I’m reluctant to be too judgemental about this film because I missed the first 25 minutes. Reading Jonathan Holland’s review in The Hollywood Reporter, to try to discover what I missed, I have to agree with everything he says. Marsella (Marseille) appears to be a film which explores the relationships between three female characters who are affected by what is an important social issue. Sara (María León) is a 28 year-old from Andalusia who has been allowed by a judge to resume her legal position as mother to Claire (Noa Fontanals), the 10 year-old who was taken from her when Sara had alcohol and behavioural problems as a teenager. Claire has been fostered by a middle-class couple, Virginia (Goya Toledo) and Alberto, who are reluctant to let her go because they still believe Sara is not a ‘fit mother’. The narrative is constructed as a road trip taken by Sara and Claire with the aim of finding Claire’s father. All Sara knows about Jerome, who she has not seen since she became pregnant, is that he worked in a soap factory in Marseille. This genre structure should work well but the real problem with the film seems to be a sub-plot in which Sara has agreed to smuggle a package of cocaine into France. The sub-plot is necessary to the extent that Sara’s pre-occupation with this criminal task means she neglects Claire one night and the child phones Virginia because she is scared. Virginia rushes to her aid and eventually it is agreed that she will join them in the quest to find Jerome. But the scripting of the sub-plot doesn’t really work and it takes time away from the road movie which ends in a more low-key manner than we might expect.
The film is co-written and directed by Belén Macías and this is her second feature film (most of her earlier work being for television). She is one of two female directors in ¡Viva! this year dealing with middle-class couples who are/have been engaged in adopting/fostering children from working-class families (see the earlier post on L’adopció). Here, the male characters are less important and there is a real opportunity to focus on the relationships between them. I thought that when this happened it worked very well but there isn’t enough of it. The child actor is good and this was the second appearance of María León in this ¡Viva! festival (see the post on Carmina y amén) . She is a commanding presence and the social class difference between Sara and Virginia is represented through the performances of León and Goya Toledo as well as in the dialogue.
Part of that class difference refers to learning foreign languages so that Virginia (and Claire to a certain extent) have an advantage over Maria when they cross the border. The plot also includes an encounter with a truck driver (played by the engaging Eduard Fernández) and his son, an older teenager. I enjoyed this encounter which again could have been expanded but instead it is dragged into the smuggling sub-plot. Overall this film felt like a missed opportunity in which good ingredients were not allowed to come together to make a satisfying film – but perhaps that’s unkind and if I’d seen the opening I would think differently?
This unusual film was introduced by its writer-director Alejandra Sánchez who joined ¡Viva! programmer Rachel Hayward for a Q&A after the screening. Ms Sanchez is a documentary filmmaker who has here moved into ‘documentary drama’. In 2006 she made a documentary about the violent attacks on women in the city of Juárez near the US border. She made contact with a woman whose daughter had been killed in Juárez in one of these attacks and who was now looking after her two small grandchildren. Ten years after her daughter’s death this woman was herself attacked and shot several times outside her house. Somehow she survived the shooting (which Alejandra Sanchez argued was prompted by her work as an activist in the campaign about violence directed towards women). The director then decided to dramatise the story of the two children, one of whom witnessed the shooting. She wrote a script and then decided to cast the real teenagers to play themselves. As well as this element, she also used photographs and ‘home movie footage’ of the children and their mother as part of her film.
In the film the two children, Jade and Kaleb, now teenagers, are visited in the hospital where their grandmother is in a coma by a journalist, Martha, who has been summoned by the family’s lawyer, David. Martha (Nora Huerto) is asked to take the teenagers on a trip, away from possible danger, with the hope that they will be able to meet up with their grandmother in Mexico City when she has recovered and go with her to a safe house in Canada.
Seguir viviendo thus turns into a road movie. The brother and sister are understandably traumatised by this second attack. Kaleb never speaks (a device suggested by the director) but his sister eventually comes round. Later it is revealed that Martha has lost her small son in a car accident and one stop on the road trip is at the bar owned by her former lover, the dead boy’s father. There isn’t a great deal of plot but the road trip includes some of the familiar generic moments, including a drive down the coast and various overnight stays in motels and at least one village house. The film has an ‘open’ ending with a song and an animated sequence – which I certainly wasn’t expecting. During the Q&A Alejandra told us that she chose the ending against advice because she preferred it to the more realistic end point of the airport where the teenagers would board a plane to take them to the safe house.
