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Book: Postnationalist African Cinemas
Release date: 17th March 2011
Author: Alexie Tcheuyap
Publisher: Manchester University Press
African cinema is not usually discussed among people who are not already cinephiles, and the films are not often selected for distribution or viewings in the West by mainstream cinema chains or distribution companies. Alexie Tcheuyap’s work Postnationalist African Cinemas offers an insight into the developing genres of African cinema, discussing critical analysis and putting forward his own argument that African cinema is no longer simply nationalist reactionism to the colonial past, but rather has a growing cinema industry with its own interpretation of classic genres.
In a very lengthy introduction, Tcheuyap sets out his objectives for the book and discusses the different concepts he believes are relevant when considering post-nationalist cinema. FEPACI, an African body set up to promote African values and tradition as a reaction to post colonial influences, is highlighted as a barrier to the creation of genre. Other obstacles to post-nationalist cinema are also discussed, such as funding, distribution, and cinema being seen as education rather than entertainment. Tcheuyap also quotes established critics (Diawara, Bartlet, Ouedraogo…) and both points out the traditional viewpoint that African cinema is mostly nationalistic and his wish to write critical analysis opposing this, showing that genre in African outside of nationalism does now exist.
The book is then divided into seven chapters, each discussing a genre, such as comedy, the epic production, unmasked sexuality, witchcraft and crime fiction, amongst others. In each chapter, Tcheuyap puts forward the critically established viewpoint, lays out his objectives in challenging it where relevant and discusses examples of African films where the genre has been developed in a uniquely African way. Continuing with an essay writing style, Tcheuyap concludes his work with a reiteration of the points he sees as the most valid and emphasises how African cinema has much to offer…
Postnationalist African Cinemas offers a complex analysis which combines different schools of thought versus the writer’s opinion. The argument for genre as evidence that African cinema has moved beyond pan-Africanism is convincing in its validity, however, the introduction is a little too verbose and difficult to absorb, sometimes necessitating re-reading some of Tcheuyap’s points in order to fully follow his train of thought, which although passionate and intelligent, moves rapidly along the different lines of argument. However, once the basic premise of his argument has been grasped, Tcheuyap successfully highlights the need for African cinema to be given credit for the development of genre and the evidence of increased popularity in areas such as Nollywood (the Nigerian slash bollywood type film scene) is used as testament to this argument.
Tcheuyap presents his argument skilfully in each chapter. In detailing, for example, how often in crime fiction in Africa the hero is often the criminal who is trying to work against corrupt modes of power, Tcheuyap not only demonstrates efficiently how African cinema has subverted the Western crime fiction genre (where a crime usually takes place and the viewers accompany the investigator solving the crime, thus making the investigator the hero figure), but also in describing a selection of films where this takes place provides insight into the great collection of work on offer and invites the reader to investigate this work for themselves.
There is a lot of detail covered in each chapter and Tcheuyap has clearly both researched and referenced the topics excellently. Despite the quantity of information to digest, there are some common threads running throughout which hold the book together: critics are discussed in each chapter; there is repetition of an organised structure of laying out objectives and then tactful argument against the traditional standpoints in a methodical manner; and the same films are often quoted in different genre categories.
As the introduction and conclusion are written in a very intellectual manner, with mostly conceptual analysis, readers who are new to African cinema will perhaps find the genre chapters more enjoyable to read as they have a less confusing pace, and provide more of a selection of African films available in each genre discussed. Having an introduction of almost forty pages could have perhaps have been reduced and more information kept for the conclusion.
Tcheuyap offers a balanced view in both providing evidence for his argument but also ensuring he discusses the critical standpoints which don’t necessarily agree with him. This in fact lends more validity to his argument in return.
Tcheuyap achieves what he sets out to and convincingly demonstrates that African cinema has moved beyond nationalism into creating cinema for entertainment over education. He shows that modern African directors are adding their own interpretation of African themes to classic genres successfully. Tcheuyap makes some interesting points on the roles of women in cinema, the preservation of traditional African culture, but also successfully places Africa in a global context. Tcheuyap can therefore be forgiven for having so much information leading to a complex read because, as the author concludes himself, Africa has so much variety to offer. It would be difficult to construct a work on a topic which covers a continent’s contribution to this industry in the modern age without having to cover a lot of ground. AT
Book: François Ozon
Release date: 25th April 2011
Author: Thibaut Schilt
Publisher: University Of Illinois Press
In François Ozon, Thibaut Schilt zooms in on the career to date of the famous French director of the same name, discussing his early life and family background, his qualifications and motivations, and analysing Ozon’s life work. From the short films of his early career as well as the internationally acclaimed 8 femmes and Sous le Sable, Schilt focuses on the many themes of this controversial director’s portfolio, projects such as homosexuality, adultery, murder, mortality and the fantastical.
Starting with Ozon’s early life, Schilt discusses the young director’s commandeering of his father’s camera and use of his family to make early films such as Photo de Famille. He also describes how Ozon mostly deals with taboos and “perversions” in his early career, the director later pointing out in his interview that he started out aggressively with something to prove.
Schilt then chronologically works through Ozon’s films up to the director’s current project, Pontiche. He discusses each of the films’ main themes, plot line and critical reaction; both negative and positive, switching between topics quickly with much thematic discussion. Schilt talks of the actors used, as well as camera technique and the use of music. Ozon’s cinephilia and the tributes to other films and directors through his own direction are also highlighted…
The interconnectedness of these themes is emphasised by the way Schilt jumps between each of the director’s films in each section as each theme is discussed, which Schilt divides into groups of roughly three in each section of the chapters. This can be quite confusing as you adapt to Schilt’s style of writing, as not much time is spent on each point before he moves back and forth between the themes under analysis. The chapters are quite long and Schilt often has a meandering prose.
The book is enthusiastically written and well referenced, and Schilt’s use of so many sources is admirable. Direct citations from screenplay, interviews with the director and quotes from the actors, including their views on their roles and the films in question are all used. Schilt also ensures each of his points are followed with the main critical view points published on each topic, including quotations from critics, which may not back up his own opinion, ensuring a balanced view.
