Category: Latin American Cinema

The House at the End of Time (La casa del fin de los tiempos, Venezuela 2013)

The younger Dulce in THE HOUSE AT THE END OF TIME

The younger Dulce in THE HOUSE AT THE END OF TIME

Apart from co-productions, I think I’ve only seen one other Venezuelan film and that was at a festival. All credit then to Matchbox films, the distributor of the UK DVD released today, 27th April. In some ways very familiar, this is actually quite a complex and unusual film. Ostensibly a distinctly Hispanic Gothic ‘haunted house’ story, the title reveals that there is also a ‘time’ dimension which adds a further element to the mix.

The central character is Dulce (played by Ruddy Rodriguez), a mother with two young boys living with a man who is the father of the younger child. The narrative begins in 1981 when Dulce is arrested for the murder of her partner in circumstances she doesn’t really understand. Thirty years later she is released from prison but held under house arrest in the same old house. Where are her two sons? By constantly moving between 1981 and 2011 the story is gradually revealed. This ‘reveal’ also requires an ‘investigator’, here a young priest. Added to the Catholic discourse is a visit from a medium and a spirit guide drawn from Venezuela’s African and indigenous cultural mix. The priest will discover that the house has a history and that previous families who lived there also had problems.

unnamedAt the beginning of the film I felt that there was something odd about the aesthetics of the film and for the first few minutes I wasn’t sure if this was meant to be Spain or Latin America (I hadn’t checked before sticking the DVD in the player). The haunted house and the female-centred family melodrama have been explored in several high profile Spanish films including El orfanato (2007) but I sensed rather than saw directly links to Mexican horror films like Kilómetro 31 (2006) or in the case of the spirit guide, aspects of Cuban cinema and Santería (a religious tradition found across Cuba and Venezuela). Another Cuban link and the first indication that confirmed Latin American cinema for me was the importance of baseball.

I can’t imagine that first time producer-writer-director Alejandro Hidalgo had much of a budget to play with but he handles the complex shifts in time and the repetition of sequences from different perspectives very well. The house itself is a great setting and although the pacing and use of music teeters on the edge of constant portentousness, he manages to keep control and deliver. Looking at the comments from various horror fansites the film has gone down well with its intended audiences. If I have a criticism it’s that I would like to have found out more about the early history of the house, but really the story is complex enough and the closing sequences spring some surprises and twists. I hope the film finds its audience in the UK.

Official trailer (US?):

¡Viva! 21 #6: Latin American Cities on Screen

Medianeras (Sidewalls, Argentina 2011) – one of the films discussed by James Scorer

Medianeras (Sidewalls, Argentina 2011) – one of the films discussed by James Scorer

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!)

¡Viva! 21 #5: Ruido Rosa (Pink Noise, Colombia 2014)

Luis (Roosevel Gonzalez) at his workbench is questioned by a census-taker in the opening scene of RUIDA ROSA

Luis (Roosevel Gonzalez) at his workbench is questioned by a census-taker in the opening scene of RUIDO ROSA

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).

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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.

Luis and Carmen caught out in the rain.

Luis and Carmen caught out in the rain.

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.

RuidoRosa4

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.

The trailer:

¡Viva! 21 #4: Feriado (Holiday, Ecuador/Argentina 2014)

Juan Manuel Arragui as 'Juampi' the introspective youth at the centre of FERIADO

Juan Manuel Arregui as ‘Juampi’ the introspective youth at the centre of FERIADO

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).

Trailer: