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Archive for the ‘Films by women’ Category

Grand Central (France 2013)

Posted by Roy Stafford on 31 July 2014

The lovers: Gary (Tahir Rahim) and Karole (Léa Seydoux)

The lovers: Gary (Tahir Rahim) and Karole (Léa Seydoux)

First a confession. I found this a puzzling film. It was difficult to watch for various reasons but it made me think and there are many good things about it. I first wrote a blog post asking questions and making guesses about what it all might mean. Then I discovered the Press Notes and most of the answers. I turned out to be more or less correct on several points but there were some things I didn’t know and I certainly hadn’t picked out all the ideas behind the film. I think you need the notes to ‘read’ the film successfully and I’m not sure that is a good thing. Here are my revised notes informed by the Press Pack.

During the screening I thought of an important but little-known film by Jean Renoir, Toni (France 1934). Often quoted as the film that provided the spark for neo-realism, Toni tells the story of Italian migrant workers in South-Eastern France filmed mostly on location. Grand Central is set in the lower Rhone Valley where there are three nuclear plants. The central characters are two experienced workers at one of these plants (one of whom is called Toni) and they accept the responsibility to take into their team three young workers who are marginal characters with backgrounds in petty crime. The older and younger workers live together in a caravan park by the river. One of the trio of young men, ‘Garry Manda’ (Tahar Rahim) then becomes involved with Toni’s young fiancée Karole (Léa Seydoux) who also works in the plant.

The Renoir connection is strengthened by a sequence in which Gary and Karole have a midnight tryst which takes them in a boat down the river and Toni is cuckolded just like the innkeeper in Renoir’s Une partie de campagne (France 1936). I’m not suggesting that the film’s aesthetic approach matches Renoir, but there is certainly a shared sense of seeing the narrative from the point of view of the working-class characters. A second connection to Francophone cinema’s realist wing is the casting of Olivier Gourmet (from the Dardenne Brothers’ films) as Gilles, the senior figure on the works team. Toni is played by Denis Ménochet, best known from Tarantino’s Inglorious Basterds. (These observations are matched by comments from the film’s director in the Press Pack when she says that she consciously drew on the 1930s films with working-class characters. As well as the naming of Toni, ‘Manda’ is a reference to the lead male character in Jacques Becker’s 1952 film Casque d’or. Denis Ménochet reminds the director of Robert Mitchum.)

The visual and aural style of the film does not necessarily relate to realism. Co-writer and director Rebecca Zlotowski employs shallow focus shots with ‘pulled’ focus transitions and a distinctive mix of interiors, seemingly shot inside a real nuclear power station, contrasted with pastoral scenes by the river. The interiors were shot on digital cameras to capture the detail of the harshly illuminated scenes but the ‘warm’ exteriors were shot on 35mm film. The music is often menacing from an electronic score involving various collaborations – most of the music was composed specifically for the film. The menace in the plant comes from the threat of contamination while outside it hangs heavily in the mainly outdoor scenes of a kind of communal life around the caravans and on the river bank creating a nervous tension between the men and relatively few women. I’m kicking myself now for not making the connections with stories about other kinds of industrial life with ‘workers camps’ – fruit-pickers, road-builders, railway-builders etc. The director refers to the bar and the camp found in certain kinds of Hollywood Western. These kinds of narratives all work with the combination of dangerous occupations and strong emotions amongst the camps’ inhabitants.

An emphasis on bodies – the young men during the recruitment process for new workers in the plant. Gary (Tahar Rahim) is in the centre of the group.

An emphasis on bodies – the young men during the recruitment process for new workers in the plant. Gary (Tahar Rahim) is in the centre of the group.

We learn about the procedures required inside the nuclear plant but very little about the backgrounds to any of the characters themselves. What is clear is that Gilles and Toni see themselves as skilled workers with an informed perspective on the inequalities of the working conditions in the plant whereas the the younger men (and possibly younger women) have no political awareness and are reckless in terms of the dangers posed by contamination. In this divide is the basis of an interesting film about collective v. individualistic behaviour and a critique of labour relations in the nuclear industry. (The scenes inside the plant – and some outside – were shot in a mothballed plant in Austria.) However, Ms Zlotowski presents the ‘worker’s story’ through the prism of the sexual relationship between Gary and Karole, her two attractive leads. There is an emphasis across the film on the bodies of the workers. We see them dressing and undressing and being examined for evidence of possible contamination from radioactive materials. After possible contamination they are hosed down and scrubbed. Outside the plant it is Karole who is clearly ‘exposed’. She wears an extraordinary outfit – a tight, close fitting ‘body’ garment of soft white cotton emphasising her breasts with similarly tight and short cut-off denims. This provocative outfit is both revealing and constraining – and clearly far too much for Gary. Léa Seydoux appeared in Zlotowski’s previous film Belle Épine and she was one of the twin stars of the controversial film Blue is the Warmest Colour. Her ‘exposure’ raises some questions about the intentions of her female director.

Marilyn Monroe on the set of CLASH  BY NIGHT (photo from http://www.thisismarilyn.com)

Marilyn Monroe on the set of CLASH BY NIGHT (photo from http://www.thisismarilyn.com)

In the Press Pack Zlotowski suggests that she deliberately presented Seydoux as an erotic figure and that she had in mind something like the appearance of Marilyn Monroe in Fritz Lang’s Clash By Night (US 1952) in which Robert Ryan pursues Barbara Stanwyck in a small fishing community. Tahar Rahim is a star actor who can suggest both vulnerability and fortitude but here it is quite difficult to understand what might be going on in his head. We do learn something about his difficult family background and there is the suggestion that he might have found a new family with Gilles and Toni like surrogate father/uncle/mentor. But he appears determined to ‘prove himself’ – partly by taking great risks with his own health. This threatens to break up his working group and the relationships in the caravan park. The two young lovers are not a conventional heroic couple.

The mixture of ‘romance’ and the Western helps to explain the focus on the saloon bar (with its mechanical bull, reminiscent of John Travolta’s Urban Cowboy of 1980) as the focal point for the ‘showing off’ of the ‘strangers’ who come into town. Rebecca Zlotowski tells us that she also admires the Hollywood films featuring strong and tough working men and she quotes Nicholas Ray’s The Lusty Men (yet another 1952 film) with Robert Mitchum as one of the rodeo riders.

I can now see how the film narrative is supposed to work. I’m not sure it quite does for me and the politics of labour conditions isn’t explored enough for my taste, but this is a much more interesting film than most out there, so please give it a go. The original story comes from a novel titled La Centrale by Elisabeth Filhol and was then developed by Gaëlle Macé, Zlotowski’s screenwriter. So, three women as creative forces behind a film about men at work and the possibly disruptive eroticism of a woman in their midst.

The helpful UK trailer:

Posted in Films by women, French Cinema, Romance | Tagged: , , | Leave a Comment »

Bright Days Ahead (Les beaux jours, France 2013)

Posted by Roy Stafford on 28 July 2014

The lovers seen through the blinds

The lovers seen through the blinds

The ironic English title of this film refers to the name of a social club with a range of classes and workshops for retirees. Caroline (Fanny Ardant) is given a trial membership by her daughters when she is more or less forced to retire from dentistry aged 60. (Her husband carries on working, even though he is a few years older.) The French title translates as ‘The Beautiful Days’ – perhaps ‘Golden Days’ in English? The novel by Fanny Chesnel has a title which translates as ‘The young woman with white/grey hair’. I mention these different titles since the nuanced differences between how we might interpret them gives a clue to the difficulty of pinning down the tone of the film. As baby-boomers age they inevitably create new categories/genres – as a ‘cohort’ with more expectations than previous generations and often more resources to deploy. There have been several films in the last few years that reflect this social change. UK cinema has produced The Best Exotic Marigold Hotel and Quartet both played mostly as comedies with underlying dramas. A Song for Marion then developed a twist on the May-December romance. All three UK films have a kind of populist ‘feelgood’ factor about them. Do we expect a French take on the issue to be less sentimental and more aspirational?

In the UK/US film culture older actresses have sometimes (quite reasonably) complained about the limited roles available to them. French female stars of a certain age have had other opportunities similar to that opened up for Fanny Ardant here. Charlotte Rampling springs to mind in more than one film. Our expectation is that these glamorous stars will remain so after 60 and Fanny Ardant certainly fits the bill. Her Caroline quickly falls for the attractive IT teacher running the ‘silver surfers’ workshop. Not quite 40, Julien offers what the BBFC warning (for a 15 film) describes as ‘strong sex’ and Caroline responds. What will happen when her husband finds out – which he surely will since Caroline is anything but discreet? How will the 30 plus daughters react?

The story is set in Dunkerque and the sometimes rainy and chilly Nord-Pas-de-Calais coastline offers an interesting backdrop to what in some ways is quite a conventional romance. The windy beaches, the rain, fairground rides and big skies all seem to offer some kind of referent to the state of the romance. They also help to provide scenarios for how the story might end. The director and co-writer (with the novelist) is Marion Vernoux, who has made similar films that I don’t think I’ve seen. She has an excellent cast with Patrick Chesnais as the husband and Laurent Lafitte as the lover. I’m not sure that the story alone would have held me without a central performance as strong as that from Ms Ardant who is completely convincing. A key moment for me was when Caroline referred to the expectation that the ‘right thing’ to do for a relatively affluent retired dentist was to offer her services to  voluntary groups helping those less fortunate. “But, I want to live” she tells Julien. I’m not sure why that line made such an impression, but possibly it just made her less ‘admirable’ and perhaps more human so that I felt for her as she drank too much and became vulnerable. That dilemma about wanting to ‘give back’ something to society but also wanting to enjoy freedom and independence is something many people over 60 experience (assuming that they have enough income to make the choice realistic).

Bright Days Ahead is only showing twice at Hebden Bridge Picture House and it got a smaller audience for the first screening than is usual for Hebden. That’s a shame. This is the kind of adult romance that UK filmmakers find difficult to make (though there are as good and arguably better narratives of a similar kind on UK television).

Export trailer (with English subs) from Unifrance:

Posted in Films by women, French Cinema, Romance | Tagged: | Leave a Comment »

Under the Rainbow (Au bout du conte, France 2013)

Posted by Roy Stafford on 3 July 2014

Laura (Agather Bonitzer) and (Pierre) Jean-Perre Bacri

Laura (Agathe Bonitzer) and Pierre (Jean-Pierre Bacri making a typical face)

Released without fanfare by Artificial Eye in the UK, the latest film from Agnès Jaoui and Jean-Pierre Bacri deserves a much bigger audience than it is getting in UK cinemas. The couple’s scripts are directed by Jaoui and both are also actors in an ensemble cast. Like their previous films Au bout du conte centres on the ‘cultural’ sector of the French bourgeoisie. The difference here is that Jaoui has decided to incorporate a discourse about fairytales into the familiar network of shifting relationships. The couple’s films are invariably witty takes on relationships informed by previous collaborations with Alain Resnais and Cédric Klapisch (both Jaoui and Bacri also work as actors on separate projects). Here, the starting point is Stephen Sondheim’s Into the Woods and fairytale films like Jacques Demy’s Donkey Skin and Cocteau’s Beauty and the Beast. The English title of the film is not helpful and a better, more helpful translation might be ‘Happily Ever After’, (the end of the fairytale).