Due to the heavy plot description given on each film, this is best read after having already watched Ozon’s work. Schilt only just holds back on some of the cinematic twists, or denouements (his preferred term). Schilt is very knowledgeable on cinematic theory, and the skills he has gained in the teaching profession are put to good use with his discussion of Ozon’s influences, such as auteur theory, and his contribution to New Wave cinema. This discussion comes across as well informed and easy to absorb, which is enjoyable to read.
Schilt writes intelligently and has clearly aimed to compose a well-researched biographical book on a director who he admires. Due to his obvious passion for Ozon’s work, and an almost eagerness to fit in the many opinions he has on the director, the book can seem cluttered and difficult to follow. At times, Schilt says, “as I have already discussed,” and this can seem the only link back to a point that was discussed but never summarised. This can come across as frustrating; meriting a pause in reading to catch up with the writer and let his points sink in. His passion has perhaps led to a haphazard approach, although it does succeed in drawing you back to the book after a brief respite, and certainly inspires to re-watch Ozon’s films with Schilt’s viewpoint now in mind.
By the point of the discussion of Sous le Sable, 8 Femmes and Swimming Pool, the text feels more coherent, however, perhaps this is just the length of time taken to accustom to the writer’s style, and may vary depending on the reader’s tastes. Shilt’s discussion of the ‘Lost In Translation’ idea (p.119) is interesting and utilizes the professor’s obvious language skills as he points out how Gouttes D’eau sure Pierres Brûlantes may have different significance, depending on whether the viewer is coming to the film in Japan, Germany or France.
Schilt increases his use of the personal tense as the book progresses, and his ideas come across as more developed, leaving more of an impression of his own views rather than a summary of the critical standpoint. This adds a welcome new dimension to what up to this point could have passed for more of a documentation of fact rather than a subjective analysis.
The lack of a final summary from Schilt means the ending of the book is quite abrupt. The fact you have come to the end comes as a shock, however, having the director’s interview at the end is perhaps a cunning move. It enables the reader to read the interview with Ozon after having heard submission of so many thematic standpoints, now hearing directly from the horses’ mouth what Ozon’s intentions are. Schilt’s lack of commentary on this interview (despite extracts being used throughout the book itself) suggests Schilt’s wish to remain impartial, and having already pointed out how Ozon’s films often allow the viewer to come to their own conclusion and take different aspects from each time they watch his work, perhaps Schilt has aimed to offer the reader the same opportunity, leaving you to ponder on the mass of information he has provided.
This book would be ideal for a fan of Ozon who has enjoyed the director’s films, looking for a more in depth view of how the films were received internationally, and wishing to find out more about the lesser known aspects of Ozon’s career and his motivations. The interview is invaluable in providing an insight into the director and confirms that Shilt has drawn the correct conclusions in watching the films as the director agrees with many of Schilt’s points of view on cinephilia, and wanting to offer insight into difficult subjects such as same-sex relationships, patricide and mortality. Although Schilt’s advanced knowledge leads to a complex reading experience, his enthusiasm is passed to the reader, and successfully educates on the life of a fascinating man. AT
Book: Film In The Middle East And North Africa: Creative Dissidence
Release date: 5th April 2011
Publisher: University Of Texas Press
If the question of how much do you know about the cinema of the Middle East and Africa was posed to most people in the Western side of the world, the likelihood is that they could at best name a couple of films, or perhaps would have seen one of the more successful award-winning creations, such as Days Of Glory or Paradise Now, but the chances of them having a detailed knowledge would be slim. Little has been broadcast or written in the West about this part of the world’s cinema, which is surprising given the wide range of themes that have been covered, and the colourful history and geographical variety of the countries which are discussed in this book. Film In The Middle East And North Africa sets out to change this by providing an educational tour around the cinema of countries ranging from Iraq and Iran to Tunisia, Egypt and Morocco.
This book is introduced by Joseph Gugler, who is both a contributor and editor, as he discusses the different aims of compiling the series of essays which make up the collection. The essays which follow have a range of contributors of different nationalities, and they discuss both the cinematic industry in a general sense in the countries covered, as well as focusing in on specific films produced and the work of the most well known directors.
There are twenty seven essays in total and many different themes are discussed, including the barriers that directors have come across with funding and censorship, the role of women, fundamentalism vs. liberalism, the development of cinema historically, the use of fantasy and musicality, the use of language and camera techniques, as well as the production and distribution of the films themselves. The essays are grouped into nine sections according to the country under discussion, or if they have a strong thematic link (for example, the conflict between Israel and Palestine).
A detailed index is provided, alongside the essays themselves being well referenced, and some photographs of the directors or cast are included, as well as some of the movie posters in black-and-white. There is also a section at the end of the book which gives detailed information about the contributors...
One of the main achievements of Film In The Middle East And North Africa is the contributors’ ability to comment on films that the reader will perhaps not have seen while effectively conveying the importance of cinema to the countries discussed. The impression given is that cinema, as cultural entertainment, has also been intrinsically linked to the history of these countries - at times, it is even suggested that it may have helped in putting pressure on governments to change, (Iran) while in other instances government has intervened directly and made the production of films a matter of the promotion of nationalism (Tunisia). By describing the movement of cinema chronologically, while providing dates of important wars and changes of government, the opportunity to learn a lot about the history of the Middle East and North Africa as well as cinema is given, providing a more in-depth basis to the arguments put forward on the importance of this industry.
Most of the themes discussed such as the role of women and the influence of Islam could have easily lent themselves to controversy, not to mention the fact that countries which historically do not get along, such as Egypt and Lebanon or Israel and Palestine, are being discussed in the same book. The opportunities for conflicting and argumentative views are plentiful. However, the contributors to the book have, by and large, given an objective and well balanced view. Both the films which argue an Israeli point of view and the films which argue on Palestine’s side are discussed with equal merit. When discussing Liberalism vs. Fundamentalism (Destiny – Joseph Gugler, or Closed Doors – Gugler and Kim Jensen), the writers point out that there are benefits to both the political standpoints, going as far (in Closed Doors) to say that by showing the attractions of fundamentalism, a better understanding and therefore a move forward politically and intellectually can be reached.
