An unusual and fascinating documentary, Neuve Sevillas offers an avalanche of ideas, memories, observations, opinions and facts that is quite difficult to digest for non-Spanish speakers simply because of the rapid speech and subtitles with often two sets on screen at the same time. However, the gist of the argument is clear and much of what we want to learn is conveyed by songs and dances and newsreel footage. The idea behind the documentary is derived from what I now understand to be a ‘social performance’ approach as a means of ‘decolonising’ a field of knowledge. This is a film about finding the ‘identity’ of interconnected groups of people in Sevilla. But instead of presenting a formal history based on traditional academic writings, the search is conducted by the ‘folks on the ground’ – in this case singers, musicians, dancers, bullfighters, promoters and the fans who enjoy watching, listening and joining in.
Sevilla is Spain’s fourth largest city and the capital of the ‘autonomous community Andalusia’. It has a proud status as a cultural centre for the three components of flamenco – singing, guitar-playing and dancing. Sevilla is also a centre for other forms of music as well, including modern rock music. However, the identity discussed in the film focuses on the gitano communities of the region. Gitano refers to Roma people of the region, but it is slightly more complicated than that since as one ‘witness’ tells us: “Flamenco and gitano are the same, gitano and Roma are the same but Roma and flamenco are two different things”. I think this means that there are other forms of Roma music as well as flamenco. Sevilla is a music melting pot. Music in the city is influenced by the Jewish and Moorish histories of the region as well as other African migrants and South Americans who have returned to Andalusia and with them ‘American’ influences – one of the dancers featured is from Chile. Italian influences are also cited and the music also has connections across Eastern Europe.
To present these ‘discourses’ or ‘conversations’, director Gonzalo García Pelayo (who is listed as a co-director with Pedro G. Romero) makes one of the ‘journeys’ through the city himself as well as popping up in the linking segments. The structure is to present nine separate individuals with their Sevilla stories and in between to offer a range of music and dance performances representing the city more broadly. I’m not going to list all nine but I’m sure you get the picture. I’ll just take the first three. The film starts with archive material presented in Academy ratio and leads into Yinka’s story. She originates in Africa and promotes the African connections in the city’s culture whereas the second story features ‘Bobote’ who comes from Triana, an old district that is the home of traditional gitano culture. Gonzalo García Pelayo includes footage of his own film set in the city, Vivir en Sevilla (1978) and then claims that the film needs more sex and passion, so we get an extract from Buñuel’s last film That Discreet Object of Desire (1977) in which a woman dances naked before Fernando Rey in a restaurant. Two women discuss bullfighting in another journey and what it means to leave the barrio and another explains how she has lived in what she terms “a shack” waiting for a promised house for many years after her arrival from Galicia.
Each of the nine characters takes us on the next part of the journey through the city, through the history and the culture. The narrative structure plays out over twenty-four hours, starting after siesta one afternoon. The nine stories are not ‘separate’ and the characters sometimes turn up in each others stories. What remains central is the tension between the gitano/Roma community and culture and the mainstream Spanish culture. This is partly a tension created by a desire to maintain tradition within the community while at the same time wanting to be recognised within the contemporary society on an equal footing. This is represented in the use of language so that there is a struggle over ‘gitano‘ as a description that means something within the community but is considered as potentially offensive when used by others. In one segment we are told that the gitano/Roma community is a ‘political category’ and that for Spain if they didn’t exist they would need to be invented. This sounds like a familiar argument expressed by strong communities in many parts of the world, keeping their identity alive through cultural activities. Not all have the history and achievements of flamenco culture.
This is a long film (160 minutes) and there is a danger that audiences who don’t already know something about Sevilla and its people will be overwhelmed. Would it be more effective as two or three separate films? I don’t think so because that would lose the 24 hour journey. Perhaps it just needs a little tightening in the edit. However, I think most audiences will sit back and let the film roll over them (the festival brochure calls it ‘immersive’). The music and dancing are very impressive and enjoyable and anyone who watches it is likely get an urge to walk through Sevilla’s streets on a summer’s evening. I’m pleased to see the political and cultural analysis that the film offers. Here is a culture that remains vibrant in an increasingly commercialised world.
This was one of my real ‘finds’ at Glasgow. It is the first fiction feature of the documentary filmmaker Marta Bergman and was selected as one of the candidates for the ‘Audience Award’ competition. It’s not hard to see why. Marta Bergman was in attendance and she proved a fascinating guest. Alone at My Wedding was screened in the ‘ACID’ (Association for the Distribution of Independent Cinema) programme at Cannes in 2018. This programme features films that might have difficulty finding a distributor and currently this film is looking for distribution via the sales company Cercamon.
Marta Bergman, originally from Bucharest, studied at film school in Belgium and then returned to Romania to make documentaries. This first fiction feature has taken several years to make and clearly draws on the documentary experience. It mixes professional and non-professional actors. The narrative is relatively straightforward. Pamela (Alina Serban) is a single mother in her twenties living with her toddler Rebeca and her grandmother in a Roma community in a village on the outskirts of Bucharest. She has to find ways of earning money to buy food and decides eventually that the only way to survive is to find a rich husband via the internet. This isn’t easy (and requires her to raise money for the fees) but eventually, through an agency, she makes contact with Bruno (Tom Vermeir) in Brussels and agrees to fly to Belgium. She leaves Rebeca behind with her grandmother and tries to make a new life for herself in Brussels, sending the money Bruno gives her home to Romania. I won’t spoil what happens to her (and Rebeca) but I will say that Marta Bergman tells a human story in which some good things happen and Pamela is frustrated in her attempts to ‘get ahead’. Bruno is not a typical man who orders a ‘mail-order bride’, but even when it is clear that he wants the best for Pamela it doesn’t necessarily mean their relationship will work. There are Roma in Brussels and Pamela finds them easily enough. Meanwhile, things are happening in Bucharest where Marian (who might be the baby’s father) is concerned about Rebeca.
The film succeeds partly because Alina Serban is a terrific actor and a bubbling vivacious personality. She appears younger than her 30 years as listed on IMDb and she lives up to the database description of an ‘award-winning actor, playwright and director’. Marta Bergman told us that Alina was primarily a theatre actor but she does have previous film and TV experience. Tom Vermeir is also a theatre actor and he had to develop his Brussels French after working in Flemish theatre. Bergman’s documentary background is evident in the way she makes use of small gestures, some of which have come from observation of families in Bucharest. For instance, early in the film we see Pamela trudging through the snow with a bucket of water because her home has no running water. Later in Bruno’s flat she often leaves the water running, holding her fingers under the flow, revelling in its availability.
I enjoyed this film very much and I hope it gets a UK release. I’d like to show it to students and in the current Brexit climate it provides a powerful story about ‘living abroad’. If I have one slight criticism, it might be that at around 2 hours the film might be too long. By this I don’t mean that the material doesn’t warrant the length – there is more I would want to know – but that perhaps a slightly shorter, tighter narrative might appeal more to distributors? Having said that, I heartily recommend the film as it stands.
Ciambra is a small settlement in Calabria in Southern Italy (close to Gioia Tauro) with a large extended Roma family involved in various ‘marginal’ and ‘illegal’ activities. The youngest son in the family is 14 year-old Pio (Pio Amato). Not much older than his own nephews and nieces, Pio is conscious of needing to grow up quickly to be like his much older brother and to get away from the scrutiny of his mother, the matriarch of the family. This sounds like it will be a conventional coming-of-age story, but there is more to it than that. This isn’t a Mafia/Cammora/’Ndràngheta story. Ciambria is an isolated community – more like an isolated encampment than part of a city. Pio goes into the town or to other small communities but avoids mainstream criminals. The Roma boy is concerned about territories and identities. (The real Gioia Tauro is only a small town but it has been associated with ‘Ndràngheta and it has the largest container port in Italy.)
