2006: The Year In Film

For this writer, 2006 was a year of disappointments. Foremost among these were Clint Eastwood's two-sided account of the Battle of Iwo Jima, Flags of Our Fathers and Letters from Iwo Jima. The first, in my estimation, was a consequence of a very clunky flashback structure, and the second, though I would argue still good, does not attain the heights of the director's best -- that is, it eschews the autobiographical quality that has long made Eastwood the favorite of hard-core auteurists, myself included. Secondary was one of the most enthusiastically reviewed films of the year, Martin Scorsese's The Departed. In short, as I have argued elsewhere, The Departed marks a troubling turn in the director's art, away from the critical stance that ennobled his otherwise brutal corpus. Then again, I have never been a huge Scorsese fan, though I bow to no one in my admiration for Eastwood.

As such, 2006 was a weird year for me in that I would rank neither of my favorite current American director's new releases among this year's best. At the same time, there were few American films to take their place. To be sure, 2006 seems to me to be a truly bad year for the American cinema. Then again, as I consider those films that I did choose to include, 2006 has the makings of a pretty good year -- I haven't even had the opportunity to see two highly regarded Asian films from the past twelve months, Jia Zhangke's Still Life and Tsai Ming-liang's I Won't Sleep Alone. Moreover, 2006 included a couple of very strong European holdovers from the previous year, The Death of Mr. Lazarescu and L'Enfant (which I would have included were it not on my 2005 list). A recent indieWIRE survey, parenthetically, placed these two films as the best works of the year.

So, 2006 does seem to be better than it might appear initially, though I will admit most of the films that I would argue confirm this status are still without theatrical distribution in the U.S., which I suppose is topic for another time. In the meantime, if you haven't already, buy yourself an all-region DVD player and become acquainted with European and Asian websites -- that's how you're going to see the best in world cinema circa 2006.

For those films that might qualify, Ten Best Films, along with Fourteen Seconds, Seen Film and Termite Art will be hosting a blog-a-thon over the next couple of days, where collectively the many learned authors and readers of these sites will share their opinions on the best of world cinema. Here is a list this year's respondents (which will be added to in the coming days):

Michael J. Anderson, Ten Best Films
Lisa K. Broad, Ten Best Films
Pamela Kerpius, Seen Film
Mike Lyon, Fourteen Seconds
Michelle Orange, Ten Best Films
Vicente Rodriguez-Ortega, Ten Best Films
Matthew Singer, Termite Art
R. Emmet Sweeney, Termite Art
Alberto Zambenedetti, Termite Art

2006: Michael J. Anderson

Michael's list has been moved to Ten Best Films.

2006: Lisa K. Broad

Lisa's list has been moved to Ten Best Films.

2006: Michelle Orange

Michelle's list has been moved to Ten Best Films.

2006: Vicente Rodriguez-Ortega

Vicente's list has been moved to Ten Best Films.

New Film: Inland Empire

The following dialogue is a fictionalized recounting of a conversation that I had with my girlfriend, Lisa Broad, following a screening of Inland Empire last night. At this point, my thoughts on the film are too tied up with her insights to offer a straight-forward review that doesn't continually succumb to plagerism. Also, it gives Lisa a chance to experience what it would be like to hear her words in someone else's voice, which seems as though it might be an appropriate experience to connect to the film. *Be advised that the following conversation includes spoilers.*

I.
Lisa: So what did you think?
Me: I am considering it.
Lisa: Me too.
Me: I guess I could begin by saying that I thought it was easily the most ambitious American movie of the year.
Lisa: I agree... What I would say is that it was horizontal rather than vertical. Does that make sense?
Me: I think so.
Lisa: (Motioning with her hands) If Mulholland Drive is this set of ideas stacked one on top of the other, Inland Empire was like a series of paper clips combined into a single chain. Does that make sense?
Me: I think so. It's like Inland Empire is a series of variations on a single theme, a study of all of its ramifications: stardom.
Lisa: Not stardom. This isn't one of those facile examples they're so fond of in cultural studies.
Me: Maybe not stardom -- instead say the persona of an actor.
Lisa: I think that's true. It's interesting that Laura Dern has had all these performances where she has been made to suffer over her career... and not just in David Lynch's films. It must be difficult to see one's self on the screen and to see these things done to one's body. That's what all those reaction shots of Dern are about: she is watching herself suffer.
Me: That's true, I didn't even think of that.
Lisa: And yet, it's a very hopeful film.
Me: I wouldn't say hopeful.
Lisa: No, I think it is. After all, during the credits we see her 'Producer credit' at a very intentional moment. And of course, there's the point in which she shoots the Mesmerist, after which everything is restored. And back to the end, there is joy in this ending.
Me: I'm not sure that means it's hopeful. It is still a very dark and punishing film.
Lisa: But seems it wants to say that it's worth it. That's what the ending is about.
Me: But you can't forget the death -- even if it is only that of her character's in a film (within the film). There is a clear tragic tragectory. After words, she shoots the Mesmerist, as you've said. She then kisses the brunette, passing the role on to this other female, before she finds herself in effect in the after life.
Lisa: So you think there is transcendence?

Me: I guess I would say there's an immortality that redeems it.
Lisa: Yes, there is this, and there is also a way out: remember the producer credit and the feeling that the film effects, after being so very punishing, and not entirely pleasant up to the end.

II.
David Lynch's Inland Empire is indeed the most ambitious of all this year's English language fare: it represents a genuine contribution to the form-class of the reflexive dissection of acting, of which Mulholland Drive (2001) is a second example. Here, Lynch interests himself in examining all the implications of the star persona, structuring a picture on either the many variations of a single role and/or the many related roles enacted by a single actress. Either way, this is a film that further extends the critique of the earlier film, inquiring as to the impact that the act of fulfilling a role has on those who do this work. (Lynch explicitly links Dern's work to prostitution.) Moreover, this is also a work that seeks to consider the idea of "role" from every angle.


III.
Me: There is this idea of the "role" which is articulated early on when Grace Zabriskie visits. She says she's heard Dern has a new role, Dern responds that she's up for a new role, and Zabriskie says she has it.
Lisa: Yes, she starts the new film and soon learns it's cursed. After this point she no longer can distinguish whether she's in a film or not... That's one thing I don't like, this psychological dimension. It makes for poor insights into the film. Its the same problem with inadequate readings of Mulholland Drive as a lesbian love story, rather than what it is: a film about the medium...
Me: Yes, a film that divests performers from roles to conceptualize both. But I would say that like that film, Lynch gives the spectators who are insistent upon a psychological reading just enough rope to hang themselves.
Lisa: But in this film there are those things which cannot be reduced to this framework: the rabbits, the Polish setting...
Me: About this part, did you notice that at one point, one of the Polish characters repeated the exact lines that Dern delivered in a conversation with the therapist? My thought was that it too represents another version of the film-within-the-film...

