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Film: Brotherhood
Year of production: 2009
UK Release date: 13th June 2011
Distributor: TLA
Certificate: 18
Running time: 90 mins
Director: Nicolo Donato
Starring: Thure Lindhardt, David Dencik, Morten Holst, Claus Flygare
Genre: Drama
Format: DVD
Country of Production: Denmark
Language: Danish
Review by: Patrick Gamble
Winner of Best Film at the Rome International Film Festival, Brotherhood’s tale of Danish neo-Nazis arrives on DVD conveniently amidst the recent controversy surrounding Denmark’s most famed director, Lars Von Trier, and his Hitler ‘slip up’ at the Cannes Film Festival. Indeed, the issue of fascism is somewhat of a hot topic currently and, as the recession spreads across Europe, there is a genuine concern regarding the movement of disenfranchised voters to the far right and the growing popularity of excessively nationalistic political groups. However, Brotherhood is more than a story about extremist views – it’s a desolate tale about love and identity.
Danish serviceman, Lars is denied the promotion he’s been striving for due to recent allegations about drunken passes he’s allegedly made towards male subordinates. Disgraced, he returns home and moves back in with his parents, who seem curious as to his sudden return and take little time or thought before pressurising him into re-enlisting.
On one seemingly typical evening, whilst catching up with old friends, Lars encounters two members of a local neo-Nazi group. One of these men (Fatty) is a high ranking member of the organisation who takes an instant shine to Lars, despite his eloquently voiced dissent towards their violent tactics. He senses Lars is a promising young man, angry at the world, lost and in need of a new direction – all the ingredients necessary in a potential new recruit, and Lars quickly disregards his previous moral high ground in search of a feeling of belonging.
When Lars provokingly admits to an assault of a local immigrant, carried out as part of his initiation, his parents quickly expel him from the family home, forcing him to find refuge elsewhere. Ultimately, this action submerges Lars further into this dark underworld of violence and ignorance, leaving him little option but to accept the warm hospitality of Fatty.
Lars ends up living with Jimmy, a highly respected member of the crew, complete with numerous swastika tattoos and the stereotypical shaved head and muscular build of a radical racist. The two men’s relationship begins with much hostility but soon moves to grudging admiration, friendship and eventually passion, as they become intimate lovers. Their forbidden romance goes completely against the doctrines of their gang and they must quickly come to terms with what will happen to them once they’re exposed...
This marriage of love and violence is largely achieved through a stirring use of non-diegetic sound and elegant camera work. Scenes of violence or heightened ‘manliness’ are softened with lilting strings and ambient music, which seems to whisk us out of this vile and boorish world. The cleverly angled shots and use of soft lighting create a warm, painterly backdrop from which we can comfortably view these occasionally disturbing events. With the film’s rough edges gently sanded down for us, we’re joyously prevented from feeling too close or too far apart from this gritty, suffocating atmosphere of fear and exacerbated masculinity. Reversely, at the few crucial moments where a clear depiction of these violent scenes is necessary to further advance the plot, the raw energy and anger is freely allowed to pour out of the screen. This harsh contrast in tone, when used sparingly, certainly makes what we witness more effective and poignant than a full blown assault on our senses could’ve achieved.
As previously mentioned, the film acts to mirror the growing concerns about the rise of far right ‘political’ parties throughout Europe. It’s an issue which affects a wide audience; however, the film does little to highlight the true problems of this political shift other than showcase its existence. The underhand techniques and propaganda used to prey on the weak and fragile in an attempt to recruit new members are never really investigated, and the true extent of their calculated crimes against ethnic minorities never properly exposed, other than a couple of beatings shown here and there.
We’re curiously introduced to the upper echelons of this party, but their roles are never really clarified, other than teasingly short glimpses of how this is an operation controlled from a much more respectable and highly regarded position than the underground bars and clubs we’re privy to. Further scrutinising of the worryingly organised administrations running these groups, whom it appears are far more than just random foot soldiers, would have created a much more haunting social warning.
Comparisons with American History X are inevitable, as both films deal with the search for identity within a conformist, right winged, regime. Yet, unfortunately, the most striking similarity between the two is the incredibly unbelievable journey of redemption their central characters take. Jimmy’s story seems far too contrived to resonate effectively with the viewer, and his violent actions further prevent us from feeling any compassion towards him and his new found vulnerability. His character is far too black-and-white - at one time seeming like the archetypal nihilistic skin head (the first to violently attack someone or call them a “faggot”), before instantly transforming into a soft and caring homosexual man who seems to feel compassion for Lars, despite the eight inch Iron cross permanently etched onto his chest. It’s this lack of any emotional middle ground or proper depiction of his transition from ‘bad’ to ‘good’ which prevents us from caring about his character. The few attempts there are to remedy his two dimensional appearance are only ever slightly touched upon; for instance, the back-story concerning his drug addled younger brother, whom he takes under his wing, is never expanded upon and is left to linger in the periphery of the narrative. His overall lack of depth makes these negligible actions seem ever so redundant (as if solely injected into the narrative at the last minute to make Jimmy seem more human and his journey to redemption more believable).
To a lesser extent, the same problems exist when trying to identify with Lars. Although we see most of the events through his eyes, it’s never clearly explained why he would chose to join such an extremist group when his own sexuality and apparent disinterest in their violent methods surely distances himself from their beliefs. He never seems to fit in with this incredibly violent and overtly masculine group and thus always looks like an outsider, making his inevitable outing and the accompanying shock and anger from his newly adopted peers seem mildly ludicrous considering the numerous visually obvious disparities between himself and them.