Why was the children’s mother murdered in the first place? Why are women being attacked in Cuidad Juárez? These are the questions that several people in the audience wanted answers for. Alejandra was not able to answer such questions directly (it may have been simply a translation problem). She said that the attacks and killings had been going on for more than 20 years and that you really had to live in Mexico to appreciate what this meant. I took her statements to imply that the children’s mother was killed almost as part of the overall violence of the city rather than for something that she did and that the grandmother was attacked because she was an activist campaigning for better police and judicial action against the killers. This discussion did, of course, raise the spectre of violence associated with Mexico’s drug gangs, especially in the areas near the US border. A Guatemalan filmmaker in the audience said that this violence should be discussed and audiences needed to be educated about it and why it has happened – otherwise the representation of Central American societies remains simply barbaric for outsiders. This is something people feel strongly about and indeed it does need discussion. Both Rachel Hayward and Andy Willis asked questions which tried to focus on how Alejandra felt in dealing with such highly emotional (and possibly personally dangerous) filmmaking. There are a couple of scenes where the characters think they might be being followed and Alejandra admitted that the paranoia was ‘real’ for herself and the teenagers and her crew.
This an emotional and at times very moving film and Alejandra Sanchez is a brave filmmaker who deserves support. The film is technically well-made but it is quite short (81 mins) for a feature and I did feel that the final section lacked something. I fear that the film will mainly be seen at specialist film festivals but I hope it does find a wider audience and that it encourages other filmmakers to be equally brave and authorities to initiate action against the violence and towards support for the victims.
I knew this film was going to work from the first few minutes of the opening scene. Four men in their late 70s or older are sat round a table in a café-bar playing dominoes and squabbling. Suddenly one orders 5 shots of tequila. Consternation amongst the other three since none of them drink any more. The drinker explains that they are all for him and that he is ‘out’ – he has colon cancer and he hasn’t got long. He then makes the other three promise that they will deliver his most prized possession to its final resting place when he is gone. This object is a paper napkin on which are written the lyrics to a new song by the famous singer José Alfredo Jiménez. The lyrics are dedicated to the dying man and signed by the singer. This is indeed a historical document that is dated and in the handwriting of the star. The three survivors are charged with taking this sacred object to the museum in Dolores Hidalgo where the singer is buried – a trip of over 250 kilometres from Mexico City. That doesn’t sound very far, but these are old men with very little money.
The ‘three amigos’ are great performers, each very different, and I knew I would enjoy their company. The film was briefly introduced by Yossy Zagha Kababie, co-writer and producer (and brother of the director) who featured in a Q&A after the screening. He confirmed that all four of the old men are experienced performers from TV, theatre and film – some primarily working in comedy sketches or telenovelas but others as character actors. One of them, José Carlos Ruiz (Emiliano) has appeared in Hollywood films including Peckinpah’s Major Dundee (1965). Luis Bayardo (Augustin) reminded me at times of Stan Laurel with a quizzical expression and a general air of innocence.
The plot develops a road movie with a clever script that finds numerous ways of delaying the trio on their journey so that it takes several days for just one of them to reach Dolores Hidalgo and deliver the napkin. (UK readers will possibly remember a similar trip in Last Orders, UK 2001, a Fred Schepisi film based on a Graham Swift novel.) Each of the three men who start the trip has a family issue to deal with. One is a widower being forced into a nursing home by his daughter-in-law, one has a wife with dementia and one is constantly finding the ghost of his dead wife popping up and criticising him. These are universal problems for men of a certain age but the appearance of the ghost also refers us to the ways in which the film tries to connect with Mexican culture and the nostalgia for the trio in thinking about the Mexico of their youth. One of the men ‘sees’ a white horse on a couple of occasions – a reference (Yossy told us) to one of the 1,000 songs written by Jiminéz. The men also meet a ‘witch’ and survive a dangerous premonition that involves another ghost. As one of the audience questions highlighted, the role of women in the film is quite interesting in this film about four men – the women have quite small parts but they are often characters with real ‘agency’ – assertive, organised and ‘active’. Yossy agreed that the script had tried hard to achieve this.
This is a genuinely funny film with laughs aplenty but also a social commentary and a moving drama. It’s a major achievement. In answering questions during a lively Q&A conducted by Andy Willis, Yossy Zagha Kababie made many revealing statements. He explained that there is a big growth in film production in Mexico, but small films (this cost just US$1.5 million) find it difficult to get screened in Mexico despite the box office boom in admissions (Mexico now rates as the fifth biggest film market in cinema admissions). Most cinemas screen American films and the 100,000 admissions for this film is a sign of success in a difficult market. He argued that as a producer with his brother they aimed to make films about Mexican culture that weren’t about drugs gangs. Comedy is popular in Mexico but mainly ‘simple’ comedy and not the character stuff as in this film. Comedy is also a harder sell to international film festival programmers. So, it’s difficult but worthwhile work that the filmmakers enjoy. The focus on music and the town of Dolores Hidalgo – one of Mexico’s official ‘Magic Towns’ with a historical role in the struggle for Independence – is part of this ‘reclaiming of Mexican culture’. I think any festival would benefit from including this film and I just wish a distribution deal was possible in Europe – it seems that a Mexican comedy like this doesn’t even travel to other Spanish language markets elsewhere in Latin America, but the Hispanic market in the US may be a taker of both DVD and TV rights? If you stumble across this film, take the plunge and you’ll have a great time.
This is the third in my case studies of Kristen Stewart roles in independent films. In this she was 16/17 and only makes a 12 minute appearance. I’ll come to that later. In the meantime I have this long and highly-praised film to deal with. It’s written and directed by Sean Penn – who in her comments on my ‘Thoughts on Acting‘, Rona picks out as an actor with whom Stewart has some things in common. That’s an interesting observation but it creates a problem for me since, though I know something about Penn’s ‘status’ as an actor/director, I was amazed to discover that I’d only previously seen one of his films as actor or director. I can only conclude that he chooses projects that don’t usually attract me since I’ve nothing against the guy. At least it means that I approach Into the Wild without preconceptions.
This is a very well-known story but if you don’t want to know what happens, be warned, there is a major SPOILER in what follows.
We know that the film is a form of ‘independent’ since it was financed by the now defunct ‘indy brand’ Paramount Vantage. But this means that it has studio backing and a budget large enough to allow shooting in several widely scattered locations (IMDb suggests $15 million). In genre terms this is a road movie, a form of ‘coming of age’ story and a ‘spiritual adventure’ that eventually becomes a ‘survival film’. It is based on a 1996 book by Jon Krakauer that documents the true story of a young graduate who decided to abandon his expected career path and to seek to ‘find himself’. Cutting himself off completely from his parents and sister Christopher McCandless travels West from his graduation party in Atlanta in 1990 and spends two years on the road and in various temporary jobs/communities before he heads ‘North to Alaska’ where he intends to spend several months alone ‘in the wild’. He never made it out of the wilderness and died in 1992. In 2006 Penn’s film was joined in production by Ron Lamothe’s documentary The Call of the Wild in which the filmmaker repeats many of the journeys made by McCandless and in doing so refutes some of the claims made in Krakauer’s book and Penn’s film. But it is the book and the Hollywood feature that have attracted readers/viewers and critical acclaim.
Even from this brief description of the story it’s clear that Into the Wild is an American story. McCandless (Emile Hirsch) follows in the steps of real and imaginary American characters driven towards the frontier/the wilderness/the ‘new world’. It’s a story of individualism and in cinematic terms it uses ‘American genres’. It isn’t surprising then that it has received both critical and popular support. I suspect some of that support is focused on the young man’s story and some on its philosophical and cultural underpinnings. Personally, while I responded to the film’s technical and artistic achievements in cinematography, music (at least most of it) and performances, I didn’t feel fully engaged because I had problems with McCandless as a ‘character’. I’m wary here since I don’t want to offend the real McCandless family and also because it appears that Sean Penn may in any case have changed aspects of the story. I’ve read suggestions that McCandless (who changed his name to ‘Alexander Supertramp’) is a representative of Generation X in the US – born in the late 1960s and ‘coming of age’ in the early 1990s. We are all allowed to be a bit daft in our early 20s but this is a disturbed young man who draws on the work of a variety of writers such as Byron, Tolstoy, Thoreau and Jack London – and seems to have little common sense when it comes to survival in the wild.