Likewise, by the discussion of the problems of censorship that the directors have faced in all of the countries covered, albeit some more than others, as well as the fact some directors have created films to have them completely edited or in some cases the distribution refused, will highlight to the reader the plight of a lack of free speech for many people. This book can almost be seen as a political statement in itself by its aim to educate people who have perhaps not looked into the detail of the problems in the Middle East and North Africa, as by getting this information out there, the chances of more international pressure being placed on these governments to reduce the severity of the laws of censorship is made greater.
The variety of themes discussed, and the fact that the essays are not grouped by contributor but by country, leads to a more flowing and easy to read collection. Some original and valid points are raised and the passion of the essay writers about the cinema they talk of, as well their support for the directors in trying to move things forward politically and bring important issues of government into the open, is plain to see. The problem of the divisions between the countries of the Middle East and North Africa is often highlighted as a topic, yet despite the countries covered by these essays being kept separate, many themes re-occur in each of the essays, and this serves to show that despite the geographical and historical differences, the countries discussed are all linked to a certain extent. This underlines the ability of film and cinema as an art form to connect humanity on a deeper level, as a director from Lebanon may have the same problems to work on in film production as someone in Israel, despite the historical conflict.
The discussion of globalisation and colonialism are important issues both for a reader in the West or reader in the Middle East and North Africa, and by showing how, for example, the funding of film in Europe can be for political gain, such as funding from France being more likely if the film has French-language subtitles or audio, serves to bring to the attention of the reader how film and politics are often linked more than is obvious. Film In The Middle East And North Africa makes many subtle points which raise important philosophical questions, such as how much the Western world has influenced their history, without giving the impression of having an aggressive standpoint in any sense, which although difficult to do, has been done successfully.
Film In The Middle East And North Africa succeeds in providing a balanced and detailed guide to the film industry and issues which directors of film still face today. With the recent turbulence in the Middle East and North Africa, this book has even more relevance in showing how film can be a voice for the people, and lead to the shaping of politics in subtle ways, as the directors continue to try to push barriers in censorship in the cause of artistic expression. Well written and referenced, Film In The Middle East And North Africa offers a fascinating insight into the films which have already been created, as well as the common barriers which still remain for those trying to work in these countries today. AT
Following the success of the Scotland Loves Anime Festival, which took place last October, the Filmhouse in Edinburgh held the We Love Anime Festival on Saturday, 26th and Sunday, 27th March. Four films were shown; Laputa: Castle In The Sky, King Of Thorn, Summer Wars and Sword Of The Stranger, so the organisers went with a mixture of new releases and old classics (Laputa: Castle In The Sky was originally shown in 1986).
With less fanfare than the Scotland Loves Anime Festival (the list didn’t include this on their weekly round-up and it wasn’t well advertised in the city centre), the event still managed to fill around half of the large cinema and drew both children and adults to the screenings. Those who purchased tickets to all four films received a goodie bag from the sponsors, Uniqlo, which contained two DVD’s, a Uniqlo T-shirt and pre-order coded Uniqlo cards…
Summer Wars
Kenji Koiso has a crush on the prettiest girl in school, Natsuki Shinohara, so when he is offered the chance to spend a week in the summer at her grandmother’s house, he jumps at the chance. It soon becomes clear that Natsuki has invited him there under false motives, asking him to pose as her successful fiancé.
Events do not unfurl quite as expected as he unwittingly gets out of his depth when the virtual cyber world Oz becomes infected with a deadly and powerful hacker virus called the Love Machine. Kenji and Natsuki are locked in a race against time to try to prevent the Love Machine from destroying Oz, creating Armageddon in the real world.
The idea of Oz is well explained as an alternate reality where people choose avatars and can complete a range of tasks from virtual shopping to the virtual battle scenes, which form an entertaining part of the movie. The sheer quantity of avatars, which we see in Oz, is testament to the imagination of the animators; the cyber world providing a bubble gum pop contrast to the traditional Japanese world Kenji and Natsuki live in. The concept, although continuing the trend of films such as The Matrix, and the lasting popularity of films such as Tron, feels fresh and interesting - the idea of a cyber world like Oz seems achievable and maybe will be the next step to social networking sites such as Facebook.
The sub-plot of the unrequited romance between Kenji and Natsuki will ring a chord with any teenagers who have found themselves in a similar position and offers many comical moments as the awkward Kenji becomes embarrassed by his feelings. The character of Natsuki’s grandmother also provides a dry sense of humour as she serves a role as a moral compass encouraging family values, traditional Japanese customs and games which later become vital to the success of the protagonists in their thrilling challenge against the Love Machine. The fact that the resolution of a dilemma in a cyber world has been aided by a traditional Japanese lady’s efforts and the chaos which Oz’s failure has on society serves to highlight the negative side of technology. This is counterbalanced in a moving way as Natsuki uses the internet’s power to connect millions of avatars across the world in the final battle.
King Of Thorn
In this sci-fi thriller, Medusa, a deadly virus which turns it’s victims to stone, is spreading. Desperate to preserve some aspects of normal life, a select group of patients are cryogenically frozen by the government, with the hope that they will be woken up when a cure is found. Amongst them is one half of a pair of identical twins Kasumi and American Marco Owen.
The patients wake up to find the cryogenic centre under attack by a mixture of thorn like plants and vicious alien creatures. The small group are puzzled as to why they are awake and try to find a safe escape from the building, fighting off gruesome attacks as members of the group are picked off in gory battle scenes, with the macho Marco becoming the action hero. They soon realise that all is not as it seems as less time has passed than they realised, and the mysterious A.L.I.C.E computer, who was supposed to control their stasis, has been playing her hand in events.
This was definitely a film for those who like their plots complex and their battles blood filled. It doesn’t disappoint in gore and gruesome blood soaked deaths, but the plot, at times, is too confusing, as if too much has been packed in. The similarity to Alien or Predator and other zombie ‘end of days’ films is also unoriginal, whilst the writers clearly took the easy “it was all a dream” escape route to tie up loose ends. At one point, one of the characters even said: “This is too much like something out of a movie, please tell me this is all a dream.”
The film is based on the longer manga series, so perhaps trying to fit all the storylines and characters into a shorter segment has led to a loss of quality. However, the opening graphics are amazing and the initial pace of plot enjoyable. The speed of the growth of the thorny plants and injuries sustained in battle are animated well and there are a lot of gratuitous elements, focusing in on Kasumi’s short skirt and Marco Owen’s muscular attributes, which is amusing.