As a representation of the zeitgeist surrounding European politics, Brotherhood succeeds in portraying the types of groups we fear are currently operating within Europe and the violent methods they use to express their beliefs. However, the film seems to lack a defined audience with the central storyline of sexual confusion and lost identity ultimately feeling artificial and manufactured, looking like little more than a device implemented to represent the political confusion of the times without any real thought as to how plausible this amalgamation of two seemingly polar opposite subjects would come across. Some strong performances and technical nuances prevent this confused film from becoming unwatchable (almost managing to cover up the numerous plot holes), but it’s what’s missing from the film which is ultimately its undoing, making it surprisingly toothless and, in turn, completely forgettable. PG
Film: David's Birthday
Year of production: 2009
UK Release date: 30th May 2011
Distributor: TLA
Certificate: 15
Running time: 106 mins
Director: Marco Filiberti
Starring: Alessandro Gassman, Maria de Medeiros, Massimo Poggio, Michela Cescon, Christo Jivkov
Genre: Drama
Format: DVD
Country of Production: Italy
Language: Italian
Review by: Mary Igoe
Director Marco Filiberti brings the ancient form of tragedy back to the masses in his latest film set on the sunny coast of Italy. With themes of forbidden love and destiny in the running, can such an old formula from the stage be a modern-day success on the screen?
The film starts with two couples at the opera. Psychologist Matteo (Massimo Poggio) is married to Francesca (Maria de Medeiros) and they have a young daughter together who barely features. Big kid slacker Diego (Alessandro Gassman) is married to the strong-spirited Shery (Michela Cescon) and they have a grown son, David (Thyago Alves). The foursome decide to spend a holiday at the beach, during which time David will join them from his studies in America to celebrate his birthday.
At first, all seems fair and well on the jolly holiday by the sea, but at the arrival of David, things start to go a bit iffy. To start with, there’s ambiguity as to the relationship between Matteo and David, which quickly unravels itself and we become aware that Matteo is in fact repressing lustful feelings for the young Adonis from the States. Meanwhile, Diego and Shery get on each other’s nerves within their love/hate relationship, and then there’s Shery’s brother Leonard (Christo Jivkov) who comes to stay for a bit, and it’s unclear as to whether he’s murdered his wife or not.
Meanwhile, a side-story sees Matteo briefly leaving the holiday twice to visit a patient, who it turns out is enduring a desperate attempt of escapism.
As the temperature mounts during a hot summer, so does the tension. Leonard and Shery have their moments suspecting something of the increasingly irritable Matteo, although never find out the truth. And then finally Matteo and David get their frantic moment alone together, but with tragic consequences…
Woe betide this party of friends who, from the very opening of the film, witness forbidden love and tragedy as they watch Wagner’s opera ‘Tristan And Isolde’. From there on in, a sense of foreboding follows every turn of the storyline, not least achieved by the hounding, teetering, eerie score which hunts every scene with a hunger of tormented pace for what’s around the corner.
David’s Birthday is incredibly successful at maintaining a steady building tempo as it works its way to the final climax; like a rollercoaster on the uphill until the vertical drop at the end. The intended structure of the story is very like an operatic tragedy, and those familiar with Greek tragedy will soon cotton on that there won’t ever be a happy ending, and might even be able to work out who checks in to Hades before the end.
At the crux of the film is the theme of fate; its impartiality, its omnipresence, and inevitably its inevitability. Yet, although the driving force of all that unfolds on screen may be fate, it’s disguised as human desire which makes the character studies in the film all the more interesting.
Massimo Poggio is clearly talented in playing tormented Matteo, and while Maria de Medeiros is perfectly cast as devoted mother and wife, Michela Cescon also stands out in filling her feisty role with gusto. Nevertheless, however much he fits the physical billing of Thyaga Alves as a young underwear model, he has a rather lacklustre presence in the theatrical sense.
The script is also a tad uninspiring, and brings trashy soap operas to mind at points. But then there’s the beautiful setting, which slightly make up for it, being so perfectly idyllic with the sparkling waves, and white washed beach houses.
The inclusion of Matteo’s patient as another story in itself adds slight confusion as to whether it runs as a parallel to the main action, or functions to provide development within Matteo’s character. Perhaps it’s a further insightful study of the human psyche which Filiberti uses to flesh out the original material. Nonetheless, maybe a more obvious distinction would have been useful here, as not all viewers will be so psychology savvy to appreciate this extra interlude.
Finally, it will be interesting to see how this film will be interpreted in the moralistic sense. The two main ‘crimes’ subject for debate seem to be committing adultery and perhaps, however unintended, being gay. Unwittingly or not, the film manages to make one worse than the other- after all, Shary’s main dispute with Diego is his lack of ambition, not his numerous affairs. It makes you wonder what the morals of the story are, however overriding the powers of fate claim to be.
David’s Birthday is one for those who like suspense galore, as it doesn’t really let up until the very end. Also, those who like psychological character studies will revel in the anguish and torment had by Matteo. And even fans of tragic drama will find enough raw passion and emphatic displays of European emotional spectacles to fill their hearts content. It is a good story, which is well acted, but there are enough gaps to leave it at average. Perhaps the film adheres too much to the form of traditional tragedy to find enough success as a contemporary film production. MI
Film: Children Of God
Year of production: 2010
UK Release date: 21st March 2011
Distributor: TLA
Certificate: 15
Running time: 104 mins
Director: Kareem Mortimer
Starring: Van Brown, Johnny Ferro, Mark Ford, Margaret Kemp, Stephen Tyrone
Genre: Drama
Format: DVD
Country of Production: Bahamas
Language: English
Review by: Alice Instone-Brewer
Children Of God is the narrative feature film debut from director Kareem Mortimer, whose previous works have either been documentaries or shorts. Like much of Mortimer's work, Children Of God investigates issues of homosexuality, society and acceptance, and expands upon the narrative of Float, a short that Mortimer directed three years ealier. Set in the Caribbean, starting in Mortimer's home of Nassau, this is a very personal work from the director and the first narrative feature out of the Caribbean to ever deal with GBLT themes.
The film follows the interconnecting stories of several Bahamian locals, all leaving their home of Nassau to find peace or answers in calmer, beautiful Eleuthera. The story is set in 2004, when the arrival of a gay family cruise ship stirred up protests and controversy amongst the right-wing population of the Caribbean. Real footage and sound clips are used to give the audience this context and drive home the severity of people's reactions to the ship. The impact is shocking.
Amongst this wave of campaigns to protect their land against "sissies,” a young, white, gay painter called Jonny is told he'll lose his art scholarship if his painting doesn't improve. To inspire him, his teacher lends him her house in Eleuthra, telling him that a journey will help him find himself. What he finds is Romeo, a popular, black, outgoing Bahamian that used to bully him at school. They strike up a secret friendship, as the two of them try to encourage each other, in their own ways, to accept who they are. Meanwhile, the highly religious, conservative couple that speak out on TV against homosexuals, Lena and Ralph Mackey, hit rocky ground when Lena finds out that they have an STD. To regain a sense of control, she heads to Eleuthra to take a petition against gay rights, attempting to stay in denial about her husband's secret life…
Children Of God is a sensitively made piece of work that deals with strong moral issues of religion and acceptance, whilst successfully avoiding the trap of seeming heavy-handed or preachy. Well acted, well scripted and stunningly shot, it is a very strong narrative debut for Mortimer, as well as a successful tool for addressing the equality issues that the director has focused on throughout his career. Born in Nassau and having had his own journey to Eleuthra (documented in Eleutheran Adventure), this piece has a lot of its writer/director in it. It seems as if his catalogue of work up to this point has culminated in this film, and the quality it is executed to reflects this.
Shot in the Bahamas, this really is a beautiful film to look at. Ian Bloom makes the most of the location's sunny weather, both by using and reflecting it creatively, as well as contrasting with it. The film's most iconic scene is shot in the dark; in such a brightly lit location, the use of dark instantly picks the scene out to be noticed. Close-up shots are also frequently used, capturing and framing the conflicts and emotions on every character's face, or drawing in during secret, intimate moments. In the most enchanting scene of the movie, and the DVD cover shot, the two men shyly dance with each other to no music. Close-ups are used artistically and emotively, softly tracing the shapes of the men’s arms and backs, a face resting against a neck, etc., in such a way that makes the audience hold its breath and feel the significance of every slight, shy touch. A soft golden light in the darkness picks out their shapes and achieves something very delicate and easy to get wrong; the scene does not feel invasive, or cheaply erotic, but instead is something meaningful. Though it's the most visually memorable scene, however, it does not leave the rest of the film behind in the dust - this is a consistently aesthetic work.
This drama could not have worked without talented writing and an equally talented cast to carry it out. Though often very separate, the two plotlines run alongside each other without conflict - neither feels like a disruption to our viewing of the other one. They're both equally engaging and thought provoking, and there are some lines in both that hit home hard and stick in the mind. For example, Romeo's disappointed mother lamenting, "I wish it was only a drug problem.” Every member of the cast pulls their weight and gives a strong performance, despite many of them being relatively new or unknown actors. Stephen Tyrone Williams does an excellent job as the charismatic Romeo, bringing a depth to the role, whilst actor Johnny Ferro pushes his silent acting as the pensive Jonny. Margaret Laurena Kemp and Mark Ford are both convincing as the Mackeys, putting a human face on the antagonists, and Van Brown is memorable as the reverend. In fiction, religious figures usually either represent the writers' negative view of the church, or they speak for the writer's voice, a.k.a. they are the voice of reason and wisdom. Rvd Ritchie is the latter, speaking sanity that the characters around him sadly do not listen to. His frustration as he tries to share his ignored message of love represents Mortimer's own frustration growing up in the Caribbean.
Like the cast, and in fact the writer/director, the composer - Nathan Mathew David - has only been working in film for a few years. His tentative, emotive score accompanies the gentle use of shaky handcam to pick up on the fragility of the characters. This very quiet, subdued score plays in contrast with the frequent use of loud, confident Bahamian music; symbolic of the contrast between the characters' private feelings, and the loud, opinionated world in which they live
The only criticism can be directed towards the ending. Without giving any spoilers, the tragic turn seems forced, as though the film felt it needed one last, dramatic blow in order to be serious and significant. After what was already a very powerful film from start to finish, this tragedy for tragedy's sake is both predictable and unnecessary. It does at least result from the behaviour of one of the main characters, following the ancient Greek rule that tragedy should stem from a character's own mistakes, and it does tie in with the wider actions of others. Yet, the connection’s tentative and unsatisfactory. Too bitterly ironic - a Terry Gilliam boot out of the sky. In a way, it sold the rest of the script short by implying it needed this sort of conclusion.
Children Of God is a powerful drama, dealing with human characters that will appeal to more than just the homosexual community and equality activists. It is a strong addition to the TLA Releasing catalogue, and though it's probably not about to change many people's minds on these issues over in the West, it is a moving insight into life in the Caribbean, and will hopefully reach beyond TLA's usual audience. As for the Caribbean itself, who knows; perhaps we will start to see ripples. AIB
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
There are not a lot of topics involving consenting adults that can really shock these days but this searing romantic drama about two brothers who love – incestuously - may well be one of them!
Set in a sun-burnished Brazil, two boys, Francisco and his younger half-brother (same mother, different fathers) Thomás, are being raised in upper class comfort in Rio by their doting mother. Five years apart, the boys are best friends and unusually close to each other, so much so that their intimacy brings vocal concerns from relatives that maybe they are too close. But the parents reluctantly brush away the concerns.
Fast-forward several years with Francisco and Thomás now strikingly handsome, bronzed young men and their childhood intensity has evolved into a torrid sexual relationship. But when Thomás is offered a chance to train for the Brazilian swim team in Russia for a long period of time, the proposed separation brings fears that their love is threatened.
Spectacularly shot amidst the mountains, beaches and grand estates of Brazil, this intense drama does not just live on the controversial subject matter but rather is a strikingly evocative romance of two men fighting against societal conventions.
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
Film: The Man Who Loved Yngve
Release date: 20th September 2010
Certificate: 15
Running time: 90 mins
Director: Stian Kristiansen
Starring: Rolf Kristian Larsen, Arthur Berning, Ida Elise Broch, Ole Christoffer Ertvaag, Jorgen Langhelle
Genre: Drama/Romance
Studio: TLA
Format: DVD
Country: Norway
A high school coming of age tale is a well trodden genre, but a coming of age story coming out of Norway could pretty much be anything, having heard stories of school classes climbing trees in forests, and being forced to drink copious amounts of beer before they’re allowed down during their graduation period.
The Man Who Loved Yngve is not that film, rather it introduces us to Jarle (Rolf Kristian Larsen), a young man with a love of music, Katrine and very little else in his sparse, cold corner of Norway.
Jump forward six months from skipping a school history trip and he has everything a young male could possibly want. Cool friends, a beautiful girlfriend, and he is the frontman in the Mathias Rust Band - but all this is fleeting as Jarle’s about to be introduced to the new boy in school, and the surprising object of his affections, Yngve…
This is a film that is surprisingly void of cliché. Set in 1989, during the height of the aids epidemic, there is always the danger of falling back and relaxing on stereotypes to tell the story. Such is the strength of Stian Kristiansen’s vision and the intelligence of Tore Renberg’s screenplay (which he adapted from his own novel) that this film is never likely to fall into that trap. The love triangle between Jarle, Katrine and Yngve is never overly forced into unnatural narrative scenarios but is allowed to flow organically between the classroom and the tennis court.
Larsen is excellent as Jarle, both as the care free boy who’s got the girl at the beginning of the film and gradually through to confused but curious admirer of Yngve to openly, at least to himself, infatuated teen. His ability to be openly smitten with the new boy yet wearing his mask of ‘normality’ with friends and girlfriend alike is a skill not yet mastered by actors twice his age. Ida Elise Broch (Katrine) is under utilised but represents the ‘gold standard’ of the dreams of every teenage boy in her role as beautiful and sexually active girlfriend/band manager. Yngve (Ole Christoffer Ertvag) has quite a similar job to that of Ida Broch in that he’s given little more to do but be a teenage honey trap for Jarle, but yet it works as this is his tale, his decisions and, ultimately, his life that he is in the process of defining. Arthur Berning, as best friend Helge, gives a strong supporting performance as the alpha male of the group, and most likely the most difficult person Jarle will have to come out to should he decide his future lays with Yngve.
The score is a dream, a strong collection of credible tracks from the ‘80s and contemporary works that sit beautifully together, and most importantly have a strong sense of the character and the influences that a young aspiring musician in Norway during the Cold War decade would have.
The film is not without a sense of humour, something that can be missing in films grounded in such serious issues as sexually and relationships, but fortunately the director has remembered that boys (regardless of sexual orientation) will be boys. Helge’s utter distain at his best friend taking up tennis is something that will make you laugh before you can fully take in just how dark that statement is, given the time period. Likewise, the scene where the best friends venture out to purchase weed from a drug dealer who has managed to break both arms and is in desperate need of someone to help him tidy up after a bowel movement is distinctly Norwegian humour.
The cinematography does an excellent job of depicting where Jarle’s attentions are directed, and his desires swinging without being overly showy or self aware, which is good, as the rest of the film is so silently mature that flashy or overly stylistic cinematography would simply detract.
The film’s real strength is shown in the last twenty minutes. This is not a criticism of the first hour and ten minutes but as the film progresses, and Jarle’s choice become more and more limited, The Man Who Loved Yngve naturally ascends to several significant scenes. The exchange of those three little words at a busy house party between the two boys, Katrine’s tearful exchange in the aftermath of the party (also the strongest drama scene Ida is given) and the showdown between best friends are fitting pay offs for the slow burning dilemmas that have been building up through the course of the film.
Previous experiences of Norwegian cinema could leave you with a misguided view that it was all machismo and death metal documentaries, but that’s clearly not the case. The Man Who Loved Yngve may not be the most original piece of cinema to come out of a nation that is crammed with creative vision, but it is a tender, confident and genuinely moving cinematic achievement. More than anything else, more than a tale of sexuality, friendship, loss, dreams and fears it is a tale of basic human needs. A story simply about love and the mental journey some have to undergo in order to accept it. DL
Film: The String
Release date: 18th October 2010
Certificate: 15
Running time: 90 mins
Director: Mehdi Ben Attia
Starring: Claudia Cardinale, Antonin Stahly-Vishwanadan, Salim Kechiouche, Driss Ramdi, Ramla Ayari
Genre: Drama/Romance
Studio: TLA
Format: DVD
Country: France/Belgium/Tunisia
Growing up, Claudia Cardinale had always planned to become a teacher. That is until she won ‘The Most Beautiful Italian Girl in Tunisia’ beauty pageant in 1957. A ridiculous title, for sure, and one that she still laughs at today, but without it she may never have gone on to make well over sixty films, including The Professionals, Once Upon A Time In The West and The Pink Panther. Now 72-years-old and still going strong, the actress once referred to as Italy’s happiest invention after Spaghetti, appears in Mehdi Ben Attia’s The String.
Malik (Antonin Stahly-Vishwanadan) isn’t looking forward to his return to Tunisia after living in France. Not only is he struggling to cope with the loss of his father, he has yet to admit his sexual orientation to his mother, resulting in the resurfacing of his childhood anxieties.
Greeted warmly by those closest to him, the architect is immediately confronted by his mother Sara (Claudia Cardinale), who hopes and expects that he will finally manage to settle down, subtly hinting at marriage.
Living in a class conscious society, Malik decides to hide his true feelings and lives a lie, hooking up with a friend whose only demand of him is that he can father a child for herself and her female partner.
Their deception, along with plans to wed, is placed in jeopardy when Malik meets his mother’s handsome handyman, Balil (Salim Kechiouche), and they begin a tentative relationship. Will Malik finally lose the ties that hold him back, or will his forbidden love be undone by their rapidly changing culture and a mother’s expectations?
In the one and only trashy scene during the movie, Malik is shown having vivacious sex with rough trade. This moment alone suggests that director Mehdi Ben Attia is more concerned with class and cultures rather than gender identity, as the underdeveloped scene sits out of place in an otherwise romantic fable. Malik’s desire to seek prostitution seems a little hard to swallow when for the majority his looks and personality seemingly get him whatever he wants. Disappointingly, his darker side is never truly realised and never explored again.
Handled with more care is the subtext about class. Although a little wishy-washy, the feel-good message here, of tolerance and love, far outweighs the agonies of coming out of the closet. It also doesn’t include a silly piece of string that weakly offers a visual metaphor for Malik’s childhood struggles.
If tugging at the string hanging from his shirt isn’t odd enough, it gets stranger still, during a brief cutaway when Malik is imprisoned by it, the string wrapped around him so tightly he screams at the camera in surreal fashion. The award for ‘Most Out Of Place Movie Scene’ goes here, like it’s been ripped out of Stanley Kubrick's The Shining, yet wouldn’t be so bad if more flashes of inspiration were to follow.
They don’t – but this is a good thing, because thankfully, other than an unnecessary explanation about his childhood anxieties and a final scene on the beach with such forced dialogue as: “If I let go of the string, will you swim?” that isn’t as clever as it thinks it is, the title of the movie is redundant; the real story focusing on love and the social stigma it may sometimes bring.
Some excellent performances rescue this far too obvious tale, with Claudia Cardinale’s Sara and Salim Kechiouche’s Balil (in a role he’s played on numerous occasions now) stealing the show, and holding the viewers waning interest begging for some form of surprise. It’s a shame that there’s little invention here (there’s certainly nothing new to say), because the luscious backdrops and pleasant enough score have the makings of something quite beautiful – instead it all feels made for daytime television; hardly surprising to learn that Mehdi Ben Attia has done little other than.
A few scenes stand out: a sweet exchange between Malik and Bilal when the latter requires some nice shoes to gain entry to a club, mother catching them in a morning clinch, and the oddly amusing wedding day. But these are often ruined by unintentionally daft dialogue, such as: “Don’t forget, if she dies, text me,” and “Tonight we’re not cousins – tonight, we’re truly cousins.”
All this taken into account, the biggest criticism is that by the final act the script offers no conflict whatsoever. Mother suddenly goes from disgusted to delighted, contradicting the opening two acts with her sudden approval, while arguably Malik’s biggest foe, his grandmother, who realises that the marriage is merely a device to cover up the pregnancy, is equally just as pleased, as long as he comes and visits every once in a while. All in all, it’s a great excuse for a party – that’ll be the entire final act then…
Perhaps because it’s devoid of fresh ideas, or maybe because its subtext is handled more satisfyingly, The String is instead suited to daytime television, and a waste of Claudia’s Cardinale’s acting abilities. She does seem to be having fun though – shame that can’t be said for the rest of us. DW
Film: Twisted Romance
Release date: 13th September 2010
Certificate: 18
Running time: 103 mins
Director: José Campusano
Starring: Oscar Génova, Nehuén Zapata, Marisa Pajaro, Javier De la Vega, Olga Perezgel
Genre: Drama/Romance
Studio: TLA
Format: DVD
Country: Argentina
Shown at the BFI London Lesbian & Gay Film Festival this year, and now released on DVD, Argentinean director José Campusano’s film Twisted Romance (aka Vile Romance) is a disturbing drama about violent and dangerous relationships, set in the impoverished suburbs of Buenos Aires.
The film follows the relationship between a young man, Roberto, and his aggressive older lover. Roberto meets Raul in the streets and a fling immediately turns sexually violent. Despite the brutality of Raul’s actions, the need for Roberto to be away from his unstable home (the first glimpse of his mother and sister shows them both involved in casual prostitution in the living room) means he jumps at the opportunity to move in with him.
As time goes on, we begin to learn more about Raul’s dangerous behaviour - he becomes increasingly controlling over Roberto, monitoring his every movement, and Roberto soon finds himself trapped. He seeks solace with a man he meets online, but the situation escalates before reaching a tense, dramatic conclusion…
At this point, you would be forgiven for thinking that the film is indeed twisted, but without the romance. It is true that Raul has few redeeming qualities - particularly when you learn more about his estranged relationship with his family and involvement in weapons trade. Yet Roberto, though a little naïve, is incredibly kind natured. He has a good relationship with his family, and genuinely cares for Raul. Roberto essentially just wants to be loved, but finds himself being continually treated badly by his partners. Concern for Roberto is what drives the film forward.
Director José Campusano certainly doesn’t shy away from tackling difficult subjects, and his gritty portrayal of life on the streets of Argentina does have a raw quality which is admiral. Yet whilst it was compelling until the end, the director ultimately fails to achieve a solid, dramatic piece of work. The main problem is that it attempts to be a brave, serious movie and falls short due to a number of reasons.
For a start, a lot of the cinematography is noticeably bad, giving an amateur feel which detracts from the central performances. A dramatic shot of Raul can look hilarious due to the ropey camera work, which spoils the whole effect. If this character is to be taken seriously, there is also the small matter of his ridiculous appearance - he is hardly an intimidating figure, as he skulks around in his Matrix-style sunglasses, leather jacket and long straggly grey hair. Instead of appearing the angry villain, he bringst to mind an aging biker in the depths of a mid-life crisis.
Whilst Oscar Génova’s acting makes Raul a fairly convincing character overall, Marisa Pajaro’s performance as Alejandra (Roberto’s sister) is rather confused and over-dramatic, which means that lots of the moments which are intended to be serious don’t really work. There are many scenes which are incredibly difficult to watch - for instance, when characters have either been coerced into sex or it is being carried out completely without consent, but, due to the failings of the film, these scenes don’t really achieve anything apart from making the viewer feel uncomfortable.
All these things add up to a film which just couldn’t produce the atmosphere needed for a successful drama. On a less important note, fans of subtitled films may also be a little disappointed by the numerous mistakes in the translation, which turns a serious discussion about a gun (which should be a ‘piece’) into a discussion about harmony (or ‘peace’). Not meaning to be pedantic, but all these mistakes just help to undermine the serious tone, which is needed for the film to work.
Essentially this is a film which set out with brave, ambitious intentions, but couldn’t execute them with the tone and style required to make such a difficult subject work. The movie had good potential but its numerous shortcomings meant it never comes close to delivering. KB
Film: Eloise
Release date: 5th April 2010
Certificate: 15
Running time: 92 mins
Director: Jesus Garay
Starring: Leo Casamitjana, Felipe Arago, Diana Gomez, Laura Conejero
Genre: Drama/Romance
Studio: TLA
Format: DVD
Country: Spain
A coming of age drama from director Jesus Garay, following a teenager’s exploration of friendship and love, Eloise proves to be a film that simultaneously conforms and shatters the stereotypes of its genre.
Whilst many are mistaken that the film centres upon the title character of Eloise, the main focus of the picture lies with 18-year-old Asia. The film’s plot details the story of her life which unravels via flashbacks of dark visions interspersed with pleasant memories, as she lies comatose in hospital. Watching her daughter, Asia’s shell-shocked mother demands to know the whereabouts of “her.” As Asia’s boyfriend expresses little knowledge of the mystery woman dismissed as “no-one,” it is clear that she could play a key role in the reason for Asia’s condition.
As time is reversed, we are shown that Asia is an artistic, kind and popular student. She appears to lead a life most ordinary, dividing her time between her friends, studies and controlling mother.
After meeting her future boyfriend, Nathaniel, Asia immediately sets herself apart from her loud and flamboyant friends with her shyness and sensitivity to the prejudice held against fellow student, Eloise. Curious about an advertisement for an art student seeking a model, Asia applies - unbeknownst that Eloise is the artist. Despite the tolerance displayed earlier, Asia expresses reluctance to pose for an openly gay woman but is won over by Eloise’s no nonsense attitude.
As Nathaniel and Asia drift apart, with every art lesson and heart-to-heart she gravitates further towards Eloise. Asia begins confronting her own feelings for Eloise after a weekend together; inadvertently causing Asia’s mother to attempt to literally put her daughter on the straight and narrow by intervening between the star-crossed lovers…
What is surprising about Eloise is the direction Garay takes a film that is a seemingly typical romantic drama by providing a sense of foreboding and darkness contrasting against the happiness of two people falling in love. The overall visual tone of the film is split in to two parts to distinguish flashbacks from scenes of Asia hospitalised, providing us as an audience with a helpful aid in the midst of numerous jolts through time.
Though the ending of the film may come as a surprise to most mainstream audiences, those familiar with films featuring the LGBT community will notice a cliché that has become trite in their on-screen portrayals. Deterring from Hollywood’s perpetual need for a ‘happy ending’ and to solve all character’s problems within a film’s two hour run, Garay let’s the audience choose their own ending depending on the type of person they are - not dissimilar from the glass half empty/half full test.
This can be, depending on an individual’s taste, infuriating or enlightening, as scriptwriter Cristina Moncunill’s natural dialogue combined with the chemistry between Gomez and Cabrol has the viewer heavily invested in the characters. Gomez, especially, has a difficult task of playing a main character experiencing a great amount of conflict that is likeable despite her infidelity. Her portrayal of Asia as someone who welcomes an unexpected love but feels guilt over the consequences is refreshing, with her quiet dignity also tinged with moments of feistiness.
There were moments within the film where the ol’ heart strings were tugged and the feeling that at any moment a violin would appear was a looming prospect. But it is Ariadna Carbrol’s performance that so often saved the day, with Eloise’s ease within her own skin and captivating presence. Cabrol brings credibility to the typical quirky art student that could have been in danger of seeming pretentious. Instead, Eloise, as a character, is charming and gutsy despite the generalisation that all artistic souls wear doc martins and grim reaper robes. Both actresses possess uncanny resemblances to Penelope Cruz and Scarlett Johansson, which was probably intentional to draw comparisons with the infamous Vicky Cristina Barcelona kiss. But the treatment of a same-sex couple within the film is at times outdated, especially as it is set in main city Barcelona and Spanish law has had more progress with gay rights than the UK.
What is surprising is how the film tackles both prejudice and infidelity in a manner that isn’t condescending or preaching to viewers. The film’s soundtrack, although setting the tone off to a good start, quickly became grating with the excessive use of whimsical flute’s song to illustrate the couple’s blossoming romance. Although this does not prevent one from enjoying the film, at times it does sound like it belongs to a made-for-TV movie.
It’s clear that in different hands, Eloise could have been a cure for insomniacs and in danger of becoming a, dare I say it, ‘chick flick’. But it is the combination of cast and director which proves gold in terms of deviating from the usual romance genre yet managing to still tick all of its boxes. A coming of age and romantic drama with an air of independence. SRI
Film: Patrik, Age 1.5
Release date: 23rd August 2010
Certificate: 15
Running time: 103 mins
Director: Ella Lemhagen
Starring: Gustaf Skarsgård, Torkel Petersson, Thomas Ljungman, Annika Hallin, Amanda Davin
Genre: Comedy/Drama
Studio: TLA
Format: DVD
Country: Sweden
A country notable for its tolerance of homosexuality, gay adoption has been legal in Sweden since 2002. Compared to the UK, where same-sex adoption was legalised in 2005, and Scotland, where the bill only passed in 2009, a film that explores the issue from a more established perspective deserves attention. Originally a play by Michael Druker, the film received a warm reception at LA’s Outfest in 2009. Following the media interest and Channel 4’s recent documentary about gay millionaires Barrie and Tony Drewitt-Barlow, who have three children through IVF and surrogacy, this is a timely release.
Göran and Sven Skoogh are a loving couple who have just moved into a neighbourhood so perfect it could have been designed by Ikea. Unfortunately, some of the residents also have readymade attitudes towards homosexuality. The couple do not allow this to faze them - they want a child to cement their relationship, and so the arduous process of adoption begins.
Göran is a GP and the soft-featured, nurturing type who makes the local housewives lament his sexual orientation. Meanwhile, Sven is a hard-headed, hard-drinking businessman with a Dolly Parton poster and a daughter from a previous marriage. When there is a clerical error and the couple are given responsibility for 15-year-old Patrik, a homophobic delinquent, their opposite approaches to people and parenting have mixed results from disastrous to heart-warming…
Patrick, Age 1.5 is as much a critique of attitudes towards same-sex adoption as it is of bureaucracy in Sweden - in fact, the latter is what provides some of the strongest punch lines of the film. Sven’s fury at the error of Social Services is compounded by a parking ticket; he reaches boiling point when the priggish police receptionist seems more interested in reminding him to stay outside the carefully measured perimeter around his bulletproof glass.
The same can be said for the head social worker when Göran decides he does want to adopt Patrik and not hold out for a baby. He replies, “You think we’re just giving out children?” when, due to their own incompetence and limited opening hours, the couple have been looking after Patrik for the best part of a week. Despite the liberal subject material, however, there is still room for a little good old-fashioned xenophobia - if they cannot have a Swedish child, they would happily adopt from any country, although “not from Denmark,” remarks Sven.
Badly behaved and misunderstood, Patrik may look typically Swedish with his Nordic looks, but his attitude is far from tolerant. He is quick to point out, with much bravado, that he once attacked a homosexual, and that he thinks Sven and Göran are paedophiles. Göran, someone apt to make the best of things, teaches Patrik how to say paedophile properly and discovers his unlikely talent for gardening. A mutual respect quickly grows between the two, threatening his relationship with Sven, who continues to behave with a fear of the unknown verging on the Neanderthal.
Ljungman commendably plays the part of an abrasive and overlooked teenager, a role that is by no means easy and often performed very poorly, but it is Gustaf Skarsgård as the winning Göran who carries the film. Many of the most poignant scenes that deal with attitudes towards homosexuality are tackled by him. For instance, his honest conversation with an inquisitive boy he is meant to be immunising is spoilt when the boy’s father stampedes in, furious that his son is being treated by a gay doctor. Or when one of his neighbours, who is openly cheating on his wife with a younger woman, remarks on how convenient it would be for Göran to have someone like Patrik around.
Patrik, Age 1.5 ably confronts the controversial subject of same-sex adoption. The film does not shy away from some of the more unpleasant assumptions held against the gay community, undermines preconceptions and underlines some of society’s double standards. This may be a tall order, but Patrik, Age 1.5 succeeds and yet remains a gentle, thoughtful and, at times, provocative comedy. What better way to celebrate the legalisation of same-sex adoption in Argentina? SR
Film: Raging Sun, Raging Sky
Release date: 12th April 2010
Certificate: 18
Running time: 191 mins
Director: Julián Hernández
Starring: Jorge Becerra, Javier Oliván, Guillermo Villegas
Genre: Drama
Studio: TLA
Format: DVD
Country: Mexico
The third feature film by Julián Hernández continues the theme of his previous work, exploring the possibilities of homosexual love and sexuality on an epic scale.
Raging Sun, Raging Sky is a tale of two lovers, separated by a jealous outsider and ultimately reunited by a mysterious female spirit, described as “the heart of the sky.”
Soundtracked by the noises of traffic, rain and murmured thoughts rather than dialogue, the film begins with a seemingly chance romantic and sexual encounter between a man, Ryo, and the female spirit on the streets of Mexico City. She sets him on a quest to find his true companion, exhorting him to let love be his guide.
Ryo’s companion is not to be a woman, but a man, and the film goes on to explore a search for emotional and sexual intimacy in the city.
In contrast to the sexual encounters readily found in the gay cinema, bars or toilets of the city, the three main male characters experience visions of their soulmates which indicate the destiny of their paths. Ryo discovers his soulmate, Kieri, but their story is not to be straightforward. A third character, Tari, pines after Ryo and abducts him, taking him to a cave in the desert, where Kieri must find and save him. The sky spirit guides Kieri’s path in the name of love, which she believes will bring harmony to the world…
The film is virtually wordless, and the scant commentary supplied by the occasional exposition of the characters’ internal thoughts has a poetic style and a mythical theme. Critics have commented that Hernandez’ previous works display the characteristics of choreography, and approaching the film as a piece of physical theatre rather than conventional realistic representation makes sense of some of its idiosyncrasies.
The pace is slow, and the acting of Giovanna Zacarias (the sky spirit) and Javier Oliván (Tari), in particular, exhibit the exaggerated expression of a story told through mime or dance, a style we’re more accustomed to see projected from a stage than viewed in close up on a cinema screen. Giovanna Zacarias trained in classical ballet, and this is evident both in her very deliberate movements, and in the extreme emotion of her facial expressions. Certain scenes show a slow balletic shift in tension – as when Ryo, in foreground and brightly lit, slowly descends the stairs of a cinema, with shadowed men circling behind him, or when Ryo and the female sky spirit walk with a measured and joyful pace towards each other through the rain. One scene shows Ryo with a number of men having sex around him, their moves echoing each other in a clearly choreographed way, which evokes a collective mood rather than the actions of individuals.
As with good dance performances, the film has a certain hypnotic power, and it’s due in no small part to the creative soundtrack – while later scenes, during the dramatic finale, use an occasional drum roll or the growing tension implied by the repeated brush of a cymbal, the majority of the film is accompanied by the sounds of the city (a bus changing gear, the rainstorms that seem to accompany moments of true intimacy, the unspoken thoughts of people waiting for a bus).
The artistic team of Alejandro Cantù (photographic director) and Julio Quezada Orozco (artistic director) worked on Hernández’ previous feature film, Broken Sky (2006), and the distinctive style of the cinematography is frequently stunning. Mainly shot in black-and-white, lighting is used to exaggerated effect, particularly in night scenes where a character may be strongly backlit so that all else fades into darkness, or where the light flickers to give a sense of heightened emotion or of sinister intent. The film is intent on exploring sex as a means of spiritual intimacy, and the mood of these scenes varies from tenderness or hope to violence, but some of the sex scenes can verge on over stylised, with their perfectly lit protagonists recalling the black-and-white sterility of 1980s Calvin Klein adverts.
The film loses some of its impact when the setting shifts from the claustrophobia of the city to the starkly lit desert location of Ryo’s abduction and the final scenes. The film’s low budget is evident in the aerial panning shots of the mountains. The soundtrack also changes here from the understated noises of the city to a minimalistic musical soundtrack, obviously intended to underscore the themes of tragedy and heroism. This would only be effective if the whole vision of these later scenes worked, but there is too much towards the end that doesn’t - from the characters’ One Million BC-esque costumes to the portentous mythology of the sky spirit, sporting a spear and helmet and imploring Kieri to let the impetuous stream of his spirit attack his enemy. There’s a fine line to be walked between the epic and the ridiculous, and this doesn’t always manage to tread the right side of that line. Despite this, the film’s ultimate resolution of conflict is touching, and ends with a characteristically finely framed shot.
The positive intentions of the film are evident – a wish to present love as a revolutionary force, and to create scenes which are not just physically erotic but spiritually so. But beautiful cinematography and an atmospheric soundtrack are not enough to sustain involvement - at over three hours long, the film undeniably drags, and, as with Hernández’ previous work, it’s likely to provoke a love or hate reaction in most viewers. It would be good to see the undeniable skill and lyricism of his work adapted to something lighter. KR
