This year’s ¡Viva! included a retrospective tribute to the Catalan director Bigas Luna who died just six years ago. The festival screened his ‘Iberian trilogy’ and a documentary BigasXBigas (2016) was screened alongside a video art exhibition at the Instituto Cervantes in Deansgate. The exhibition runs until April 13. The whole tribute was curated by Prof. Santiago Fouz Hernández of the University of Durham and Betty Bigas, multi-disciplinary artist and daughter of Bigas Luna.
The screening of La teta y la luna was introduced by Dr Abigail Loxham, University of Liverpool and she and Prof. Hernández conducted a Q&A/discussion after the screening. Unfortunately I could only stay for the first half of this. The screening used an archive 35mm print from Metro Tartan and on the big screen in Cinema One at HOME we noted all the problems with an aged film print but also the real pleasure of watching a well-made ‘film’.
The two previous films in the trilogy Jamón, jamón (1992) and Huevos de oro (1993) were set in Aragon and Alicante respectively but in La teta y la luna the setting is the coast of Catalunya. Like the other two films, La teta y la luna is also concerned with ideas about masculinity and identity presented through comedy and a celebration of eroticism in cinema. The narrative is presented through the eyes and voiceover of Tete (Biel Durán), a nine-year old boy who feels threatened on two fronts – first by his father’s insistence in instilling him with the fearlessness of machismo and secondly with his possible displacement from his close relationship with his mother prompted by the imminent arrival of a younger brother. Tete’s ‘test’ set by his father is to be the boy (enxaneta) who has to climb to the top of the human tower (castell) formed by the local men in an annual local celebration. His fear of doing this becomes displaced into an obsession with his mother’s breasts. If he loses these to his baby brother, he feels he must find another pair of equally fine breasts to take their place.
Tete’s quest takes him to a local carnival show by the sea where he discovers Estrellita (Mathilda May) a beautiful Portuguese dancer who performs with her French husband Maurice (Gérard Darmon) in a variety act. She dances and he farts while astride his motorbike. His farts are very controlled and he uses them to perform stunts. (I’m reminded of that other French entertainer, Le Pétomane (1857-1945) whose family were actually from Catalunya.) Tete discovers where Estrellita and Maurice have their caravan and he spies on them. But he soon realises he has a rival, a young Andalusian flamenco singer named Miguel (Miguel Poveda). I won’t go into more detail on the plot but as we might expect, Tete is exposed to a number of breasts of different shapes and sizes and he will eventually conquer his fear of heights in climbing the human tower.
Before I engage with the introduction and Q&A, I’d like to just share a couple of my own thoughts. I remember watching Jamón, jamón, mostly for the early film appearances of Penélope Cruz (her first) and Javier Bardem. I don’t remember Huevos de oro but I may well have seen it and similarly I can’t be sure about an earlier watch for La teta y la luna. But I can be sure that I enjoyed both Jamón, jamón and La teta y la luna. All three films were photographed by José Luis Alcaine, the last two in ‘Scope. The cast members are all accomplished in these kinds of roles and freely enter the playfulness of Luna’s comic eroticism. Mathilda May trained as a ballerina – I’m not sure if Gérard Darmon ever trained as a flatulist. All the films received an 18 certificate in the UK and YouTube has attempted to certificate the clips that have been uploaded. It seems sad to me that a film with naked breasts could be seen as ‘offensive’ or harmful to younger viewers. Bigas Luna pokes fun at this I think with a surrealist sequence in which Estrellita spectacularly lactates into Tete’s mouth much as wine might be poured from on high from a large flask. There are many other similar visual jokes. Tete’s voyeurism also leads him to believe that women need to be ‘filled’ by their partners before they can produce more milk. Maurice is now impotent so Estrellita needs to be ‘filled’ by Miguel.
The great strength of the film is that everything happens at pace and the rudimentary plot is played out in 90 minutes or less. There is just about enough time to think about identity issues. The title refers to Tete’s appeal to the moon to help him find new breasts. He imagines a moon scene with the flags of Spain and the European Community as it was then. Estrellita’s Portuguese identity is not really highlighted but much is made of Miguel’s Andalusian background and Maurice’s ‘Frenchness’ and Catalunya is represented ahead of Spanish identity as such.