The decision to show a film at an Edinburgh Anime Festival which referenced a castle in Scotland and in which the twin sisters wear kilts was perhaps a minor reason for showing this film. It did definitely provide a contrast to the simpler plots of the other films at the festival, which focused mainly on one theme of revenge or love, however, by replacing some of the sudden plot twists with a more identifiable human story would have improved the viewing experience. It’s a thriller which delivers on action and suspense, but is a little disjointed and poorly edited.
Laputa: Castle In The Sky
In this innocent tale of childhood romance and swashbuckling adventure, we are introduced to Sheeta as she escapes the grasp of air pirates and falls literally into the life of young miner’s son Pazu, saved by a mysterious crystal as she plunges to earth from the ship in the sky.
Chased by both pirates and a menacing stranger, who has enlisted the help of the army, Pazu and Cheeta embark on an adventure to find Laputa, which according to myth is a castle in the sky of great technological power and advanced people. The troubles that Cheeta and Pazu encounter trying to solve Laputa’s mystery bring the pair closer together, and as they develop feelings for each other, the film becomes a touching coming of age romance as well as a thriller.
Considering it was produced in 1986, the animation still comes across as detailed and complex without seeming dated. The audience were kept laughing, so the sense of humour is also timeless. The innocence of the plot, with even the fight scenes being given a decent injection of humour, makes this a family friendly film with a moving moral tale to match.
There is good use of music for dramatic purposes and the characters of the pirates provide many comic moments. The film itself covers many different locations, so the attention to detail is impressive, especially in the fast moving action scenes, which come across as connecting smoothly – again, considering the date of production, it’s impressive that this is so seamless. There are some interesting graphics, such as the cool robot, and scenes in the air with the pirate ships and Laputa give a futuristic feel.
Laputa: Castle In The Sky made for perfect afternoon viewing and is an uplifting and touching adventure.
Sword Of The Stranger
We are introduced to the young boy Kotaro and his faithful canine companion, Tobimaru, as they flee the monastery they have been staying in as it erupts into flames. They try to find refuge by travelling to a different monastery, but have to forage and scavenge on their way in order to survive.
Hiding in a small wooden house, a stranger with a Samurai sword turns up and ends up saving Kotaro and Tobimaru’s life when some menacing Samurai turn up and try to take Kotaro, injuring Tobimaru in the process. Kotaro pays their saviour, who is a nameless warrior, to give them safe passage to the monastery, but powerful men who work for a Chinese dynasty have decided that Kotaro is needed for a deadly sacrificial ritual and it falls to the nameless warrior to come to the rescue yet again.
Based on a tradition samurai anime story, with loud Taiko drumming to accompany the battle scenes, this film doesn’t leave the viewer feeling as if they have come away with anything shocking or new; however, it is still enjoyable. The battle scenes are expertly animated and the huge block-like blonde haired warrior, Luo Hang, comes across as a terminator figure as he destroys any challenger coming his way in his search for someone worthy of his sword in battle.
The relationship between the nameless warrior and Kotaro is touching and the characters come across as having depth and being well thought out. As the two male protagonists bicker due to their desire to rely on no-one but themselves, but eventually come to emotionally care for each other, it is a good balance to the violence and battle scenes, whilst showing the relationship between male friends, as opposed to a samurai tale based on a love story, is something different
There are some interesting uses of art to provoke reaction, such as blood spattered on snow, a female samurai axing lesser opponents, and samurai being destroyed by their own swords. The film successfully perpetuates the allure of the samurai as an excellent discipline and means of self-defence, as the skill level of the samurai are tested in fights to their deaths. The brooding and mysterious nameless warrior talks of the horrors of battle, but also uses his discipline to save Kotaro and Tobimaru and tries to impart some wisdom on the young boy - this again succeeds in showing a respect for this discipline rather than just focusing on notching up a body count.
It is also refreshing in that despite the plot having interesting turns, which are not easily predictable, the film avoids stepping into the trap of trying to over complicate events and instead relies on the realism of the characters to provide subject matter for thought.
Overall the selection of these four films was a good choice for balance and offered something for every anime fan, whether they wanted a thriller with a twist, a film that both young children and adults could enjoy, a well conceived samurai action thriller, or a futuristic technological suspense drama. The Filmhouse, as usual, were well organised and ensured a decent viewing gap between the films, but it would have been an improvement to have something like the animation stills, which were available for viewing at the Scotland Loves Anime Festival, or perhaps some literature on anime for those who were interested in learning more.
The success of these and other anime events suggests that fans will be able to still enjoy viewing anime in a cinematic experience in Edinburgh and perhaps this will introduce more people to experience this genre of filmmaking. Doubtlessly, there will be another opportunity to experience more anime at the Filmhouse this year, and it will be interesting to see if the listings for the Film Festival in June have any new anime releases on the billing. AT
Film: Over Your Cities Grass Will Grow
Release date: 28th March 2011
Certificate: U
Running time: 105 mins
Director: Sophie Fiennes
Starring: Anselm Kiefer, Klaus Dermutz
Genre: Documentary
Studio: Artificial Eye
Format: DVD
Country: France/Netherlands/UK
Over Your Cities Grass Will Grow was shown at Cannes in 2010 in the Out Of Competition category. A documentary style film about the work of German artist Anselm Kiefer, this is British director Sophie Fiennes’ first work to be shown at Cannes, and it has widely received critical acclaim for its innovative approach.
Anselm Kiefer has made the decision to move to a derelict rural area in Barjac, France and undertake a large scale artistic project. Taking the ruins of an abandoned silk factory, Over Your Cities Grass Will Grow shows us Kiefer and his team creating a network of tunnels and cavernous rooms which have been filled with art work and sculpture.
Fiennes provides a thorough documenting of the site itself, panning through the different areas of the commandeered ruins in France. There is no narration or director’s commentary but an in depth visual examination of the area and plenty of footage of Kiefer and the artists at work on a series of large paintings and sculptures.