Writer-director Jonas Carpignano (born & schooled in New York, lives in Italy) made a big impression with his first feature Mediterranea (Italy 2015) about the problems of two African migrants coming to Italy. His reward was to be selected as one of the first to benefit from Martin Scorsese’s fund for younger filmmakers and a subsequent offer of support from Sundance. His starting point was to go for the ‘authenticity’ of non-professionals and the whole Roma family appear to be playing themselves if the credits are to be taken at face value. Fairly early on it becomes clear that Pio is not quite like the older members of the family – though he may be a throwback to his grandfather, the man who established the community in the area and who is still around at the start of the narrative. After the screening and after researching Mediterranea (which only got a DVD release in the UK and which I haven’t seen), I realised that Pio and his African friend Ayiva (Koudous Seihon) feature in both films, though whether as the same characters I’m not sure.
A Ciambra was screened in the Directors Fortnight at Cannes and was chosen as the Italian entrant for the Foreign Language Film Oscar so it has clearly made an impact. A good starting point might be to consider the extent to which the film refers back to neorealist studies of specific communities. Carpignano himself refers in this interview to his childhood memories of De Sica and Rossellini and the kids in their films. Jonathan Romney has referred to Visconti’s La terra trema (1948) because of that film’s similar focus on a tightly-knit community in Sicily. Many critics have tried to place the film in relation to that Italian tradition and more recent approaches. The Dardenne brothers post Rosetta (1999) is one touchstone but I’ve tended to see them as slightly removed from classic neorealism. Carpignano uses his non-professionals filmed on authentic locations and he inserts some traditional neorealist ‘lacks’ (problems) that need to be sorted. This mainly means finding sources of money from increasingly ambitious petty crimes to solve various problems faced by the extended family. Unfortunately, Pio’s education is in stealing credit cards and copper wire and trying to grow up to be like his brother. He has to get another young person to read the messages on his phone because he hasn’t had time to learn to read. There isn’t a great deal of plot but Pio’s ‘coming of age’ comes in a final sequence which I found very distressing. But as my viewing partner pointed out what we were offered is a reality in Italy.
Jonas Carpignano has an Italian father and an African-American mother. This may be a reason why he began his feature film career with a story about African migrants and why in his second film he shows both the mixed race children in the Roma family and the African community in another small community that Pio is drawn towards by his friend Ayiva. The Africans are mainly from Nigeria and Ghana and they speak English as a common language, that is also used by Ayiva from Burkina Faso. The reality is that in the pecking order in Calabria, the Roma come below the Italians and the Africans are below the Roma. Neorealism can be developed as melodrama and this true to a certain extent in A Ciambra which has plenty of music on the soundtrack and a range of emotional relationships. But it also has its own element of ‘magic realism’ in the hallucinations that Pio experiences concerning his grandfather. I thought at first these came from heavy dope smoking – when Pio first sees the horse I thought of a similar moment in La haine (France 1995) when Vinz sees a cow in his housing estate. But then it occurred to me that the fantasies came because of the pressure suffered by Pio. There is a sense that Pio is his grandfather re-born and that he could rise above his misdeeds. I hope so. It’s very difficult not to warm to Pio as a character. He’s 14 years-old and frightened of travelling on a train – he’s not a gangster.
A Ciambria is photographed by Tim Curtin who also lensed Mediterranea and was in the camera unit on Beasts of the Southern Wild (US 2012), another film I haven’t seen. I mention it here because Jonas Carpignano was an assistant director on that film which also included in its crew the film editor and music composer of A Ciambra, Affonso Gonçalves and Dan Romer. I’m pleased to report that Peccadillo Pictures has picked up A Ciambra for a UK release in May. It’s well worth a watch. IFC/Sundance Selects released the film in the US in January: