life, of the three mates she has outlived, and of the four children she has born (three of which have been transported to other locations in the interest of conservation)…
In reviewing a documentary, you expect to be able to offer little to nothing on aspects such as characters and scripting. However, if there is one thing that Philibert can be congratulated for in Nénette, it is his well-executed inclusion of these elements within this genre. For example, the subtle establishment of Nénette’s character and history is incredibly successful, with the viewer more than likely to be drawn into her story. Be warned, though, this is achieved largely through the use of extended close-ups, and the passing comments and interviews of unseen visitors and staff at Jardin des Plantes. As a result, it does require some concentration to get the very best out of the story. Philibert’s ‘script’ technique is interesting, too, owing to the unusual combination of impromptu reactions and comments from visitors with a handful of staff interviews, which were probably useful in allowing some scope for the management of structure and theme-development in the film.
It might not be quite right to say that this documentary has a plotline so much as that some carefully considered framing and audio-visual editing have managed to highlight a series of themes which are interesting enough to occupy and entertain most people for seventy minutes. Similarly, we won’t be crediting Nénette and her orangutan companions with award-winning ‘performances’. However, Philibert can be worthily commended for capturing the very charm of these animals that first inspired him to create this short film. The human-like behaviours that Nénette exhibits are the most captivating of all, and the choice to include images from her ‘tea time’ was brilliant - there is something quite enthralling about watching an orangutan masterfully open and enjoy a flask of tea and a yoghurt as though she were a sun-worshipping picnicker in the park.
The running theme of this film seems to be that of the similarities between human and orangutan behaviours. The ‘mirror’ effect between the two sides of the glass emphasises the possibility of Nénette being capable of sharing human thoughts and feelings, and this is established by stark facial close-ups and a fly-on-the-wall filming style. All of this encourages the viewer to question how much Nénette is able to take in and understand, and, more importantly, how she might feel about all of it. With this, Nénette inevitably raises some of the moral and ethical questions that exist around keeping wild animals in captivity. However, crucially, this is left up to the viewer to make up their own mind, and thankfully, while there is plenty of room for sympathising with Nénette’s seeming depression, with the little orangutans playing happily nearby, too, there is little chance of this film being misinterpreted as any kind of animal rights propaganda.
This film certainly evokes curiosity about this little-known and little-understood species, and it does invite the viewer to ask many questions that unfortunately Nénette is, quite literally, unable to offer any answers to. This is, though, a truly fascinating picture, and part of its magnetism lies in this inherent inability of Nénette to give you any of your answers. Individual interpretation of her moods, thoughts and feelings mean that this film might potentially mean quite different things to different people. LJ
Film: Tsotsi
Release date: 17th July 2006
Certificate: 15
Running time: 94 mins
Director: Gavin Hood
Starring: Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe
Genre: Crime/Drama
Studio: Momentum
Format: DVD
Country: UK/South Africa
Academy Award winner (2005) and Golden Glove nominee (2006) for Best Foreign Language film, Tsotsi gives a gritty and vivid representation of the life and hardships of the young ‘nobody(s)’ residing in the ghetto townships of Johannesburg. In this film-adaptation of the Athol Fugard novel by the same name, the South-African born director, Gavin Hood delivers a feature-length presentation confronting issues of the continuing rich and poor divide, of decency and criminality, and of human nature and happiness in his home nation’s capital.
Tsotsi (literally meaning ‘Thug’) is the gang-land pseudonym of the central character (Presley Chweneyagae), a petty teenage criminal in Johannesburg. The early scenes of the movie introduce us to his cold, calculated attitude to crime and violence as they take us with him and his gang from the heartless and violent killing of a wealthy man on a subway train, to his ferocious attack upon one of his own crew, Boston (Mathusi Magano). Then, across the wasteland that divides his township from the wealthy estates of the city, he embarks upon a lone robbery of a woman’s car from her as she waits outside her luxury gated home. The robbery doesn’t go as planned, though, and as the woman makes a desperate attempt to stop him from driving away, he mindlessly shoots her in the stomach and drives away. Tsotsi is soon startled by the gurgling sobs of a baby from the back seat, and realises that the woman was acting as a frantic mother.
It is here that we begin to glimpse what is an unexpected side to Tsotsi’s temperament, as he attempts to walk away from the car with nothing but a wallet, but the cries of the vulnerable child lure him back - he packs the baby into a brown bag from the car and takes him home with him back over in the township.
Over the next six days we get to see Tsotsi’s character unfold as a result of his obvious growing attachment to the child, and as we are given glimpses of his own childhood experiences that led him to become the angry young man that we have seen, the distinctions between right and wrong or good and evil begin to blur for Tsotsi as well as for the viewer…
Firstly, it is worth a nod of early recognition for the Tsotsi soundtrack itself which enriches the film with a legitimacy and honesty that transports the viewer to the very time and place. It consists of authentic Kwaito music, an urban genre popular in South Africa; the most notable of artists involved being, Zola, who has gained much recognition in the nation, and is a Johannesburg local himself. It is this universal South African influence (novel writer, film director, soundtrack artist) that arguably makes the film so intoxicating, and an offering of so much more culturally than what a generic Hollywood picture is capable of.
Understated performances from the cast of key characters enables the audience to capture an understanding of the complexities of each of them in their own individual circumstances. At times, though, they might be criticised for being reduced to little more than a measure against how Tsotsi himself is changing. Aap (Kenneth Nkosi), Tsotsi’s somewhat needy long-term friend and protégé is played perfectly to evoke a sympathetic response from the audience, and offers the only element of humour, too; but where Tsotsi is quite abrupt with him in the early phases of the film, he eventually comes to do right by him. Similarly, Boston (or ‘Teacher boy’) earns himself an early beating for flaunting his big words and questioning Tsotsi’s sense of decency. However, as his friend becomes to reengage with his feelings that have long been locked away, it is education that he encourages in Boston in order to help him out of the alcoholism he had fallen into since coming back to the township. The aptly named Butcher (Zenzo Ngqobe) conversely, captures the image of the remorseless criminal, and the way his relationship with Tsotsi ultimately develops delivers a decisive blow to the audience in demonstrating the man that Tsotsi has now become. Terry Pheto also gives a memorable performance as a widowed mother that is forced by Tsotsi at gun point to breast-feed the kidnapped child. She manages to play the part of a woman who is able to forgive Tsotsi quickly for his threatening behaviour so convincingly that it is only after the final credits that you find yourself wondering how she ever comes to be a willing source of help and refuge to him. It is only here that the fast pace and swift imagery that characterises Hood’s direction in this movie lets itself down.
Tsotsi is refreshing in offering a much more holistic view of South Africa than is usually offered. Where race-relation issues so often continue to dominate Western perceptions of South Africa, in Tsotsi, even where there may have been undertones, they are masterfully prevented from dictating the plotline. This simple omission quite eloquently places the film within a post-apartheid South Africa, and speaks volumes for the impact of the Mandela era in this respect. It is in this subtlety of imagery that the triumph of Tsotsi lays; and it is mastered not only in depicting the changing relationships between the characters, but also in succinctly and eloquently expressing huge themes through subtle imagery and excellent direction. For example, the prevalence of HIV and AIDS in South Africa is never overtly mentioned in terms of scripting, but with well-timed direction, the viewer is made vividly aware of the reality of the threat in this context by long-shots of billboards in and around the subway station that read simply “We are all affected by HIV and AIDS.” This later becomes significant to Tsotsi’s story, too, as in his flashbacks to childhood, it is implied this is the sickness that took hold of his mother. It is this kind of clever direction that allows Hood to achieve so much in a mere 94 minute running time.
The story of Tsotsi is a gripping and emotional tale which demands to be watched and rewards the concentrated viewer with layer upon layer of meaning. It is a triumph in tackling a number of issues simultaneously, and as a result, it is hard to imagine it not being enjoyed by everyone for at least one, or more likely, many elements of its fantastically crafted plotline. LJ