(Cross-chatter about the Polish performers, the implications of Eastern Europeans to represent evil, etc.)

Lisa: There's one other thing I wanted to mention: its as if the Mesmerist stands in for the director, who makes the characters act the way they do. Of course, he's also the person Dern kills near the end of the film.
Me: Actually she shoots him, but we don't see any wounds.
Lisa: Except on his face, we see a grotesque morphing of her own. This is a film that uses DV well, by the way.
Me: I agree, and it's important that it is him she shoots. It is after this point that she is liberated. It is almost like a Rivette film.


IV.
There is perhaps no better compliment to the on-going Jacques Rivette series at the Museum of the Moving Image (and an earlier one at the Anthology Film Archives) than Inland Empire. Like Rivette's masterpiece Celine and Julie Go Boating (1974), Lynch's narrative does not delineate between dream and reality, but rather creates a reality that operates according to the logic of the first. Again, Inland Empire permits a reading that traces Dern's further estrangement from sanity, but this is to miss the point: the point is that the structured effected allows Lynch to consider the art form he is working within. Likewise, as again with the best of Rivette, Lynch makes his roles interchangeable -- first it is a love triangle with Dern, her husband and her co-star(Justin Theroux) with the former gentleman in the role of killer (so long as the co-star touches his wife). Upon a second image of a needle on a record, this dynamic reverses with Theroux's character, his wife and Dern making up the three components. Now it is Theroux's wife who is thrust into the role of the killer. Then again, it is she who we see at the beginning of the film -- in the role of someone condemned to kill -- meaning that this approximate structure is only that, approximate.


V.
Lisa: But I don't think it's really put in order at all... or at least in a particular first second and third order. All the stories are chopped up and rearranged. The stories themselves have an order, obviously. But they are chopped and strung together.

New Film: Borat, For Your Consideration & The Queen

There is no easier way to kill a discussion about a film's merits than to call it "funny." To use this description is to stop the conversation, much like making an accusation of "racism" will in most cases end further debate. Larry Charles' Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, the brainchild of co-writer and titular star Sacha Baron Cohen, is in generous measure both of these, though the latter is certainly directed toward a presumably higher purpose: namely, to reveal that many Americans harbor innate racist and anti-Semitic sympathies. Of course, the problem is that Cohen attempts to make his case for America's equity with his portrait of a fictionalized Kazakhstan -- read: the Muslim world divorced of a racial component -- on the basis of some good 'ole boy rodeo patrons, a Humvee dealer, drunken frat boys, and a Southern Pentecostal assembly. Not that any of the above actually advocated the eradication of Israel as has the very real Ahmadinejad regime in Iran, but why let perspective get in the way of an anti-American polemic, even if it supposes that his generic Islamic state has nothing to learn from the U. S. of A.

Ultimately, Borat trades on -- or better yet courts -- specific stereotypes to prove the picture's pedagogical point: New Yorkers are rude, feminists are humorless, Southerners are overly polite... and racist, Black youths hang out shooting dice (though they are far more welcoming than the snooty hotel proprietors he will ambush in the next scene) and so forth. In order to achieve their effect, Charles and Cohen often cut following very short segments -- its interesting and perhaps telling that so little came of the Bob Barr encounter, for instance -- which respectively emit varying degrees of staging.

Still, irrespective of these ethical considerations, Borat remains a very funny film. And to this point little needs to be said, because, of course, you'll either get it or you won't. You'll either find the fact that his sister is #4 prostitute in all of Kazakhstan funny, or you won't. You'll either find his epic nude struggle with sidekick Azamat (Ken Davitian) funny, or you won't. If you are somehow still on the fence, watch this trailer. If you find it funny, you'll find the film funny. And if you don't, you won't.


I wish the same could be said for Christopher Guest's For Your Consideration -- even if it would have meant sitting through another facile polemic. Unfortunately, For Your Consideration is far less funny than Borat, so long as you don't find limply anachronistic satire of a Hollywood that never existed hilarious. (One thing that it does have in common with Charles' and Cohen's picture is its very calculated attempt to avoid offending America's costal cultural elite.) It's one thing, surely, to be on the margins of the local theatre, dog show or folk music cultures; it's quite another to represent outsiders to a culture that doesn't look little like anything we know. My viewing companion -- the oft-mentioned Ms. Broad -- pondered whether perhaps there was something meta and even avant-garde about this send-up, pointing to the out-of-place characters and to the picture's visual echoes of the ultra low budget film-within-the-film. Perhaps, though even in this respect it falls short: no other comedy this year can match Albert Brooks' Looking for Comedy in the Muslim World when it comes to experimenting with less than funny material.

So what then is the best 'funny' English language film of the year? Well, a film about the Royal Family's poor response to the accidental death of Princess Diana of course! Stephen Frears' new career high, The Queen, from Peter Morgan's exceptional screenplay, sustains a consistently light tone in spite of its very real tragic content. Opening with Tony Blair's (Michael Sheen in one of many stand-out supporting performances) landslide 1997 election on the eve of the Princess's sudden death, The Queen is as much about his relation to the Windsor's in this time of extreme friction as it is about the Queen (an Oscar-worthy Helen Mirren) herself. In fact, The Queen is no less polemical than the aforementioned Borat in its excessive valorization of the Prime Minister, though it is the absence of this quality in other respects that finally ennobles the picture.


At the same time, The Queen is not all nuance when it comes to its depiction of the House of Windsor, either. To do so would be to jeopardize its claims of authenticity, provided after all that Prince Charles (Alex Jennings) is the next in line to Elizabeth II. Here, he is every bit as hapless as one has come to expect from the real-life antics of the über-unpopular heir, though Frears does make the point to show his genuine grief and apparent concern for his sons when he is confronted with the news. Less inclined to these feelings are Prince Philip (James Cromwell in another strong performance), who insists that the Princess's public and private personas were very different indeed and the Queen Mother (Sylvia Syms), who along with Philip demands that Elizabeth follow the protocol of her throne, in dealing with Diana's death.

In the end, Elizabeth, in opposition to her own better judgment -- that is, in her estimation of the British people whom she has ruled since the early 1950s -- and the traditions of the crown, acquiesces to public sympathy, which in Frears' film is less a triumph of populist justice than a personal defeat for a woman who has far more faith in the British people than perhaps she should. On the other hand, Frears shows himself to be precisely what Elizabeth imagines of her subects; his directorial choices often display the same restraint that the monarch incorrectly imputed to the British public: at the very moment of Elizabeth's fullest outpouring of emotion, Frears films the weeping Queen from behind.

Indeed, one of the surprising accomplishments of The Queen is its success in humanizing Elizabeth, which to an American viewer like myself, is a need for which I had no conception. But it is this very process, that is in helping the spectator to understand why the Windsors' fumbled Diana's death to the degree that they did -- without fully excusing it, to be sure -- that marks the unique contribution of Frears' film. As to its ability to reveal the latent royalist sympathies of one American spectator and amateur critic, I can only say that in this respect, it was also successful.

Now At The Getty: The Religious Art of Sinai and Dresden

Running now through March 4th at the J. Paul Getty Museum in Los Angeles, Holy Image, Hallowed Ground: Icons from Sinai represents the largest American instillation of Byzantine icons from St. Catherine's Monastery on the Sinai Peninsula -- which happens to house more than half of all Eastern icons in existence. As such, Holy Image, Hallowed Ground constitutes a major event in the art world on the basis of its subject alone. Therefore, it is all the more gratifying that the exhibition not only establishes the stylistic and thematic range of the pieces, but their substantial aesthetic value as well, and at least a facsimile of their impact. These are works that don't reproduce well, however -- the pieces require the beholder to interact with them in their space. Take for instance the masterful Late 12th century Annunciation from the Holy Monastery: here, a burnished golden ray of light cuts through the large, empty gold-leaf background, depicting the Holy Spirit's descent in the scene. In print -- or on-screen -- the work's compositional grace is manifest, though it fails to reach its genuine phenomenological impact: in person, the ray of light seems to almost descend toward the Virgin when one moves in front of the icon, with the burnished ray becoming apparent from certain angles when it is invisible from others.

Another instance of this work's power in its presence can be found in the superlative 11th century Scenes of the Nativity immediately to the Annunciation's left. In its case, the work's beautiful color palette becomes visible in a manner that seems impossible in print or on line. Yet, it is not simply that the work utilizes rich hues, but that they guide the beholder's view, narrating what is genuinely a sophisticated narrational space: the viewer's gaze lands at the Mary and then the midwife in the upper center of the composition, before his/her attention is led to the magi approaching and then to a scene of their adoration of the Christ child. (This element again is not evident in print, and therefore does not fully tell the story of their readings; in person, the nativity works in much the same way as Masaccio's Tribute Money.) However, this piece's complexity does not begin and end with its color schema, but indeed finds a form to communicate multiple narrative scenes within the hilly topography of the composition -- often in clearly readable sequences. In addition, this eleventh century work (most likely originating in Constantinople) utilizes space in a fashion where form articulates content, as with the beam of light that connects the Christ child with the ethereal upper register, or with the magi literally leaving on the panel's other side (thereby giving form to the axiom that they left on a different route after being warned by an angel -- whom we see with them elsewhere). And then of course there is the exceptional detail that was once thought to be the purview of the illuminated manuscript, but again in the presence of these works is shown to be essential to their achievement.


If I am becoming a bit long-winded with reference to this single piece, it is because I have been studying it specifically for the past couple of months, in preparation for the exhibition. For the sake of total disclosure, in my new life as an art historian, I have been enrolled in Holy Image, Hallowed Ground's curator Robert Nelson's Icons seminar at Yale. Having said that, let me also say that with my intimate experience of the pieces for these past few months, I can say without reservation that Prof. Nelson's exhibition has exceeded my expectations. These are works that are not only made to be seen, but to be interacted with, in space that the Getty has recreated admirably. For those who can and do see these pieces at the Getty sometime in the coming months, this is the sort of exhibition that can make one rethink its period, and in fact the history of art. Future writers of textbook surveys will need to contend with the Annunciation, Scenes of the Nativity, St. Theodosia (from the catalogue cover; above), a remarkable 6th century St. Peter, and countless other works of similar sophistication -- not that their reproduction will tell us what we need to know about these wonderful works.


Ironically, then, another exhibition currently on view at the Getty showcases a series of works that are actually more impressive in reproduction, as a colleague of mine pointed out: Gerhard Richter's 2005 Wald Series in From Caspar David Friedrich to Gerhard Richter. These series of anti-art, semi-figurative landscapes, commissioned for this exhibit to respond to the half-dozen or so Dresden Friedrich's on display, suffer from the excessively intense over-head lighting and the space's stark white walls (in contrast to the purple tones in the two Romantic-era rooms) to be sure; even so, these spatial difficencies do not mitigate the garish palette of this modern heavyweight: the resonant golds of the catalogue are in the presence of the works, ill-conceived lemons. Moreover, the cycles themselves are incomplete, and at a point, arrest for lack of continuity -- while patterns emerge, to be sure, as with a rich series of landscapes reproducing water effects (again more poetic in print), at some point these same patterns fall apart, denying the cohesiveness that an engagement with the Romantic master would seem to dictate -- that is, if they are to respond to him at all.


As for the Friedrich's, in spite of their slim numbers, there is opportunity to learn something new about this artist -- namely, that his misty and often tumultuous landscapes were very much in the service of another project: his belief in transcendence, presence beyond surface, and particularly his devout Protestant faith. A Crucifix in a suitably Gothic frame (designed by the artist) makes this case as the centerpiece of the exhibition; however, given this point of reference, works such as the poetic Bushes in the Snow (1827-8; above) or Two Men Contemplating the Moon (c. 1819) register this same quality with greater nuance. In this way, then, From Caspar David Friedrich to Gerhard Richter at least provides a framework to view the former's metaphysical purpose -- to say nothing of giving American audiences the opportunity to see rarely-seen masterworks.

New Film: Marie Antoinette

In the words of my girlfriend, Marie Antoinette is not just a girl's movie, but a very particular kind of girl's movie: a movie for girl's who don't mind quasi-long take movies with little dialogue. In other words, its for her -- or better yet perhaps, for who she was maybe five years ago; that is, the kind of girl who then (as now) knows that the first song was Gang of Four. So, I will leave the main -- albeit short -- assessment of the film to her, Lisa K. Broad, with my own similarly concise comments to follow. Enjoy.

Somewhere beneath the 80s-soundtrack and cotton-candy color palate of Sophia Coppola’s Marie Antoinette beats the heart of an American art film. Reveling in pure sensual experience, the film largely avoids the psychological terrain covered by most film biographies. The dialogue is sparse and strange, and the narrative nearly non-existent, but the vivid music and imagery demand not just to be seen and heard, but to be actively looked at and listened to. In its penchant for flat, frontal staging and cheeky reflexivity, Marie Antoinette brings to mind Sally Potter’s Orlando (minus the feminism). I also wouldn’t be surprised if Coppola had studied up on the punk period-pieces of Potter’s mentor Derek Jarman.

At once compromised and uncompromising, the film is alive with beautiful graphic compositions that manifest a painterly attention to color, light, and texture, and striking radial symmetry, but Coppola rarely allows them to linger onscreen long enough to be fully appreciated. Seemingly afraid of alienating her audience, she falls just short of the true long-take style she hints at. The subject, or perhaps the object, of each of these aesthetic meditations is the lovely Kirsten Dunst. Although Dunst’s Marie Antoinette remains completely opaque throughout the film’s duration, her body is exhibited to us so closely and at such length that a kind of phenomenological intimacy is generated that gives way to a creeping, visceral dread as the specter of the royal family’s grisly demise looms ever closer. Thus although Marie Antoinette isn’t terribly deep, it skims along the surface of things with a kind of rigor and sensitivity that escapes many films that presume to plumb the depths.

-Lisa K. Broad

Thanks, Lisa. Let me concur with your observation that "Coppola rarely allows [her compositions] to linger onscreen long enough to be fully appreciated." While one might say that this distinguishes the director as a post-MTV artist, it remains, to my thinking, a flaw of her aesthetic. In my opinion, this same element limits her highly-regarded Lost in Translation (2003), as does her generally tendency to film in a relatively shallow depth-of-field. Perhaps one could connect such a style to the inherent shallowness of the film's subject, but to do so does not exactly flatter the maker -- as she would have produced a superficial form to express her film's superficial content.

As to Coppola's choice of topics, let me say that it makes sense that this daughter of Hollywood royalty would dare to produce a biography of this oft-vilified historical figure. That she musically situates the picture in her own teenage decade -- the '80s -- provides added resonance (in terms of the film's biographical dimension). Ultimately, Marie Antoinette manifests nothing if not the director's ambition. And in its defense, let me add that I find the connection compelling: surely, Marie would not be so out of place in our celebrity-obsessed age.

New Film: Volver

Literally meaning "to return," Pedro Almodóvar's Volver confirms its title through a number of related associations: director Almodóvar was born in La Mancha, where for the first time he has located one of his films; Volver stars two of his acting axioms -- Penelope Cruz and Carmen Maura -- the latter of which he is working with for the first time since 1988's Women on the Verge of a Nervous Breakdown; and then there is the subject of "motherhood" that found expression in his All About My Mother (1999), which coincidentally was released the same year that the director's mother and occasional cameo Francisca Caballero passed away.

Here, Maura plays Cruz's and Lola Dueñas's deceased mother, Irene, who begins to appear to locals of their former home town, including their soon-to-be late Aunt (Chus Lampreave). Dueñas's Sole is the first of the daughters to see their dead mother, after she arrives for Aunt Paula's funeral. (Death, it should be noted, is everywhere in the opening portions of the film.)

However, it is less in this trans-grave reunion than in Cruz's familial plotline where the picture's melodramatic heft becomes apparent. After an initial visit to Irene's grave and Aunt Paula's home, before she passes on, Cruz's Raimunda and her daughter Paula (Yohana Cobo) arrive home to find the shiftless man of the house lazing on the couch after losing his job earlier that day. After gazing at his teenage daughter, the gentleman climbs into bed with his wife, who withholds intimacy from him. The next day Raimunda arrives home to find her stunned daughter -- the implications of which are that she has been sexually assulted by her father (who claims that he is not this). To be sure, we learn that he did try, though as we also learn the young woman has slain her father in the midst of the act. Raimunda quickly intervenes, enlistening her female friends first to hide the body in a restaurant freezer and later to bury him in a spot beside a country stream.

In the meantime, Raimunda herself has stumbled upon an additional revenue stream -- necessitated by her husband's lost income -- by catering for a local film crew (at the aforementioned restaurant). It is at this point that Sole encounters her dead mother and the film's secondary plot commences. Sole takes her mother in as a hair-washer in her fugitive hair salon and soon Sole is forced to hide her ghost mother from her sister and niece.

At this point, the ontological status of Irene is still contested: is she actually supernatural? Is she instead alive? Or perhaps is she a fictional projection of the character's loneliness? After all, those that have seen her have all this loneliness in common. (In this way, Volver resembles the director's masterpiece Talk to Her, 2002; and like that film, Almodóvar poetically concludes Volver by bringing together two lonely people.) Whatever Irene is, suffice it to say that Almodóvar's masterful manipulation of narrative information allows the spectator to evolve in his or her thinking as to what Irene could be, before the director discloses the perfectly reasonable answer. As such, Almodóvar again reveals himself to be one of the world's most accomplished classical directors.

Then again, the classicism of Almodóvar, or rather his position within the framework of popular filmmaking might be more accurately described as "rococo." Indeed, commensurate with this term, Almodóvar's art seems to signal a style that is decorative for its own sake: the director's strong bold colors (blues, yellows and reds) and his canted angles and overhead camera positions all seem to exist for their own sake. If anything one could say that Almodóvar succeeds in producing visual pleasure. Nevertheless, the visual tropes serve as both a signature visual style and also position the artist's work within a tradition that stretches back to the melodramas of John M. Stahl and Douglas Sirk.

Certainly, Volver is no less melodramatic than its hyperbolic sources, particularly given the film's central mother-daughter dynamic, to say nothing of the incestuous content. Yet, in the case of the latter specifically, it would seem that Almodóvar is again figuring the autobiography that is inherent in the picture's title (as one could also say of the film's systematic disclosure of familial secrets) -- that is, as long as one can read the homosexual Almodóvar into the experiences shared by the mother and daughter, given the clear autobiographical elements that are otherwise connoted in his almost male-free narrative. Either way, one might see in this generational exposition of victimhood an archetype of homosexual experience, as it also connects the film thematically to much of the director's corpus (where non-normative sexual experience are closer to the norm).

However, in identifying the author as homosexual, another important component of the narrative loses its obvious interpretation: namely, the emphasis upon the almost vulgar excessive physical beauty of Ms. Cruz. No longer a pure object of fetish, one might instead see in Almodovar's framing of the actress a curiosity in her other-worldly beauty that seems to connect to the picture's profane sense of humor through the director's often tongue-in-cheek compositions (like his overhead's of Cruz's cleavage). At the same time, Volver remains somehow restrained compared to much of the director's corpus. To be sure, it is for this reason, among others, that Volver stands out among the director's work -- this might be his finest film this side of the very similar Talk to Her. Further, the director's genuinely Hitchcockian handling of narrative information (the plot's amoral manipulations are certainly worthy of the master) makes Volver the finest fusion of art and entertainment released thus far this year.

New Film: Climates

Be advised: the following post contains spoilers.

Nuri Bilge Ceylan's Climates (Iklimler), starring director Ceylan and his wife Ebru, compels its viewer to read the film as auto-biographical by dint of the director's casting of he and his wife as a couple who are in the process of breaking up. Indeed, it doesn't take Ceylan long to depict the split -- the director's character Isa, a photographer, initiates the parting following a session photographing ruins with his bored girlfriend in tow, and a dinner party where the latter laughs hysterically after Isa attempts some small-talk with the host. Following a dream sequence of Ebru's Bahar, where she is buried in sand by Isa after he tells her that he loves her, the male lead tells his girlfriend that he believes they should split up in a sequence where we first see him rehearsing and that we see the actual communication, without realizing that she is listening (Nuri blocks the scene to hide Bahar's participation). Shortly thereafter, director Ceylan shows Bahar leaving and it would seem that the film will continue to follow her post break-up.

However, in the next scene it is Isa who returns as the subject. Subsequently, Climates follows the male lead through its second act as he returns to his professorial job, and later, bumps into a couple of friends in a book store. After the chance meeting, Isa arrives at the woman's flat to find to find her parting ways with her boyfriend for the evening. The woman, Serap, lets him in and the pair soon engage in violent floor-play that concludes with Isa force-feeding the woman a stale nut on the floor in the midst of copulation. As such, Ceylan identifies the sadism of his male lead that will again manifest itself in the third and final act when Isa travels to a distant locale where he discovers his ex is working.

At this juncture, it might be worth noting that Climates operates as a sort of revisionist Turkish Voyage in Italy (1954) to the extent that it also follows a couple, with the director's real-life wife playing the female lead, as they part and reunite while traveling through the director's homeland. The revisionism comes in as the couple does not ultimately reunite, though they do get back together for a night of passion. This moment is filmed in a series of close-ups that obscure the couples' mouths, making the emotional component unclear. That Nuri uncharacteristically uses a modernist score during this passage further marks its debt to L'Eclisse (1962), as does also the film's concluding dissolve, where Ebru disappears leaving only the mosque behind her. Yet, it is less Antonioni than Rossellini who appears to be the picture's source -- in fact, as Andrew Sarris once remarked quite rightly, Rossellini-ennui preceded Antonioni-ennui -- provided the opening setting in the ruins (transposing a key scene from Voyage), the couple's reunion, and that film's similar autobiographical component.

That Rossellini and Bergman, however, were nearing the end of their relationship during that film -- where the couple does stay together, thanks to "miracle" that did not occur outside the film -- while Nuri and Ebru remain together following a film where they split, does seem to situate Climates as reversal of the earlier, epochal modernist text. In fact, Climates is built upon these junctures of expectation, be it the shifting focalization, the scene where he tries to get back together with her while they sit in a van, but are repeatedly interrupted by crew-persons loading the vehicle, or the concluding divergence of the two characters. To be sure, Climates does echo the visual rhetoric of modernism, utilizing as it does long takes, to say nothing of its articulation of ennui, but even in Nuri's compositions we can see a reappropriation of modernist form for his irreverent ends: particularly revealing is the sex scene where Isa and Serap creep closer and closer to the camera -- and to the aforementioned nut -- or the above-noted scene where we are made aware that Isa is breaking up with Bahar only after the fact, as if to mute its impact.

Yet, it is not simply the director's ironic blocking, but his use of high-definition video that separates it from its high-modernist sources. This new technology provides both an infinite depth of field that is well-suited to the picture's alienated subject matter, as it does a tactility that would seem impossible without it: the snowflakes that fall at the end of the film, for instance, come closer to the camera than would ever seem possible; and the flakes shot out the window have more definition than film could ever muster. Moreover, the film's usage of yellow (during the sexually-explicit sequence) possesses a truly preternatural character. And indeed in its very adaptability, Ceylan manipulates his compositions of dark skies to match the psychology of the film's ruminative male lead. Then again, Climates cuts against an obvious reading of the film as a sequence of landscapes -- and climates -- that convey the pair's collapsing relationship as they break up in a summer paradise and tentatively get back together in a harsh winter clime. (In fact, even the noted sky-scape nearly precedes the couple's reunion.)

All of this is to say that Climates is post-modern in the sense that it stakes out new territory within the modernist framework that it expressly positions itself within. It is a film that repeatedly shifts the epistemological basis for the images -- the film undercuts itself -- often connoting irony in the process. Still, Climates never fails to express a concise worldview, which perhaps even the director's biography belies: that life is filled with sadness and that relationships don't last. This proposition, however, given its evident incongruity to with his biography, has not mediated the director's need to express himself, which he has done in unmistakably first-person form, whether or not it adheres to what we know of his personal life.

Lest it is not yet clear, Climates is one of the year's most inventive art films, and indeed one its best as well.

New Film: The Departed & a Flags of Our Fathers debate with Matt Singer

Martin Scorsese's The Departed seems to have everyone on its side (save for a few important detractors listed below), scoring a box office victory in week one, registering a considerable 93% "fresh" rating among America's critics on Rotten Tomatoes, and placing 48th in IMDb's on-going survey of its reader's favorite all-time films. It is, as the story is seeming to be written, "His most purely enjoyable film in years". So why then did I find The Departed to be a deeply troubling, magnificently flawed foray into pornographic violence? Well, if we keep reading David Ansen's review, that's because "it's not for the faint of heart."

Before we get to the charge that Scorsese's film is "pornographic," which I am strongly convinced it is, let us first consider the picture's visual style. Note the use of visual, and you may already have guessed what I'm up to: The Departed is one of the vaunted director's laziest visual works of art, which is to use that latter term more than generously. There basically is no visual in The Departed, as Scorsese and his cinematographer (Michael Ballhaus) have foregrounded most of their subjects, often keeping one figure out-of-focus in the extreme foreground, while another character interacts with them in the recesses of that same close-in space. Moreover, as film scholar David Bordwell points out on his blog, the average shot length for the over 3200 shots in The Departed is approximately 2.7 seconds a piece -- compared to 7.7 seconds in such superior Scorsese pictures as Mean Streets (1973) and The King of Comedy (1983) -- making it difficult for the viewer to focus upon what little there is in the film's mise-en-scene.

All of this is to say that The Departed could just as well be heard only as it can be seen (as always, Scorsese's film seems to score with respect to its soundtrack). In saying this, one could easily object that scant visualization is by no means a signifier of bad filmmaking, to which I would agree. Then again, as opposed to the paradigmatic cinema of the austere, Robert Bresson's, where the spare visuals call attention to that which exists beneath the surface, namely to the spiritual dimension of life, in Scorsese's film, there is nothing beyond his flat visual. Indeed, what is perhaps most troubling about The Departed is this absence of a moral core, its failure to critique the misanthropy which the film depicts (as critic Armond White argues rather cogently) even as it revels in the carnage on screen. With The Departed, Scorsese seems to have crossed over into postmodernism, while in the process revealing a sensibility and personality that is nothing if not cruel.