Penn tells the story through a flashback structure, opening with the arrival in Alaska and then going back to Emory University and graduation day. The narrative then shifts between Alaska and a series of episodes broken into ‘Chapters’ detailing the central character’s adventures and relationships with characters he meets. Kristen Stewart’s appearance comes in the Chapter titled ‘Family’ in the later stage of his journeys through California. McCandless refused to contact his parents when he left Georgia and Penn reveals their anguish. Also ‘cut out’ was his sister (played by Jena Malone) and it is through her voiceover that we learn of the reasons why Chris wanted to part from his parents. His treatment of his sister, however, remains a mystery. When he arrives in Slab City, California (which Wikipedia tells me is the meeting place for ‘snowbirds’ in their camper vans looking for a desert retreat in Winter) Chris meets up with an older couple he has encountered before. It’s an emotional reunion with Rainy (Brian Dierker) and Jan (Catherine Keener) as ageing hippies who now run a travelling book stall. Jan has a son she hasn’t seen for many years and she asks Chris about his parents. Rainey pushes Chris towards a meeting with Tracy Tatro a young woman who they have seen performing a song at the evening community concert. This is the Kristen Stewart character and she joins the trio for a meal. Since this is the Christmas holiday period the image of ‘family celebrations’ hangs over the proceedings. Chris/Alex is resolved not to ‘weaken’ and he leaves a few days later after turning down Tracy’s invitation to her trailer while her parents are away for the day. But before he leaves, he joins Tracy to sing a duet at the next concert.
Kirsten Stewart sings two songs but I don’t know if she plays the guitar on the soundtrack. It’s difficult to analyse the performance of the songs. The first, ‘Tracy’s Song’, is credited as written by Stewart and David Baerwald (a well-known singer and composer of songs for films). The second is one of my favourite songs, ‘Angel from Montgomery‘ written by John Prine. Whereas ‘Tracy’s Song’ sounded merely pleasant and Stewart’s singing lacked confidence, ‘Angel from Montgomery’ was truly affecting and Stewart and Hirsch together sound accomplished – Hirsch sings harmony and plays an electronic keyboard of some kind. The duet refers back to a live Bonnie Raitt track in which she sings with John Prine. My problem/query is: does Kristen Stewart deliberately sing the first song in a less accomplished way so that the duet becomes more of a revelation? Or is it that I’m reacting to a song that I’m very emotionally attuned to? Did Penn and his musical advisers choose ‘Angel from Montgomery’ deliberately for its impact in terms of music and lyrics – which could be seen as particularly relevant here. This is a potentially optimistic chapter in the film about family and a possible future that is rejected as Chris/Alex is determined to still go to Alaska. Stewart plays a performer in several of her roles, most obviously in The Runaways but also as an aspiring actress in Still Alice where she is seen in a ‘summer stock’ production of Chekhov’s Three Sisters. These ‘performances’ within a film narrative attract the attention of both Stewart’s fans and her detractors. Kristen Stewart has referred to her approach as ‘mostly playing myself’. To perform ‘badly’ – i.e. as an amateur/novice – is presumably quite difficult for a young actor with plenty of experience but who still feels that she needs to prove herself.
Judge for yourself how well she sings ‘Angel from Montgomery’:
Kristen Stewart’s 12 minute cameo works very well in the film and this must have been a very useful role for her. A few years later she would find herself working again with the French cinematographer Eric Gautier whose work on The Motorcycle Diaries had impressed Sean Penn. That film was directed by Walter Salles who would direct Stewart in On the Road (2012). Kristen Stewart picks her films very well since she has worked with not just excellent acting talent but also top directors and crews.
I must confess that the more I studied Into the Wild, the more impressive it became – but I couldn’t get away from my irritation with the character. I’m very puzzled though by the box office figures for foreign markets published by Box Office Mojo. I’ve argued that this is a quintessentially American narrative. Yet the foreign total is in line with the norm – the international take is twice the size of North America. But the real interest in the breakdown into individual markets which shows fairly modest returns for traditionally strong markets such as the UK and Scandinavia but high figures for France and Italy (which together are bigger here than the US and Canada. Perhaps Rona is right and Sean Penn’s reputation in France is a contributing factor. Into the Wild took less than $2 million in the UK and over $13.5 million in France (roughly the same size of market).