Listening back to the Intro, Abigail Loxham crammed a great deal into her short time allocation. She described the film as a ‘Freudian family melodrama’ and emphasised that Bigas Luna’s main point seemed to be to equate masculinity and nationalism and to see both as inflexible and needing to be treated in effect by feminisation and pluralism. She also noted that although he set this third film in Catalunya, it was not in the urban sophistication of Barcelona but in the pluralist and carnivalesque seaside camp site. She made the point that narrating the film through the child enable Luna to make his points about sexuality and inflexible masculinity without prejudicing the representation of the female characters. I’ve paraphrased what she said and I hope I’ve understood the points. She also commented on how the film, though nearly a quarter of a century old now seems timely as we consider where nationalism is taking the UK (England?) as well as other parts of Europe in respect of Brexit. I’m not sure about the feminine aspect though since we seem to be saddled with the most inflexible female leader (oddly also a ‘May’)!
In the Q&A there was a more detailed discussion of ideas about national identity and Prof. Hernández made several interesting comments about the trilogy of films which made me wish I’d been able to view the other two films this week. He discussed ‘passion’ in the film, relating it back to Loxham’s reference to a similar trilogy of plays by Lorca. It occurred to me then just how much red is used in the film (see the stills above). He also said that he was writing about Bigas Luna at the moment (and he praised Abigail Loxham’s work on Luna). After the screening I looked up the three Spanish film studies texts in my library and was surprised to find that Bigas Luna was completely ignored in one, briefly referenced in another and discussed mainly in respect to Javier Bardem’s involvement in the trilogy. I was surprised that Luna was not recognised in the way he (much like Almodóvar) took his early ideas from soft porn into mainstream films, developing the humour and making possible a deeper understanding of aspects of sexuality. I enjoyed the film and I’ll look out for opportunities to see the other parts of the trilogy.
I’ve noted from several film festival experiences that the ‘Opening Night film’ is often prestigious but not always very good. Tiempo después was the opening film of ¡Viva! 25. It had the largest audience of the three films I saw on Saturday, but I rated it the least interesting/enjoyable of the three. That doesn’t mean that it is a ‘bad film’ and it may well be my failure as an audience rather than an issue with the film itself. I note that the writer-director José Luis Cuerda was the director of La Lengua de las mariposas (Spain 1999) which Nick raved about on this blog. I also note that the array of excellent actors on screen in this recent film includes several who have worked with Pedro Almodóvar, including one, Carlos Areces, who was one of the camp air stewards on I’m So Excited (Spain 2013) – the most poorly-received of Almodóvar’s films in the UK. This may be significant. Is this an issue about Spanish comedy? Perhaps it is – but I really liked I’m So Excited and La Lengua de las mariposas. I think the problem here might be defined as ‘political satire’, which is very hard to pull off, especially for international audiences. (Cuerda also produced the first three films by Alejandro Amenábar, Tesis (1996), Abre los ojos (1997) and The Others (2001) – which is another reason to make him an important figure.) His last film as director before this one was the well-received The Blind Sunflowers (Los girasoles ciegos) in 2008. The new film has been widely seen as a form of development/updating of Cuerda’s comedy Amanece, que no es poco (1989) with his comedy style described as ‘surrealist rural comedy’.
The idea for the film is to present a future world (‘9177, give or take a thousand years’) in which civilisation on earth has been reduced to one imposing building plonked down in a landscape that evokes Monument Valley, Utah, aka ‘John Ford’s American West’. Outside this building which houses the rich and powerful is a rural trailer park in a woodland clearing where the ‘ordinary people’ live. The simple narrative involves one of those from ‘below’ attempting to enter the ‘palace’ above (which operates more like an office block or a conference hotel) and to sell fresh lemon juice door-to-door. This is not allowed since the King alone licenses traders, of which there must be three (no more, no less) for each service or commodity. Eventually our frustrated hero will lead an insurrection and fall in love. I won’t disclose how this works out.
The script is full of interesting ideas, perhaps too many interesting ideas, which can’t all be carried through. Everything you know about the history of Spanish culture, history and politics and probably quite a lot more that most of us non-Hispanics may miss, is referenced here. It is essentially a political satire about Spain’s past and possible future. There are many enjoyable characters and devices. I particularly enjoyed the small group of men who have learned how to fly simply by flapping their arms at different speeds. These characters are all dressed in flight overalls, goggles and helmets like extras in a Miyazaki anime about the 1930s Italian airforce. The King appears to be speaking Spanish in an English accent and, of course, there is an evil fascist priest in the palace. You know it is only a matter of time before somebody ‘below’ begins to speak about Don Quixote. Cuerda had originally written a novel using the same material and perhaps he might have invited someone else to do the adaptation?
I’m not sure I laughed out loud but sometimes I definitely smiled. I also confess to closing my eyes and then trying not to drift off into a mid-afternoon snooze. So, I wasn’t the best critical reviewer. I think, perhaps, that if you come to this film with less political baggage than I carry around, you might enjoy it more than I did. It seems to have been reasonably well received in Spain and if you are in the mood to spot the references you could have a good time. Here’s a trailer (without English subs, I’m afraid.) I note it is distributed in Spain by the Canadian multinational eOne, so it must have had a reasonable release in Spain last December.
The film is showing again at HOME on April 5th at 16.05.
The bento or lunchbox is at the centre of traditional Japanese food culture. The box filled with cold cooked food is something I remember from train trips in Japan way back in 1977, but it seems it is still there in school as the Japanese equivalent of the British ‘packed lunch’. This short (76 minutes) comedy melodrama focuses on a marriage break-up that leaves the salaryman father (Watanabe Toshimi) with the task of providing his daughter Midori (Takeda Rena) with a bento each day. He could send his daughter to the bread shop or use processed foods but he determines to do the job properly, perhaps to prove to himself and others that he can be a ‘proper’ parent.
Father (I don’t think he is named) is starting from scratch and his first efforts aren’t very good. Eventually he will get genuinely useful advice from a female colleague at work and he will improve. As his colleague points out, bento for teenage girls needs to be ‘cute’ and to look good. Midori eats her lunch with two friends who are quick to comment on what she is eating. There is only a slight narrative since much of the time is spent on a procedural study of Father’s attempts to shop, prepare and cook lunch for his daughter. The origin of the story is a tweet the ‘real life’ daughter posted at the end of her time at high school (i.e. from age 15 to 17), comparing photos of her father’s first and last attempts to make her daily bento. This went viral and attracted a film producer.
Though the narrative says nothing directly about the missing mother, who leaves in the pre-credit sequence, there is a story about the father which is carefully threaded through the main narrative. He confides in both a male and a female colleague at work and he becomes a regular customer of the woman who runs his local greengrocer. (In the current climate in the UK it is quite shocking that all the vegetables father buys are wrapped in plastic.) His bento preparation becomes his way of communicating with his daughter and he discovers that she responds to the messages he puts in with each meal. The main expressive element of the film is the music which unfortunately in the screening was ear-splittingly loud. Some of the more melancholic music was fine but much of it was pop music which at the volume played was unbearable and on one occasion we had a voiceover on top of the music. I think the excess of music possibly shows a lack of faith in the narrative. The film’s credits on IMDb suggest that apart from Takeda Rena as Midori, the rest of the cast and all the crew had little or no previous experience.
I was surprised to see that the film was released theatrically in Japan and Taiwan. I would have guessed that it would have been made for TV. Apart from the short length, the shooting style is mainly that of a TV soap with high-key lighting. The image itself also seemed to be rather ‘washed out’ (which meant that the food isn’t as visually striking as it might have been). Having said that, I enjoyed this gentle comedy with its feelgood narrative. As this helpful review comments, Midori doesn’t seem to suffer any kind of stigma at school because of her single parent family (whereas in the 1990s it still seemed to be the cause of social criticism). Food preparation and presentation is very important in Japan and there have been several notable films placing it at the centre of narratives (see, for example, the classic Tampopo (1985). Dad’s Lunchbox is an interesting new genre mix with food, family comedy-drama and high school. Thanks again, Japan Foundation.
Here’s a trailer with English subs (possibly made for Taiwan or Hong Kong distribution?)
At a time when Talking Pictures TV in the UK is attracting more and more viewers to its offer of popular British films from the 1940s to 1960s (and a few other goodies too), it’s worth asking if in another 50 years, film scholars will be studying the ‘popular films’ of the 2010s. They should because every film reveals something about the film culture which produced and consumed it. What can we learn now? On the eve of a possible ‘Brexit’ we might note that this British film attracted some investment from Belgian tax funds. I wonder if that will happen again in a ‘post-Europe’ British film industry? (Actually the Belgian company Umedia seems to have other UK productions on its books.) The principal production company of Fisherman’s Friends is British with a record of producing popular entertainment features that don’t involve the usual public funders, BBC Films, Channel 4 and the various regional funders. This counts as an ‘independent’ production in the commercial sense, though it is resolutely mainstream and conventional as a film narrative. Lastly, the film is distributed by Entertainment Film Distributors (EFD) which focuses on both US and UK independent features – and is prepared to support a wide release.
Fisherman’s Friends is one of those ‘based on a true story’ films, an unlikely music industry story which is easily turned into a social comedy romance. It is being generally treated as a ‘feelgood film’ or ‘one for the Oldies’. Neither of these is a totally inaccurate description but perhaps masks the interesting mix of elements. In 2010 a group of fishermen in Cornwall who enjoyed singing sea shanties were noticed by radio DJ Johnnie Walker and found themselves with a Top 10 album after a record producer gambled on their local popularity becoming a national phenomenon. They went on to make regular high-profile appearances, e.g. on the Glastonbury stage, and are still performing with slightly changed personnel in 2019.
The film based on the ‘discovery’ of the group inevitably changes some aspects of the story and grafts on a romance. A music industry figure played by Daniel Mays meets the group through a contrived storyline. The leader of the group is Jim played by James Purefoy and his daughter Alwyn (Tuppence Middleton) is a single parent with a 7-year old daughter. Alwyn manages a B&B. The plot creates an interesting triangle. All the singers are local fishermen in Port Isaac and many double as the local lifeboat crew. The structure of the comedy narrative refers back to Ealing with the arrival of metropolitan record industry people in ‘the independent kingdom of Cornwall’. The trip also highlights the presence of the British upper classes in Cornwall. Think Whisky Galore as the best-known example of this sub-genre. In this case there is also a visit by the fishermen to ‘that there London’ – possibly the weakest part of the film.
The weakness of the script is there in very cheesy one-liners (followed by the occasionally very funny line) and the exaggerated difference between Cornwall and London. The London we see is all about record company offices and hipster diners/pubs. It’s good to see that London is represented as the multiracial city it is in reality but the scene in which the fishermen sing an impromptu shanty in a pub and are cheered on by a largely young black audience is very odd. I’m suggesting that the filmmakers have some positive ideas but haven’t quite worked them through.
This is a film with a strong cast which also includes David Hayman, Dave Johns, Noel Clarke (almost unrecognisable under a wig) and Maggie Steed. Steed, Purefoy and Middleton all come from the South West (but not Cornwall!) so they do have some regional authenticity. By contrast to this experienced cast, director Chris Foggin is making only his second film. The writers have got hits like the two St Trinians films among their credits. Somebody should perhaps have known better than to string out the narrative to 112 minutes. There are several songs in the film and that perhaps explains the length. I enjoyed the songs though I think some more variety might have improved the ‘musical’ elements of the genre mix. The ‘real’ singers appear as extras in the film. Whether they are actually singing I don’t know. The one ‘different’ song sung by the Same Swainsbury character is something that might have been developed. Unuusually for a British film of this type, it is presented in ‘Scope which enhances the natural beauty of the Port Isaac setting.
Many of the UK critics marked the film down and the trade paper Screendaily remarked that despite ‘soft reviews’ the film’s wide release (over 500 screens) had been successful giving it a No 2 slot in the UK Box Office. If the film does skew towards older audiences it may well have done good business in mid-week. Overall I enjoyed the film. It won’t be a classic feelgood film and as the ‘true story’ is already nearly ten years ago the narrative itself doesn’t necessarily speak for/about 2019. But the opening week success does suggest that in the midst of debates about streaming and up against the release of Captain Marvel on the same weekend, a small independent feature can still attract audiences in large numbers. It may simply disappear next week but EFD will still feel it was worthwhile going for those 500 screens. Cineuropa also reports that the film has ‘pre-sales deals’ in Spain and Scandinavia – perhaps the universal attraction of singing fishermen and the possibility of a metropolitan man falling for a local woman can sell the film in several territories? I enjoyed Tuppence Middleton’s performance very much.