Of course, I would be remiss were I not to mention the film's redeeming facet (in the parlance of Jonathan Rosenbaum) which in the case of The Departed I would say is its fine male lead performances by both Leonardo DiCaprio -- who my girlfriend really thinks I look like, which makes me feel good -- and especially Matt Damon. Then again, the film's original, far superior incarnation, Wai Keung Lau and Siu Fai Mak's Infernal Affairs (2002), equals if not surpasses Scorsese's on this front as well in its awe-inspiring teaming of Andy Lau and Tony Leung. And at least the Hong Kong version does not have to contend with Jack Nicholson being "Jack Nicholson" for every split-second of the actor's screen time.

Further, the earlier version also does not manifest the insistent psychologizing of the Scorsese version, in part no doubt to that national cinema's tendency toward episodic narratives, and away from the psychological naturalism of the American cinema. (Both Bordwell and another of the picture's high-profile critics, Dave Kehr, make mention of this cloying proclivity.) Similarly, in its usage of more naturalized violence, The Departed attains a degree of the pornographic that the stylization of Infernal Affairs mediates. The Departed is a viscerally experience, to be sure. My only question is how can we endorse such brutal violence at the service of such facile nihilism?


Moving on, I was hoping to construct this piece as a portrait of two directors moving in very opposite qualitative directions, that is of Scorsese becoming less and less a major director with each passing film -- though the first half of The Aviator (2004) showed a great deal of acumen -- while Clint Eastwood further solidifies his standing as America's greatest active director with each passing film. While Eastwood has done nothing to jeopardize this status (so long as he remains the creator of The Outlaw Josie Wales (1976), The Gauntlet (1977), Bird (1988), White Hunter, Black Heart (1990), Unforgiven (1992), the sublime A Perfect World (1993), The Bridges of Madison County (1995), Space Cowboys (2000), Mystic River (2003) and Million Dollar Baby (2004) -- all of which are major works of art) he has done nothing to help it either. In fact, I would not hesitate to call his latest, Flags of Our Fathers, the director's weakest film since his thoroughly dispensable Midnight in the Garden of Good and Evil (1997).

While there is just enough in Flags of Our Fathers to make it an Eastwood film -- and therefore worthy of our attention -- such as the film's rethinking of myth (The Outlaw Josie Wales, Mystic River) the picture's anxiety toward inadequate parenting (True Crime [1999], Million Dollar Baby) or even a visual style marked by both volumetric interiors represented via wide-angle lenses (The Bridges of Madison County) and also strong chiaroscuro (Million Dollar Baby), there isn't enough otherwise to mark this as essential cinema, though it does flirt with summarizing our moment. To this end, if The Outlaw Josie Wales said something profound about America's loss of faith in itself in the years following Vietnam and A Perfect World encapsulated the early 1990s anxiety concerning children raised in single parent households, Flags of Our Fathers should have said something about our contemporary anxiety with respect to Iraq, which again it almost does. As the film frames the issue, war is made palatable by symbols, and particularly photographs, be it the raising of the flag on Iwo Jima that is the focus of the film's narrative, or the execution of the Southeast Asian that made us doubt American's virtuousness during Vietnam. (Is Iraq's image Abu Ghraib, or are we still waiting for that one image that helps us to redouble our will? Eastwood leaves us to speculate.)

Of course, to criticize a film for not summarizing its moment is a bit unfair, even if its director has done this so successfully in the past. The larger flaw of Flags of Our Fathers is in its utilization of a flashback structure, which its narrative would at the same time seem to necessitate. Specifically, there is one sequence wherein we are directly delivered from a close-up of strawberry syrup covering a bowl of ice cream (made to model the film's image-subject) to a placement on the battlefield that cannot help but strike one as a painfully literal. While at least Eastwood does not succumb to producer Steven Spielberg's propensity to connect character subjectivity to incidents beyond their possible range of experience (he does this in his own World War II epic, Saving Private Ryan, 1998) this frequent movement between past and present does not seem to serve the director's greatest strengths as a director. At the same time, Eastwood does share Spielberg's bleached-out color schema, as he does his interventionist camera work during battle.

Then again, his direction of battle scenes, in particular, does show his enormous range: as when the black sand explodes in front of the intervening camera producing substantial visceral impact. On this basis alone I hold out hope that Letters from Iwo Jima (2007) can still give the director his great World War II film. If only he hadn't changed the title from "Red Sun, Black Sand," which was in itself a masterpiece.

Matt Singer responds:

So now you look like Leonardo DiCaprio? Is it possible Lisa was taking a piss?

And I think you missed the boat on Flags (haven't seen The Departed yet). You seemed to review a movie that didn't exist -- the movie you wanted to see -- instead of the movie that Clint offered. Plenty of people have tried to make the movie into something about Iraq, and you seem to wish that it was a movie about Iraq. Why can't it be a movie about World War II? I don't understand that.

And I thought the flashback structure was ingenious and, the moment you singled out as too literal, the ice cream sundae, was perhaps my favorite moment of the picture. Granted, Eastwood takes liberty by using the moment as a key into a flashback, but given this is based on true stories, I took this to be based in something that really happened (I haven't read the book -- someone correct me if it doesn't appear in Bradley's book). Is something is too literal if it actually happens?

Comparing this movie, even in passing, to Midnight in the Garden of Good and Evil, is a really low blow. And you like Clint! How could you do that?!?

Michael J. Anderson replies:

As to your criticisms, I think most are well grounded -- basically I did not make my case well enough, which I will admit. So let me grasp at what I think is Flags fundamental flaw: its flashback structure. If we are to look for a superior treatment of the same motivating theme -- the persistence of trauma -- I would call your attention to Eastwood's Mystic River. In the case of this work, the trauma depicted is in childhood, which coalesces with a key theme from A Perfect World, namely that children are made to grow up too fast -- in the case of the later film, to disastrous results. In both cases, this theme is subsumed by a linear narrative that provides just a hint of circularity with its opening and closing images -- a primary Eastwood trope. Likewise, with Mystic River, where this theme is more explicit, said trauma has implications for the actions and therefore for the plot of the film.

To the contrary, Flags of Our Fathers depicts this element for its own sake, which has a stifling effect on the narrative. Let me make this analogy: say you are driving on an interstate and you slide over onto the shoulder. As you do so, you feel a series of jarring bumps as you have driven over a "rumble strip." I think we could say a similar experience occurs during each instance of shell shock structuring the narrative -- sure it gets the point across; but it lacks in the subtlty that the director often achieves in expressing human psychology through action. I guess my basic critique is that the film lacks the director's characteristic economy, which in the opinion of this writer links the director to Hollywood's finest. (Also, for an Eastwood devotee like myself, this flaw as noted above strikes me as all too similar to the key problem with screenwriter Paul Haggis's monumentally over-determined Crash, 2004; so it's all his fault, in other words.)

Eastwood himself has admitted that he tried to re-construct the narrative without this structure to no success, which I think points to its weakness: that it doesn't lead anywhere other than this most basic point of that enduring trauma flows from wartime experience. Eastwood at his best, i.e. A Perfect World or Mystic River, would have expressed these ideas through action, that is in the subsequent actions of the characters, or even in what we as spectators might (wrongly) think that the actions of the characters were, again as in Mystic River. And from this subsumption of action within the contours of plot, moreover, it would be possible to universalize from the narrative what precisely this trauma signals in our current experience -- as Eastwood has communicated the theft of childhood (endemic to our times) in both, or the mass trauma of 9-11 in Mystic River. No similar conclusion can be drawn here, because again the (literal) image of Iraq is unclear, and we have no entry point through which we can extend the film's critique.

All of this is to explain why Flags of Our Fathers is not Eastwood at his best. I hope my feelings have become more clear.

Matt rebuts:

You have written more, and written far more clearly, but my initial statement stands. You are upset at the movie for not what it is, but for what it's not. Specifically, you are upset that Eastwood's depiction of trauma in Flags differs from his depiction in earlier films like Mystic River and A Perfect World. You give a lengthy and cogent explanation why the earlier model is superior, but I think that's mostly an excuse for your belief, rather than the basis for it. The unspoken (but more genuine) reason you hold for opinion -- in my eyes -- is that you, as a devout auteurist, want Eastwood to depict trauma as one way across all his films, because that strengthens your auteurist reading of his films. By trying something different, he skews from one of the things you've found in his films to link them all together.

I certainly agree that the choice of using the flashbacks throughout instead of as prologue and epilogue is less subtle and more blunt: but in a war film, I don't think subtlety is necessarily a plus. As much as it is about trauma, I took Flags to be about perspective. When the American people see Joe Rosenthal's photograph, they see heroism and triumph. When the men in the photograph see it, they see the horrors they've endured. And because everyone loves that photograph, the men in it can't escape it. And every time they see it, they are confronted with what they'd done. I wrote in one of my reviews of the film that my grandparents, both WWII vets, did not like dwelling on anything from the war except the most frivilous stories — just as Bradley, author of the Flags book, didn't even know his father was in the famous Iwo Jima picture until after he died! The more I've thought about it, I've considered what a great sacrifice those brave men made when they came back home. They smiled and sold those war bonds, and pretended like being atop that mountain in the Pacific was a great accomplishment, not day 5 of a 30 day trek through hell. As good as Mystic River is, I thought Flags was even more moving and poweful.

And it was manly, too. And manliness is awesome.

And now you've gone from comparing Flags to Midnight in the Garden of Good and Evil to Crash?!? Wow.

Michael redoubles:

By Mentioning Crash -- and really, as underwhelming as I think Flags is, it remains light-years ahead of the Haggis picture in terms of its quality -- I meant to step outside my little auteurist framework and ask whether this deviation could be due to a collaborators' contribution... which is another way of me saying, 'why do I think this film is so far inferior to the director's better efforts?' (So yes, you're right in your critique.) But, Midnight in the Garden... is material ill-suited to the director, as is this picture. Hence the comparison. And that it is material shaped by Haggis leads one to the second comparison. I might throw in Spielberg as another check on the film's quality, though a producer's role in shaping a film is far more unclear often times. Then again, perhaps the film's scope can be related to his participation. And if anything, those parts that look and feel like Saving Private Ryan are among the better moments in the film.

Matt retorts:

I concede your cleverness, turning my auteurist argument about you against me. Perhaps the Yale debate team could use your skills.

But I press on nonetheless! Midnight in the Garden is a terrible movie but a remarkable soundtrack: I remain convinced to this day that Eastwood made it mostly so he could put that soundtrack in his CD collection. And I'm glad he did; it's in mine too. If you wanted to make an Eastwood auteurist argument related to jazz and his movies, Midnight in the Garden can be recouped. A little, anyway.

I'll agree that the main Iwo Jima battle resembles Saving Private Ryan with one distinct difference, though I should warn in advance that I haven't seen SPR since 1998 so my recollection isn't perfect. The thing that Flags has that SPR does not is a remarkable number of shots designed to ape what a real war photographer's shots might look like — I'm thinking specifically of the shots of the camera falling into the water as it leaves the transport for the beach, and also of a camera getting covered in dirt as men storm past it — images I took as a credit to the work of men like Joe Rosenthal who were yet more unsung heroes of that battle (you don't see Rosenthal touring America with his subjects, after all). Spielberg's version is a grunt's eye's view, but it is a beautiful, perfect one in its own grisly way. Eastwood's shows the seems a bit more, yet another element that ties into his showing the reality behind a legend, and another perspective to the multitude he shares. I quite prefer Flags to SPR.

You won't find many people who hate Crash more than me. Maybe it helped that I didn't know Haggis co-wrote this movie until I saw his name in the end credits, maybe not. I think even if Flags wasn't based on true lives, it would still feel infinitely more authentic than Crash.

New Film: Private Fears in Public Places

Constituting what may well be his finest work in twenty years, Alain Resnais' masterful Private Fears in Public Places (Cœurs) showcases a greater integration of form and content than has been the norm in the legendary Left Bank director's latter-day, theatrically-inflected cinema (of which his supreme Mélo [1986] and the more recent Not on the Lips [2003] are paradigmatic). While an element of the stage returns in this reconfiguration of a play of the same name, particularly in those interior scenes filmed from an overhead position where the camera passes above the walls from one room to the next, Resnais has invested even these passages with newfound meaning: in this instance, as the director makes clear in one of the film's ultimate sequences, the said high camera location connotes a god's-eye view. Indeed, rare within Resnais' corpus, Private Fears in Public Places explicitly engages Christian belief, as one of the film's multiple protagonists, Charlotte (Resnais axiom Sabine Azéma) confesses a devout religiosity. She lends co-worker Thierry (André Dussollier) a videocassette of Christian music, which the latter accepts only because of his desire for the red-head. As it happens, following the glibly contrived video, of which we see various fragments, Thierry discovers soft core porn at the conclusion of the tape. Convinced that it is the same Charlotte, he hastens to borrow a second tape. (These tapes become the film’s on-going comic relief.)

Thierry lives with his sister Gaëlle (the much younger Isabelle Carré), whom he thinks goes out partying with her friends every night. Commensurate with the film's disclosure of secrets, we soon learn she is looking for love, which she finds in lay-about Dan (Lambert Wilson) after the latter breaks up with his fianceé, Nicole (Laura Morante), whom we initially meet in the first scene of the film, where she is shown a ridiculous apartment by realtor Thierry. Rather than looking for the apartment himself -- or a job -- Dan spends his evenings in a bar tended by Lionel (Pierre Arditi).