In some ways, the central idea here is most similar to the couple’s 2004 film Comme une image (Look at Me, France-Italy). In that film Jean-Pierre Bacri plays a cold-blooded and rather egotistical celebrity author with a daughter who is attempting to become a classical singer. In this new film, he is again a rather grouchy figure (owner of a local driving school) with an estranged son who is a budding composer of ‘contemporary music’. The son is Sandro (Arthur Dupont), the ‘Prince Charming’ of the story, but also in a neat inversion, its Cinderella as well. At a party Sandro meets Laura (Agathe Bonitzer) – and loses his shoe when he rushes off early to pick up his mother who is closing her late night bar. Agathe is the ‘Princess’, the daughter of a wealthy industrialist, but she is also Little Red Riding Hood on her way to her aunt’s house in the woods and prey to the ‘big bad wolf’ who lives next door. The aunt, a hippyish school teacher is played by Jaoui herself. The aunt is also separated from her husband and she takes driving lessons from Bacri’s character. This spiralling of relationships is a common feature of the scripts by Jaoui-Bacri. The scripts are meticulously written with dialogue being Bacri’s specialism.

Agnès Jaoui as Marianne attempts to direct her child actors

Agnès Jaoui as Marianne attempts to direct her child actors

The difference this time is the fairytale discourse. This is presented – and commented on – in a number of ways. At the straightforward iconic level, Jaoui’s character Marianne is attempting to persuade a class of primary children to perform a play based on traditional fairytales. She also lives in a house that resembles a house in the woods in Hansel and Gretel. This visual impression is re-inforced by CGI rendering for a dream sequence and there are references to several forms of mysticism ranging from Marianne’s young daughter’s sudden interest in Jesus via clairvoyants and alternative therapies to modern psychoanalysis. More subtle is the cinematography by the Bulgarian Lubomir Bakchev. In the film’s press notes Jaoui tells us that she and Bakchev shared an interest in Russian films they both saw in Paris years ago. He has come up with a very fluid style for the film which emphasises the ‘swirl’ of relationships and an overall motif of ‘circling’. There are one or two clever devices to create the impression of ‘otherworldliness’. In one scene a teddy bear dances on a window sill as we look through at Pierre. Later we realise it is a wind-up toy but for a moment it looks ‘real’. Much of this effect is about sound and in the press notes Jaoui also discusses her increased confidence in manipulating sound as well as making more use of music. I can’t comment on the ‘contemporary’ score written by Sandro but there is good use of a Gil Scott-Heron song for the sequence in which the ‘Princess’ is ‘lost’. At the end of the film, which doesn’t quite see everyone living ‘happily ever after’, I nevertheless felt better, having enjoyed myself – and laughed out loud several times.

As well as Comme une image, see earlier postings on this blog of Let’s Talk About the Rain (2008) and Looking for Hortense (2012) (which stars Bacri and is directed by Pascale Bonitzer, Agathe’s father).

A short teaser trailer:

 

Posted in Comedies, Films by women, French Cinema | Tagged: , | 1 Comment »

Daisies (Sedmikrásky, Czechoslovakia, 1966)

Posted by nicklacey on 28 May 2014

Nutty Czechs anyone?

Nutty Czechs anyone?

Vera Chytilová died in March and Daisies is probably her most celebrated film; it is brilliant. Two Marias (Ivana Karbanova and Jitka Cerhova) waltz through the film on an anarchic romp which starts off with them eating apples. The symbolism is obvious, as is the bananas, sausages and hardboiled egg that they snip at with scissors while a would-be lover claims he’s in love (by which he means lust). It’s slightly peculiar to say that the girls (Peter Hames in The Czechoslovak New Wave states they are 17) are trampling on bourgeois sensibilities in a so-called communist state, but the privileged middle classes obviously existed there too. In a nightclub, where the clientele are being entertained by the  Charlston, the Marias randomly drink others wine and generally make a nuisance of themselves. They allow themselves to be taken to restaurants by older men only to bail out before the men have their ‘wicked way’. They also decimate a banquet, evidently laid out for an audience listening to Wagner’s Twilight of the Gods (where the bourgeoisie meet their fate).

