As part of the ¡Viva! Weekender, Cornerhouse also offered a ‘One Hour Intro’, ostensibly to complement the screening of María y el Araña but in fact also useful in thinking about the other two Latin American films screening at the weekend as well.
Dr James Scorer, Lecturer in Latin American Cultural Studies at the University of Manchester delivered a talk for exactly an hour, showing a multitude of clips and setting out some intriguing arguments in what was an entertaining and informative session.
James began with a statement that certainly made me think. Latin America is now the most urbanised region on the planet with 80% of the population living in cities and surrounding urban areas. Given that for many years the image of Latin America on screen often included the rain forests of Brazil, the Andes, the pampas of Argentina or the varied topography of Mexico, it is certainly worth considering just how many recent films have focused on urban life. James grouped films in terms of how they addressed the problems of rapid urbanisation and how these have produced shanty towns/favelas alongside modernist architecture and gated communities. Inequalities have helped to create criminal gangs and kidnappings. The transport problems and the lack of planning has produced an alienated workforce, broken up traditional communities and traditional communities etc.
Although I had seen several of the films used as examples, there were many others that I’ll certainly try to see. What struck me eventually though was that all of the examples pointed to universal problems with urbanisation. The same issues about crime, health etc. issues in shanty towns can be found in numerous Indian films (or in films set in Kenya or South Africa) and it also struck me that some of the stories were similar to those found in Italian films of the 1950s/60s as well as other European films. There are some specific differences in Latin America of course but the issues of migration, alienation, homelessness, public health etc. are pretty much the same everywhere.
This introduction has provoked me to think in some different ways about Latin American cinema and in the process it’s reminded me of what a rich film culture there is to discover. Roll on ¡Viva!’s Mexican weekender! (By which time it’ll be at HOME!)
This event was held at the National Media Museum as part of the Bradford Film Summit. The latter three-day programme did not seem to be that well publicised: I missed a couple of interesting looking events. Apparently there are newsletters that go round but I have only just discovered these.
The Roadshow bought together a number of voluntary and professional groups over a day to hear about and discuss film provision in Yorkshire. We had representatives from the National Media Museum, Cine North, the Film Hub, The Picture House Chain, Leeds International Film Festival, Mini Cine and the Pavilion Arts Project. Also I met people from film clubs and societies, a voluntary run cinema and several local exhibition projects. The day started with a networking session – i.e. socialising over teas and coffees. This gave us a chance to say hello to people, offer introductions and find about a bit about what people did. There is actually a wider range of film projects on the ground than one realises. Chris Fell later mentioned fifty projects or venues in Leeds with whom the Film Festival liases. So one came away with a larger picture of film going ‘up north’.
We then had a series of talks, mostly illustrated by short films or film clips. The first three were members of a Film Hub set of advisers, available with particular expertise for projects. There was Katherine Penny at the Media Museum, Jen Skinner with Reel Solutions and Michael Wood from Mini Cine. At the moment they mainly provide advice on aspects of business and fundraising, audience development and programming.
Then Katherine Penny talked about the Bradford Animation Festival and six short animated films that are available for screenings in 2015. In fact we had a chance to see all six later. There is quite a varied selection, a couple are suitable for children and a couple are definitely adult. My favourite was The Elephant and the Bicycle (France/Belgium 2014, Cert. U), a moral tale with a nice sense of visual humour. The most impressive was Hipopotamy (Poland, 2014, Cert. 18), beautifully drawn but fairly enigmatic. The whole DCP or DVD runs for about 50 minutes.
We had a nice lunch and later Chris Fell, Director of the Leeds International Film Festival, talked about their Short Film City Project, which enjoys funding from the Film Hub North. Chris showed us a couple of examples from 2014, including the winner of the Audience Award. In fact a number of the Short Films at the Festival have been reviewed on this Blog. Chris talked in particular about the difficulties in developing audiences for Short Film programmes. The project, with partners, is ongoing. I have to say that the best examples at the 2014 Festival offered more in 15 or 20 minutes than one gets from some 100-minute features.
Will Rose from the Pavilion Arts Project talked about two films commissioned by them: 9 Intervals and Letter to the Editor of Amateur Photography. Both these have been reviewed on this Blog. The latter was screened recently at the Rotterdam International Film Festival; and is set to appear in Glasgow and New York. Will received a bursary from Film Hub in order to attend the event.
Chris Bate from the Film Hub North rounded off the presentations by highlighting the support that can be offered to film projects. Their new Website goes up very shortly and there are links to funding and bursary opportunities, and a regular newsletter. There was more networking over tea.
The day ended with a presentation from Picture House of their forthcoming release Dark Horse. This is a feature-length documentary due for release in April this year, [reviewed elsewhere].
At the moment the Film Hub North is linked via the Sheffield Showroom, but its own new site should be up soon.
Writer-director Roberto Flores Prieto gave a great performance (in English) in the Q&A following the screening of his film. He told us a great deal about the background to the film and what motivated him to make it. He was at ¡Viva! last year as well and he obviously feels at home in Manchester (I’m tempted to make a joke about rain, but more of that later).
Roberto told us that he liked the title simply as a phrase. If it has a link to the film’s narrative it is because it refers to a certain type of audio signal picked up on the radios and TVs repaired by Luis, a man in late middle age who lives on his own. Early in the film we meet him in a bar where he appears to succumb to the siren call of a bar girl and the couple then retire to a run-down hotel. A little later we meet Carmen (Mabel Pizarro), a woman in her early fifties who cleans the rooms in the hotel and occasionally sits at the reception desk. She lives on her own in the hotel and begins a tentative pursuit of Luis (who she has presumably known for some time since he lives locally and advertises his repair business).