There is an opportunity to see the work being made at different stages throughout, intersected with more visual exposure. An interview with Kiefer is recorded providing some insight into his motivations. The film also offers the documentation of the different techniques used by Kiefer to create his art, such as firing techniques, the use of large cranes to haul lead structures and diggers to use the earth itself as a construct…
The human emotion usually driving a film is distinctly hidden in this documentary style piece. Instead, human emotion and dialogue have been mostly replaced by the emotion invoked by art and architecture, which has an unsettling effect. The long opening shots exploring the expansive constructions and a lack of a discussion of what is happening until the interview with Kiefer allow the viewer to develop their own emotional reaction to what is unfolding, and to draw their own conclusions with little direction from either Kiefer or Fiennes.
The chilling music would suggest that Fiennes is leaning towards an almost sci-fi slant, with the collection of sculptures and art coming across as an industrial Atlantis, abandoned and devoid of human touch until we see the artists at work. The impression is one of following a camera as someone takes a tour around a preserved site of historic interest.
Kiefer and his team are working on epically sized sculptures, such as the rectangular construct of a sea with a large book suspended top centre. The contrast between the human artists and the soulless overgrown constructions is striking. The predominant colour seen in this film is of the heavy structures in greys and metallic shades, feeling cold and again something to project feelings onto rather than take warmth or feeling from. By being able to see how Kiefer works and amends his vision of each work of art we are drawn into life as an artist, because usually as spectators we would just see the finished piece. This involves the viewer on a deeper level, and often leads to introspective thought as to what art means to the individual.
Over Your Cities Grass Will Grow is very much a visual film. In the interview with Kiefer he describes his art as linked to scientific and religious viewpoints on Creationism and how he sees art as a beauty which fills the void of a lack of knowledge about the creation of the world we live in. This rhetoric, although abstract and moving, does not inform the viewer as to the purpose for the works once Kiefer and his fellow artists have left. There is no mention of this becoming either an inhabited or a public exhibit, which only serves to increase the curiosity about this artist and the project.
In one respect it can be quite draining to spend the duration of the film with a series of mostly visual images with which to guide your thoughts. This requires a heightened conceptual awareness throughout, and depending on the viewer’s temperament, there are no fixed boundaries to stop your imagination wandering as far as you desire, or, of course, being entirely bored. Due to the brief nature of the interview with Kiefer, the thematic intentions of the film are also left open. The idea of the destruction of humanity is hinted at through the fact that these buildings will outlive humanity, as well as the fact that no human purpose, even on an artistic basis, is made clear. The title itself could infer that this construction could be abandoned until grass grows over it, perhaps for a new generation to come across it and discover it.
Sophie Fiennes is mostly known for elusive art house pieces, and this has been her first well received film at Cannes. Over Your Cities Grass Will Grow displays a masterful use of subtlety, the use of hidden direction to give the viewer a truly subjective experience. It gives the sense of having witnessed the work in person, delivering a similar feeling as having visited an art gallery, as you are required to analyse each new scene with your own perceptions and interpretations forming the basis of your enjoyment of the film. It is a refreshing change. AT
Book: À L’Écran: Short French Films And Activities Manual
Release date: 31st January 2011
Publisher: Heinle
Heinle, an arm of the educational resources giant Cengage have produced À L’Écran; a combination of a DVD of short French films with an accompanying activities manual. A variety of directors have contributed with several of the films having won awards at an international level.
The activities manual is divided into seven sections, each corresponding to one of the films on the DVD provided. The films are in French with the availability of French subtitles only. The films themselves range from a young girl discussing emotions usually associated with adults, such as love and suffering, to a Canadian animation about a boy’s dreams of wearing his hockey idol’s jersey being crushed, to an actress rehearsing for an audition with an apparent stranger, as well as a ground hog day style nightmare as a commuter befalls a series of unfortunate events and others.
The activities manuals are all of a similar lay out, containing options to discuss the themes of the film prior to the viewing, some useful and basic vocabulary, questions on the themes of the film and your interpretation of the subject matter. Depending on the film, exercises to test verb structures and options to replace missing words, testing oral ability, are also available. In addition there are tasks you can carry out in groups which are tied in either directly to the film that you have watched, or to topics loosely tied to the film’s plot…
The use of quite artistic themes in the films is a novel approach to what is in essence an educational tool, and it succeeds in making this combination of short films with related activities feel more refreshing than the traditional format, where usually material is gathered by filming basic conversation or using material sourced from a shop floor for filming people in a train station, for example. Due to the films being respected in the genre of short films, as seen by the collection of awards they have obtained, this collection represents great value as you are not just watching material for the sake of education but also for enjoyment in itself.
Some films succeed in being as comprehensive and moving as a full-length feature film. Gratte-Papier is about two strangers who meet on a train, find each other attractive and use a novel means of communication. It is a romantic idea and comes across as well rounded and light-hearted. The discussion questions for this film invite the student to consider their own view points, asking what they would do in this situation. Students are also invited to analyse the actor’s work; such as why certain facial expressions were used and what they think the character’s internal monologue is. This will have an added benefit with younger students in not only improving their French language but also in developing their own view points, and learning more about how to express their opinions in a group.
Due to the fact that in each of À L’Écran’s films professional actors have been used, and that each film has a strong and clear thematic basis, the impression is one of a lot of time and thought having gone into the creation of the work, even if some come across as being over-emotive (Le Temps) or having been written in a slapdash comedic style (Rien de Grave).
The structure of the questions in the manual is excellent, testing both the ability to debate issues in French, comprehension of complex themes, and provision of useful vocabulary. In having a varied range of questions, both oral and verbal ability is tested well. The questions are set at an intermediate level, somewhere around A-Level standard.
The vocabulary sections are well matched to the films, with the colloquial phrases and more difficult terminology explained. By having a section dealing with ideas to discuss before the film, students will be able to focus their minds on the topics as well as the added benefit of assisting understanding of the French quicker as you know which area will be focussed on.
Considering the fact that the activities manual is quite short, the material in each section should still easily provide a lengthy amount of discussion time, which would be useful to perspective teachers who are most likely to want to use this, however, of course, someone who is interested in brushing up on their French while also treating themselves to some short films will also find this a stress free way to do so.
The solutions to the questions and tasks are available on the publisher’s website, so internet access will be needed. With modern resources, this shouldn’t pose a problem, however, it perhaps would have been a beneficial addition to have the option to select English subtitles as well as the French, but this again depends on the user’s preferences – arguably immersing yourself in just French without the ability to ‘cheat’ will have better lingual benefits.
This activities manual and series of films should succeed in keeping students engaged, and will reveal easily the areas which they may need more assistance on to the instructor or teacher, so this would be a valuable resource to own. AT
Film: Susana
Release date: 14th March 2011
Certificate: 12
Running time: 80 mins
Director: Luis Buñuel
Starring: Fernando Soler, Rosita Quintana, Víctor Manuel Mendoza, Matilde Palou, María Gentil Arcos
Genre: Drama
Studio: Mr. Bongo
Format: DVD
Country: Mexico
In the 1940s, infamous director Luis Buñel moved to Mexico and began a regeneration of his career. Susana (The Devil & The Flesh) was released in 1951, and represents a slight detour from the total surrealism of previous works, such as the internationally renowned Un Chien Andalou and L’Age D’Or. Here, the director focuses on a narrative tale of a family in Mexico, however, the film still maintains the surrealist stamp of Buñel in other, subtler ways.
Susana is set in Mexico, where a wealthy family find their lives disrupted when a beautiful woman arrives at their ranch one stormy night. Susana has recently escaped a reformatory, although she lies and blames an abusive husband for her unruly state, saying she escaped a family he had sent her to live with. The mother empathises with Susana, saying she can stay with them in return for helping them with general chores about the house.
Susana (played by Rosita Quintana) is a beautiful woman, and soon sets pulses racing amongst both the men on the staff and the men of the household. Alberto, the son, takes a particular shine to the newcomer, as does Jesus, who looks after the horses.
The older servant sees the fact that Susana arrived during a storm as a bad omen, warning the matriarch that this can only lead to bad news, and as Susana starts to play each man against each other, and cause disruption in the family home, it appears her warnings should have been heeded…
Historically, Buñel has used shocking images (the slicing of an eyeball in Chien Andalou) and the unexpected (the disintegration of the bishops in L’Age D’Or) to express his surrealist motivations. Susana still rejects the traditional way of life, but as mentioned, this is done in a subtler manner. Buñel takes a traditionally Mexican bourgeoisie family and uses a sexually liberated woman to disrupt them. The ease with which Susana corrupts and manipulates the male characters serves to mock the system which had restrained her, and shows the ease at which the traditional values championed in this era can so easily be destroyed.
Susana appears in the midst of a storm, when she leaves footage is shown of a new dawn. This use of pathetic fallacy and the cry of the maid that a storm could only mean the devil is at work lends a fantastical tone to the film. At times, it feels like Bela Lugosi might appear from behind a stable door.
Susana is supposed to represent a demon in flesh’s form, yet the means Susana uses to seduce Alberto, Jesus and eventually the father (Guadalupe) are mostly innocent, and at times farcical (pretending to fall over being the most common). This could be yet another ploy by Buñel to highlight how fairly innocent sexual desire can be construed as the work of the devil in this traditional society - the tendency of the traditional manner of seeing anything progressive as being dangerous.
The sudden return to reality as the cause of the disruption (Susana) is removed, and the ease with which the mother forgives her husband’s adultery, also highlights the ease with which the bourgeois are content to sweep true feelings under the carpet. The mother again scolds her son for sitting at the table before his father, as she did at the start of the film, suggesting that despite the uproar and emotional damage to her marriage, she will always seek sanctity in convention, returning to her normal daily routine. By doing this, Buñel succeeds in making the viewer question who is actually worse, the manipulative Susana, who is open in her motivations, or the family, who prefer to save face, but in doing so lie to themselves.
Buñel manages to convey the machismo traditional in Mexican society effectively as the men tussle for Susana in quite a possessive bravado fashion. There are some highly charged exchanges between Jesus and Susana as their wits are played against each other at break neck speed, and as a comedy, this should not fail to tickle on occasion. However, the slapstick chain of events does not really deliver the darker moments that the dramatic full title of Susana seems to promise. After the dramatic opening scene’s set to a musical fanfare, the film becomes almost light hearted and devoid of emotion and depth. It can, at times, feel like a series of events thrown together, and the ending is a little too neatly wrapped up, with very little having seemed to have changed in reality to the family. If Buñel truly wished to mock the bourgeoisie, why have they escaped relatively unscathed? They are still wealthy, together, and happy, albeit in denial.
Those seeking a surrealist masterpiece will be disappointed as Susana comes across as a quickly penned comedy, as if Buñel is dipping his toes into farce. Susana seems to walk the line between a western and a musical. There are no dream-like imaginings or occurrences which truly shock.
Susana seems like a fairytale, but with neither the traditional happy ending route followed, nor an outright rejection of the classic formula. This ambiguousness and lightness in itself can be seen as surreal, but should a viewer have to work that hard to find subtleties? Susana is best seen as a comedy, a farcical experiment. It is easy to watch, with the beauty of Quintana being an attraction in itself. However, as a film from a surrealist director who has pushed the boundaries of filmmaking, Susana doesn’t quite fulfil expectations. AT
Series: Vampire Knight – Part 4: Episodes 14-17
Release date: 28th February 2011
Certificate: 15
Running time: 72 mins
Director: Kiyoko Sayama
Starring: Daisuke Kishio, Mamoru Miyano, Yui Horie, Fumiko Orikasa, Hiroki Yasumoto
Genre: Anime
Studio: Manga
Format: DVD
Country: Japan
Vampire Knight – Part 4 sees Matsuri Hiro return with a revelatory series of events taking place at Cross Academy, a dangerous place where vampires mix with normal students - some having accepted their night-time existence, others forging a battle to control the beast within. Fast paced and emotional, this gothic romance takes the viewer on a bumpy ride.
In episodes fourteen to seventeen, pureblood vampire Kaname still stalks the shadows of our heroine Yuki Cross. We watch as the love triangle between Kaname, Yuki and Zero complicates, with the tension rising when Yuki is offered a solution in her quest to prevent Zero from descending into Level E status. She is asked by pureblood vampire Shizuka to choose between the two brooding men. Will she be able to sacrifice Kaname to save Zero?
Zero’s twin Ichiru returns to cause trouble and reveals the cause of his anger, which has so far tainted the relationship with his brother. Shizuka and Kaname are cast against each other in a power struggle where they icily disagree over the protection of Yuki. Meanwhile Yuki’s turmoil continues as she tries to remember the memories which have been hidden from her past, questioning Kaname as to his motives for suppressing them.
Yuki’s father Kaien continues to prove a mysterious figure, turning up on the sidelines when least expected…
Hiro has a talent for transferring beauty onto the screen - the students at the academy seeming impeccably groomed with glassy eyes and choppy layered hair. The tailored jackets could be convincingly haute couture designs. The inclusion of a ball at the academy offers the chance for some teenage angst as the plainer students dare to hope to break into the circle of these beautiful people.
This is not a relaxing segment of the Vampire Knight story as there a constant threat of violence running alongside the hasty exchanges of conversation, which occasionally does lead to fighting and, as expected, the drawing of blood.
Hiro has a strong tendency to play to the emotive side of the plotline and as a result relationships between the protagonists are fraught with jealousy and there is no shortage of emotional confrontation.
Interestingly, the scenery is used to convey drama, such as when Kaname finds it hard to control his frustration, the Academy’s glass windows shatter, and later a chess piece crumbles as his powers increase. Kaien Cross’s hyperactive reaction to Yuki in her ball gown, however, perhaps crosses the line into madness. There is an excellently animated scene when Ichiru and Zero come to blows in episode eleven, with a swift sword fight between the brothers, involving beautiful airborne kicks and clashes of metal.
Hiro’s ability to convey the movement of wind throughout is also very realistic and impressive. It mirrors the story’s twists and turns, a metaphor for the inability for the characters to find security, their lives also being mutable.
Although full of drama and constantly surprising, the speed which the story moves at means no one theme or shock to the viewers is explored for very long, so entertainment takes priority over depth. Each conversation is a jigsaw piece in the Vampire Knight puzzle - quickly snatched moments used to reveal shocking truths. This can make the episodes seem jumbled rather than progressing naturally, although it does ensure those with a short attention span will be kept hooked. Due to this muddling of the plot, there is a heavy reliance on the use of flashbacks to keep the viewer from losing track on how each chain of events could have started. This will be useful if you are coming to Vampire Knight for the first time, but may seem like filler for those who are already aware of the storyline.
As mentioned, there are moments of great beauty, both in the animation itself and in the love shown by Yuki towards Kaname, and the tenderness Zero still maintains for Yuki, despite his desire to feed due to increasingly dominant call to his kin. The colours used are quite muted, though, and there are few changes of scenery, with the majority of the commotion taking place in the Academy.
After the shocking ending to episode twelve, the direction and mood changes to hinting at what could be to come in Vampire Knight - Part Five. The vampire senate is discussed, the worry being their anger at developments which have taken place so far in this volume. There is a sense of a move from looking inwardly at the love between Yuki and Zero to the larger vampire world, which is one of strict rules and greater power. The impression is given of calm before the storm. and it seems the themes of the series are coming together to hint at a stronger episode to come in the next series.
As a romantic drama, Vampire Knight doesn’t disappoint. It draws you in and keeps you entertained and shocked, if only to lose structure slightly as a result. Hiro stays true to traditional vampire folklore and effectively keeps a balance between the darkness of the vampire’s torment and the lightness of Yuki’s love, and so prevents the plot becoming too heavy or comedic. There are plenty of loose ends and a threat of involvement from the senate, so with these grand events on the horizon hopefully further work from Hiro will deliver the same level of beauty, but with a greater sense of depth. AT
Film: My Brother Is An Only Child
Release date: 11th August 2008
Certificate: 15
Running time: 108 mins
Director: Daniele Luchetti
Starring: Elio Germano, Riccardo Scamarcio, Angela Finocchiaro, Massimo Popolizio, Ascanio Celestini
Genre: Comedy/Crime/Drama
Studio: Revolver
Format: DVD
Country: Italy/France
In this Italian drama directed by Daniele Luchetti, we are introduced to the Benassi family, who chaotically co-exist in Latina; a small town located forty miles west of Rome. Accio, the youngest, is bursting with the famous Italian fiery spirit, clashing with his family and dividing them along political lines. Set in the 1960s, My Brother Is an Only Child sets out to examine one of life’s strongest bonds, that between two brothers, and follows their progress as violent clashes between the local fascist and communist parties, and the temptation of a beautiful woman threatens to tear them apart.
Accio, played by Ellio Germano, is pulled away from a life in the priesthood by his elder brother Manrico, who is played by Riccardo Scarmarcio. Returning home to find his room given to his sister Violetta, and his parents unwilling for him to follow his natural ability in studying the classics, Accio begins to rebel, claiming unfair treatment, starting arguments wherever possible, and sparring with Manrico, often coming to physical blows.
Accio finds escape from his tumultuous family home by helping a local market trader called Nastri. Nastri tells of better days under Il Duce, or Mussolini, explaining that after the Second World War, millions of Italians deserted the fascist cause, betraying the ideals of an Italy where the rich looked after the poor. This appeals to Accio’s enquisitive mind, and he signs up with the local Fascist party, to the dismay of his working class family, especially Manrico, who is an active member of the Communist Party.
Society is bubbling in Latina and across Italy. Worker protests, rallies and fighting break out between the two rival parties. It is in this context that Accio comes of age, and when he meets the beautiful Francesca, played by Diane Fleri, he immediately professes his passion for Fascism in the hope of impressing her. However, it comes to light that Francesca is already dating Manrico, and is a member of the Communist Party. Accio seems destined to be relegated to being a shoulder to cry on for Francesca, while Manrico the older, successful, better looking brother gets the girl. Though Manrico is unreliable, and as politically turbulent as his younger sibling, and he quickly spirals into suspicious dealings, increasing the element of danger to our central characters…
Peppered with political sloganry, passionate outbursts and fiery displays of emotion, My Brother Is An Only Child begins with much potential to be a fantastic drama. The tension between the family crackles in tandem with the socio-political issues of the town, drawing the viewer into life in a highly politically charged society. Despite the occasionally shaky camera work, the subtle aging of Accio near the beginning of the piece, along with the well directed crowd scenes at the rallies impress. Scamarcio and Germano are realistic as brothers, and the frustration of Accio at being the youngest and pipped to the post with Francesca is an empathetic performance.
There are often highly comedic moments, such as the love tangle between Accio and an older woman, and the efforts of Accio to be seen as a man by Francesca despite her persistent dedication to Manrico.
The energy, however, begins to fizzle out. Despite its billing as a tale of the relationship of two brothers, Manrico suddenly disappears from view, and the romance card is played to the detriment of the gripping drama this could have been. Yes, we are watching Accio mature, and this is of some interest, however, the climatic ending of the film loses its full effect as one of its main character’s has been without plot for some time.
As a result, this changes from an interesting on-screen discussion of the divisive effects of pro-active political belief, to a slightly directionless everyday segment of a teenager’s life, with the plot only just scraping some drama in before the finale. Historically, politics has had counter-intuitive effects when theory becomes practice, communism and fascism both examples of how the ideal can attract followers only for corruption and the destruction of human rights to follow. With such potential for drama unexplored, the film feels a little shaky. Is it a political drama? Or is it a story of sibling rivalry?
It certainly isn’t consistent, however, it does cover, if swiftly, some important points which are still relevant today. For example, the ease of people in power to use a political ideal to remove liberties, and the power of propaganda when offering a sense of belonging to those who feel isolated and lost.
As a whole, My Brother Is An Only Child attempts to tackle many subjects at once and doesn’t quite pull it off. With both moments of excellence and disappointment, it is on the way to perfection, with the plot more at fault that the direction itself. Luchetti’s greatest success is conveying the Italian tendency to be emotive and passionate in their ideals, sometimes prone to anger, but romantics at heart. AT
Film: Lilya 4-Ever
Release date: 22nd September 2003
Certificate: 18
Running time: 109 mins
Director: Lukas Moodysson
Starring: Oksana Akinshina, Artyom Bogucharsky, Lyubov Agapova, Liliya Shinkaryova, Elina Benenson
Genre: Crime/Drama
Studio: Metrodome
Format: DVD
Country: Sweden/Denmark
Written and directed by Lukas Moodysson, Lilya 4-Ever focuses on isolation, poverty and the natural human desire to want to better our circumstances. Set ambiguously “somewhere which used to be the Soviet Union,” Moodysson aims to portray the story of a teenage girl born without luck or privilege. Lilya must learn to survive abandonment and poverty and use desperate means to gain her escape, with tragic consequences.
Lilya lives on a rundown estate block with her single mother, who we learn has secured passage to America, but does not take her only daughter with her. Lilya is left to the care of a sole Aunt who does not look kindly upon her new responsibility. Neither the school, social services, nor her friend Natascha provide support or kindness, and with food and basic amenities running out, Lilya turns desperately to prostitution as a means to survive.
She reluctantly strikes up a friendship with a troubled younger boy called Volodya in a part maternal, part romantic relationship which is to be only constant in the short segment of her life we are invited into.
While looking for her next client, hope arrives in the form of Andrei, a handsome suitor who is on vacation in her town. Expressing desire to spend time with Lilya, it seems hope and a chance at love has come at last, and Andrei soon offers a chance to escape the cycle of poverty by smuggling her with him to Sweden.
However, Andrei has not told Lilya everything, and she is soon to learn that her escape from pain will not be as easy as she had at first hoped…
Oksana Akinshina convincingly portrays the naivety of a teenage girl with all the bittersweet emotion from learning how adults can betray and hurt others. First her mother, then Natascha, and later Andrei all force Lilya to mature prematurely when they hurt her, and Akinshina realistically demonstrates the ability of people backed into a corner in learning how to survive by whatever means necessary. First reacting with anger and shock, and later with a dull numbing acceptance that these are the cards she has been dealt.
In dealing with the issue of child poverty, illegal smuggling, prostitution and sexual assault, Moodysson rarely offers a break from seemingly unrelenting misery. The film offers an insight into a country whose socialist politics were once championed as an ideal for the people, yet whose people were the first to be forgotten when capitalism took over.
The lighting is often grey and miserable, the buildings devoid of luxury and in disrepair, reflecting the bleakness of the character’s situation. Lilya’s story is believable, the people who do her damage equally so - the film, at times, even seeming like more of a documentary or biography than creative entertainment.
There are often subtle references to current and past Russian culture, such as the teenagers’ obsession with hardcore techno music and the latest sportswear, which has recently spurned a black market for forgeries in Russia, or the discarded party propaganda, addressing comrades of a distant time.
We are also introduced, briefly, to an elderly neighbour, and hear the recently deceased owner of Lilya’s flat being described mockingly as a “war hero.” Lilya and her friends’ negative attitudes to both of these characters demonstrate that despite the sympathy generated by us for Lilya’s plight, she in turn does not offer the same in turn, highlighting the human tendency to be inward looking, and the ability of youth to dismiss the past.
Although doubtlessly a realistic insight into life at the lowest point in society’s order, Lilya 4-Ever does not offer much more on top of documentary-style heartstring tugging. This film is ideal for those interested in learning more of what is a reality for many poor and desperate unwanted teenagers, not only in Russia but in many parts of the world today as the gap between rich and poor widens. However, this a true to life tragedy, and there is little to distract from the repetitive hammer blows that this young girl receives.
Unlike Moodysson’s previous work, Together, which had delightfully intricate characterisation, Lilya 4-Ever has little to offer in analysis of relationships between people, as Lilya does not have any successful relationships to speak of. Her main friendship with Volodya is in one sense a touching demonstration of childhood innocence, and the strong bond which can develop in desperate times, but they are both children, and due to this, the conversation itself never evolves to an adult level. There is a beauty in this, of course; however, this film is one of emotion and sadness, and not one for those who are expecting the witty exchanges and character variety that Together provided.
Moodysson has a talent for reflecting the culture and essence of a certain time and drawing out emotion from the location and the people. However, he is so consistent in this that you should not expect respite from the themes he is passionate about expressing. Definitely worth its initial critical acclaim in so much as being a realistically moving plot and shot well, but not one for the emotionally delicate or those prone to depression. AT