The film’s epitaph sums it up: ‘This film is dedicated to those whose sole source of indignation is trampled on trifle’. There’s plenty of trifle in the final scene, flying around in true slapstick fashion and the anarchic comedy of Max Sennett is clearly a touchstone for Chytilová as parts of the film are speeded up in the manner that ‘silent movies’ used to be. Czech surrealism, such as Jan Svankmajer (in scenes of pixilation – animation using live actors), is also evident as some of the art movements of the 1960s, such as ‘cut ups’. It’s a terrific brew of full of humour and brio and, most of all, feminism.

The film opens, and ends, with images of bombing. I took them to be a reference to the Vietnam war. The girls’ adventure starts by them deciding that everything’s spoiled in the world. Hence, their assault on bourgeois sensibility is an attack on the way the world was at the time; and it’s still like that. Clearly Chytilová was attacking more than trifles.

I was reminiscing about university with a friend and she remembered that she was part of the ‘300 group’ that aimed to get 300 MPs into Parliament. That was over 30 years ago! This film’s nearly 50 years old and the battles for equality between the sexes still need fighting. Young women could do far worse than learn some attitude from these Marias.

Posted in Comedies, East European Cinema, Films by women | Tagged: , , | Leave a Comment »

BIFF 2014 #23: The Gold Diggers (UK 1983)

Posted by Roy Stafford on 14 April 2014

Julie Christie as the 'carnival queen' of GOLD DIGGERS

Julie Christie as the ‘cavalcade queen’ of GOLD DIGGERS

Portrait Without BleedAlthough I’ve always been aware of this film, for some reason I don’t remember watching it in the 1980s. Watching it now I was surprised at how accessible it was. I remember the critical backlash against the film which attracted the attention of the mainstream press because it featured Julie Christie – during her 1980s stint as champion of independent and political film. There are several notable features of its production which are key to its high status in the history of feminist filmmaking in the UK. As well as Sally Potter as writer-director it had a largely female crew and creative team. It was also one of the first films to be produced by the BFI Production Board and the new Channel 4 working together and this means it was in the vanguard of the British experimental and new art film movement of the 1980s. In her succinct and very helpful entry on the Screenonline website, Annette Kuhn comments on the film’s beautiful black and white cinematography by Babette Mangolte, suggesting that it has the qualities of the best European art cinema such as Ingmar Bergman’s films. Mangolte had already worked with Chantal Akerman and was herself already a specialist in photographing dance and performance art as well as working on experimental film and theatre productions.

The Gold Diggers was shot on 35mm with a budget of around £250,000, most of which went on the shoot itself as all the participants, including its star, were on the same basic wage of £30 a day. The look of the film is thus very different from the 16mm low-budget Thriller. Its narrative is, like Thriller, a feminist investigation of patriarchy but with a much wider remit. The story concerns two women, one a computer operator (Collette Lafont from Thriller) and the other an actor/performer (Julie Christie). The computer operator wants to discover how men control the economy through possession of gold and she teams up with the actor who, born to a ‘gold digger’ (scenes shot in Iceland to represent the Klondike) later finds herself as the ‘queen’ in a parade of bankers. She is in effect investigating her own image as a ‘woman in film’. The film’s title is also a clue to this second narrative investigation into the history of cinema itself from Chaplin’s Gold Rush, through Busby Berkeley musicals (Gold Diggers of 1933) to later melodramas and costume pictures. The investigation is both a celebration and a critique of mainstream cinema and, via the chase and the dream sequence, the ways in which those narratives use female stars. Rather than linear, the narrative is circular so the investigation ‘reveals’ many things but never finds closure – the ‘riddle’ of cinema as an art form underpins everything.  If this sounds ‘difficult’, rest assured it isn’t. There are songs and dances (music by Lindsay Cooper, choreography by Sally Potter, who also sings) and sly digs at the pompous men who are definitely not in control of the action. All the performers acquit themselves well and this is not ‘minor’ Julie Christie work.

Intrigued as to how the film was received at the time, I sought out Monthly Film Bulletin and Sight and Sound. In 1984 (when the film was released) the two BFI journals were still separate publications and they had distinctly different writing cultures. MFB in May 1984 included an interview with Sally Potter by Sheila Johnson alongside a detailed and perceptive review of the film by Pam Cook. In Sight & Sound by contrast, the film receives a mainly positive but limited ‘thumbnail review’ in the Summer 1984 issue, but earlier in the Spring issue, Jonathan Rosenbaum had reported from the Rotterdam film festival to the effect that: “Shown only in the Market, it has not yet found many defenders”. To be fair to Rosenbaum, he did write that he found the visuals “deserved applause” and the avant-garde tropes were “consistently fresh and unpredictable”. According to this 2010 review of the BFI’s DVD package of the film and Sally Potter’s shorts, Jonathan Rosenbaum has produced a new essay on the film which refers to him being “taken aback” by the reaction of Janet Maslin (then New York Times film critic) who described watching the film on its 1988 American release as “pure torture”. I have to agree with Rosenbaum. Pure pleasure was my reaction watching it now. I hope more people find the DVD. There are more films from this era to be re-discovered. I note that The Gold Diggers was released alongside another BFI-distributed film, Bette Gordon’s Variety with a script by Kathy Acker. Variety is reviewed in that same MFB issue with an interview with the director conducted by Jane Root. When was the last time two feminist filmmakers were reviewed together in this way?

Posted in Avant-garde cinema, BFI, British Cinema, Directors, Films by women, People, Stars | Tagged: , , , , | Leave a Comment »

BIFF 2014 #22: Thriller (UK 1979)

Posted by Roy Stafford on 13 April 2014

Colette Laffont as Mimi in THRILLER

Colette Laffont as Mimi in THRILLER

Portrait Without BleedSally Potter’s seminal medium-length film Thriller played as the centrepiece of a programme of ‘Sally Potter Shorts’ in the director retrospective at BIFF honouring her BIFF Fellowship. It brought back for me an entire period of British independent filmmaking. No wonder its reputation has lasted and grown – here we get commentaries on class, gender and race, film theory and the status of classical works of high culture.

Potter ‘deconstructs’ Puccini’s La Bohème as a feminist murder mystery. She explores the construction of the two female characters in the opera, Mimi the poor seamstress and Musetta the  café dancer. Potter turns Mimi into the investigator of her own murder and in the process offers us an analysis of how the honest woman must die and the bad girl survive. She adds another layer by casting a black woman to play Mimi. The investigation involves a replaying of key scenes from the opera on an expressionist set complete with mirror and window. The film was shot on 16mm b&w stock and this helps the expressionist noir effect. There are several scenes comprising a succession of still images and the live action is accompanied by extracts from Bernard Herrmann’s Psycho score alongside music from Potter’s frequent collaborator Lindsay Cooper. The overall effect is to open up an analysis of film conventions for the thriller genre as well as the melodrama.

The film was screened non-theatrically at festivals and conferences/workshops during the early 1980s and for many years remained a film more likely to be read about in academic papers than actually seen. It’s now available on YouTube and the hope is that a whole new generation of filmmakers (including feminist filmmakers) will take it as an inspiration. Well done to BIFF for providing further stimulus.

Posted in Avant-garde cinema, British Cinema, Directors, Festivals and Conferences, Films by women, People | Tagged: , , , | Leave a Comment »

BIFF 2014 #13 Rage (UK-US 2009)

Posted by nicklacey on 5 April 2014

Two dimensional characters rendered in full

Two dimensional characters rendered in full

Portrait Without Bleed90-plus minutes of talking heads anyone? I think the thought of that is why Sally Potter’s Rage is rated a mere 4.7 by imdb users. In reality, of course, it’s – at the least – an engaging film that relies on its excellent script and performances to allay any ‘poverty’ in the image. Riz Ahmed, Steve Buscemi, Judi Dench, Eddie Izzard, Jude Law and David Oyelowo are the stand outs in what can actually be called a ‘star studded’ cast. The monologues are ostensibly, we never see him, shot by a student for his school project; though he’s actually posting them on a blog. His subject is a fashion show, which is going ‘pear-shaped’, and Potter’s intention is to skewer the pretensions of the industry.

Not a difficult target, I would suggest, but Potter also goes beyond that focus by implicating western consumerism, and wars, into her film. We are invited to read between the lines of what the self-justifying characters are saying. Inevitably, most of them are as two-dimensional as the green screen; which is almost any colour but green, background. The actors perform the shallowness of the characters to perfection; Bob Balaban talking about his new ‘opportunities’, having being sacked, is particularly good.

But why this form? Potter’s targets are valid but are monologues to camera the best way to offer a subversive look at our capitalist world? I suspect it’s a case of form winning over content. Potter’s purpose was to make a film for mobile phones and chose the best – only? – visible format that would be effective on such small screens. This is not to say it doesn’t look great on the big screen, it makes the performances literally ‘towering’. Rage is worth seeing as Potter, and her performers, have risen to the challenge created by the form’s limitations, but it is more an exercise than a entirely convincing piece of cinema.

Posted in British Cinema, Directors, Festivals and Conferences, Films by women, People | Tagged: , | Leave a Comment »

BIFF 2014 #11: Aqui estoy, aqui no (Here I Am, Here I’m Not, Chile-Argentina 2012)

Posted by Roy Stafford on 3 April 2014

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Juan Pablo Correa as Ramiro (affectionately known as ‘Fatso’) with his friend Lore (Constanza Alemparte)

Portrait Without BleedI missed the opening few minutes of this film but as it is a ‘re-imagining’ of the plot of Vertigo I can make a reasonable guess as to how it begins. The Jimmy Stewart role is played by Juan Pablo Correa who is known as ‘Fatso’ to his friends, principally Lore who might be in Hitchcock’s Barbara Bel Geddes role. The trauma suffered by Ramiro involves a car crash and the woman he is asked to investigate is a local rock star who once played with a band called ‘Kocks’ (!). Ramiro is supposedly a journalist so he is contracted to write her biography. Writer-director Elisa Eliash is quoted as saying that she wrote the script quickly as an experiment and that partly explains why the narrative leaps backwards and forwards in time (see Press quotes on the film’s website). This suggests that the film might be difficult to watch but although I certainly wasn’t always sure what was going on, I always found the film engaging. Partly this is because Ramiro is a rather loveable character, but one not without faults. It’s very difficult for the other characters (and the audience) to know when he is telling the ‘truth’ and when he is fantasising. It’s good to see such an overweight character as the lead in a film like this and his physical problems (sweating, overeating/nausea etc.) aren’t avoided so he becomes a human rather than fantasy figure.

The film is set in Providencia which Wikipedia informs me is a city just outside Santiago which is an enclave of the upper middle-class. We don’t see that aspect of the city but we do get to enjoy some of the parks and coffee shops. Even so there is an inexplicable scene in which the water cannon are out on the streets recalling scenes from No (Chile 2011) which was successful last year in the UK. The Kim Novak role goes to María José Siebald as Ana/Valentina whose ‘makeover’ is aided by a blonde wig. As with many other aspects of the film, her interest in archery is an original idea and is developed as a symbolic element of the film’s credits – Valentina attempts to teach Ramiro to fire an arrow at a target but it sails into the distance with no sense of where it might end up.

Aqui estoy, aqui no appears to have been very successful in Chile and has been shown extensively in festivals across Latin America. As far as I can see it had only previously been at Cairo’s festival before its Bradford screening so I’m intrigued as to how the BIFF programmers found it. I’m glad they did. I enjoyed what seems to me to be an original comedy with a commercial bent. I hope it gets more exposure in Europe.

Trailer:

 

Posted in Comedies, Festivals and Conferences, Films by women, Latin American Cinema | Tagged: , , | Leave a Comment »

 
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