Without the background about the city of Barranquilla before the Q&A I didn’t really get all the nuances of the film’s narrative. The set-up is very simple. There are just a handful of main locations, Luis’s room, the hotel, the bar and the streets between the three. Carmen visits a Chinese takeaway and a hairdresser and Luis delivers/picks up some items for repair. Not a great deal happens ‘plot-wise’ and the film is 110 minutes long. However, in its exploration of film language in terms of cinematography, costume, set design and use of sound and music, the film is rich in meanings. (The look of the film is inspired by the American painter Edward Hopper.) Prieto wants to spend time with his two central characters. He wants us to understand what they feel and to think about their responses. These two people are attracted to each other for a variety of reasons but they are sensitive and wary about allowing someone else into their lives. They might be easily hurt. I won’t spoil the story so I’ll simply point out that this isn’t a Hollywood narrative.
Back to the rain: Barranquilla is on the Caribbean coast of Colombia and it rains a lot in season. Prieto told us that the city (the third largest in the country), is ‘looked down on’ from Bogota but the director lives there and he was determined to use it as a not just a location but almost as a character. The rain is so heavy that in the old parts of the city, the roads become fast-running streams. These are dangerous, so in the symbolism of the melodrama, rain doesn’t only signify ‘sexual release’, but also the danger of sexual congress/relationship. I realised a little after the screening that in several different ways, Ruido Rosa resembles Wong Kar-Wai’s classic In the Mood For Love. Certainly the dark streets, the rain and the music/costumes are important in both films. So too is the question of exile/migration. In this case it is Carmen who has long dreamed of travelling to New York. Will she decide to stay with Luis or to finally join the other 5 million Colombians living abroad? How will Luis deal with Carmen’s desire to leave? These are the important questions that give an edge to the relationship between the two.
Ruido Rosa is a classic ‘meller’, but it is also very funny at times – in certain carefully presented deadpan scenes e.g. when Carmen and a colleague at the hotel solemnly chomp on Chinese take-away meals and in a neighbourhood cinema when we watch Luis and Carmen but listen to hilarious versions of dialogue from typical Hollywood genre films (all provided by the director). Carmen goes to the cinema to practise English, repeating the lines she hears. Music is integral to the film and I enjoyed it very much. At one pint we join Luis and Carmen in a local bar with live music from a trio (?). Like much of the film, this sequence reminded me of old Havana and of Cuban cinema. Afterwards I noted that Roberto Flores Prieto had studied at the International Film School in Cuba. This little bar scene also reminded me of the wonderful sequence in the Claire Denis film 35 rhums which includes the characters dancing to a version of ‘Siboney’.
In the end the sense of a love story told almost in defiance of Hollywood convention is what defines Ruido Rosa. The shooting was completed in just three and a half weeks. The two principals are not ‘stars’ but they have experience, Roosevel Gonzalez as a dancer and Mabel Pizarro as a drama teacher. Director, writers and crew seem to be on the same wavelength – making something that requires patience to watch but which is ultimately rewarding. Prieto told us that in Colombia cinephiles no longer go to the multiplexes but prefer to watch films at home on DVD and download. But the success of Ruido Rosa at festivals does seem to have helped it get more screenings at home (see the film’s Facebook page) and that must be good. I look forward to seeing a Roberto Flores Prieto film in Manchester again.
This intriguing film would make an interesting double bill with María y el Araña. I actually saw it before the Argentinian film and at first I thought it was ‘modest’, ‘slight’ even. On reflection it is more interesting than that suggests and it may be that thinking about María in the barrio in Buenos Aires has prompted me to rethink life for a middle-class teen in Quito.
The ‘holiday’ of the title is taken by Juan Pablo, a quiet and seemingly withdrawn 16 year-old from the European middle class, who is deposited by his mother with his uncle’s family in their hacienda in the Andes. The timing is important. This is just before a financial crisis in Ecuador in 1999 and ‘Juampi’ (a family nickname) discovers that his uncle is in serious trouble as President of a bank that has shut its doors and refused to pay out to deposit-holders. Juampi is mocked by his boorish male cousins but finds some sympathy with his female cousin and her girlfriend. Circumstances lead him to help the escape of a Quechuan (Amerindian) youth being threatened by Juampi’s uncle’s men. Through his developing friendship with this young man (also called Juan Pablo) we discover that Juampi is gay, although he only reveals this directly to his sketchbook. The narrative sees Juampi learn more about the lives of people he hasn’t met before and to visit a ‘black metal’ music event before it is broken up by security forces. In his mother’s apartment block, Juampi takes his friend up onto the roof to see the cityscape from a new perspective.
Shot in 2.35:1 Feriado is mainly an intimate drama although one scene by a beautiful waterfall and the scenes of the city at night do make good use of the widescreen. Juan Arregui plays Juampi as very quiet in the opening scenes, but perhaps he just seems so because his cousins are so brash. As he comes out of his shell he gradually becomes more assertive. In taking on sexuality, race and class as dimensions of a traditional ‘coming of age’ youth picture, director Diego Araujo might seem to be overloading his feature, but the ‘modest’ style of the film works and it does enough in 82 minutes to be successful – and the first Ecuadorean film to be officially selected for Berlin in 2014. It’s also impressive as a first feature for the director (see the official website).