To complete the film's interlocking series of relations, Lionel seeks evening care for his elderly father (who Resnais never shows on-screen, though do see the foot of his bed and often hear his scatological rants). This leads us back to Charlotte, who according to her faith has charitably agreed to substitute for Lionel’s usual care-giver. Lionel (in possession of his own secret that has led to the estrangement that is evident between he and his father) inquires as to whether Charlotte's faith brings her peace, and after paging through her Bible, where the forgiveness is in her religion. She responds that it is in the New Testament, and later tells him that she, like him, doesn't believe much in hell, though she does believe we all have the Devil inside us. This is certainly the case with Charlotte herself, though Resnais does not simply reduce his picture to a critique of Christian hypocrisy. In fact, we see in one of her final gestures that she, no less than the lascivious Thierry or the drunkard Dan is fighting this very same Demon, which importantly she is able to do successfully. If Lionel claims that he has never been able to accept this stuff, he still packs a New Testament when he departs late in the film, giving one a sense of the power that these question might have for the director himself as he nears his eighty-fifth year.

Yet, religious curiosity is less ubiquitous in Private Fears in Public Places than is another hallmark of later life: loneliness. This existential condition in fact extends from the film's thirtysomethings, to Lionel's dying father (to whom Resnais is much closer in age). Certainly, it is essential to emphasize the degree to which Private Fears... is explicitly an old man's film: the film consciously depicts the winter of one's life, which stylistically Resnais reinforces through the use of a snow effect over each of the picture's structural dissolves. Indeed, Private Fears in Public Places represents both an elegiac first-person account by a director not exactly known for direct personal expression, and also to date the year's most elegant piece of filmmaking.

New Film: Belle Toujours

As with his recent Oporto of My Childhood (2001), Manoel de Oliveira's Belle Toujours begins with a lengthy orchestral performance that the director films at a perpendicular angle. Interspersed with these long takes are shots of a crowd that features the aging Michel Piccoli and Bulle Ogier, whom we quickly discover are old acquaintances, though it similarly becomes clear that the latter wants to have nothing to do with the gentleman. Then again, to most audiences of this film (with a perfunctory knowledge of the picture's subject) we are already well aware that these two characters are Henri Husson and Séverine Serizy of Luis Buñuel's Belle de Jour (1967) -- Catherine Deneuve played Séverine in the original -- encountering each other after a lifetime apart. After establishing this off-stage space to relate to the proscenium, through a series of glances, Oliveira then concludes this sequence with the musicians bowing to the camera.

Following this opener, we soon get an arial view of Paris that is accompanied by a similar soundtrack, following M. Husson's attempt to track down Séverine in the city's nocturnal streets. As such, Oliveira encourages a reading of his film, at least in part, as a 'city symphony,' the Paris of his youth and the consistent stage upon which/in which the two films have been orchestrated. However, as it has been noted, Belle Toujours differs from its source in its casting of the female lead. To this point, it should be noted that as Deneuve has worked with the director on multiple occasions in the past, it would seem less that he failed to get the actress he wanted than that his casting of Ogier was intentional -- and perhaps represents a second debt to Buñuel, and particularly to the director's ultimate That Obscure Object of Desire (1977) with its two Conchita's. Here, this discordinant casting seems to signal the director's advocacy of cinema as theatrical, and particular the fact that these are not two people over a 40-year span but rather two characters. To this end, Ogier more than once reminds us that she is not the same person she once was, speaking for her character of course.

Indeed, what is most striking about Belle Toujours is not how it resembles Buñuel's work -- unlike the earlier film, Oliveira's features Henri as its guiding perspective; hence the pictures' very different attitudes toward Séverine -- but rather how fully Oliveira's sensibility permeates this work. This is to say that Belle Toujours is very much the work of an old man (Oliveira is currently ninety-seven and is at work yet again) given not only its preoccupations, but also the freedom with which he depicts: again, we watch a large portion of an orchestral movement, the bulk of a meal featuring the two principles -- both by the way demonstrate the director's old world refinement -- and in the picture's lone surreal moment, minus its basic conceit, a rooster appears momentarily in a hall. (For works that are similarly free, one might think of the great final films of John Ford, 7 Women [1966], or Jean Renoir, The Little Theatre of Jean Renoir [1970] -- Oliveira has earned both comparisons -- where unmediated artistic expression seems to trump all issues of structure or taste.)

Speaking of the aforementioned preoccupations, Oliveira returns to a contested spirituality that defined his work in the middle of the previous decade. In fact, Séverine at one point late in the film says that she's alone with her soul, wherein Oliveira eliminates virtually all of the scene's light, illuminating only this spiritually tortured woman and her alcoholic foil Henri. In this respect one might argue that Belle Toujours is closest in subject -- and also quality -- to the director's underrated 1996 feature, Party, though there is actually a good deal of the director in aging man-of-the-world Henri, who is importantly played by previous stand-in Piccoli (I'm Going Home, 2001) . Then again, with the consistency of the auteur's preoccupations over the previous decade and a half, it is hard not to see him in all his (lead) characters, as could be said of his absolute masterpiece Abraham's Valley (1993).

Regardless, the portrait of the director that emerges in Belle Toujours is of a man of the old world again, of infinite culture, whose inevitable passing may just represent the end of this civilization on screeen forever. In the meantime, Oliveira continues to work at a level unmatched on his continent, both in the frequency with which he completes films, and also for their unwavering high quality. Here he has made his best picture since I'm Going Home and one of the year's most purely enjoyable art films.

New Film: The Go Master & Woman on the Beach

Tian Zhuangzhuang's The Go Master does little to explain the film's titular game, Go, in spite of its insistence that said game and the obscure religious sect Jiko define the picture's autobiographical subject. Rather, Fifth Generation auteur Tian has opted to limn the tranquility of master Wu's internal life, which the director figures through the picture's static framing, long takes, accompanying deliberate pacing, and the natural settings that inscribe the same interior peace. Indeed, one of the film's lines underscores this conflation of nature and Go as it claims that only a mountain lake claim can rival the peace that the game affords the master. Yet, it is not simply the game but also the aforesaid religious faith that the combine to shape Wu's life, even if the abuse of that faith is cautioned -- the sect leader, who makes a claim for her own deity, is in the words of another character filled with an evil spirit, "the delusion of grandeur" (in this way The Go Master compares in its subject to Horse Thief [1986] and the latter's critique of the Buddhist faith -- and implicitly the Communist regime). Likewise, the film's exquisite, modulated handling of light echoes that of Springtime in a Small Town (2002), which it also copies in its removal from Maoist Chinese history. Yet like with that film, and particularly his fearless The Blue Kite (1993), there seems to be a dissonance between his personal concerns and the politics of the Marxist regime. Consequently, one may be able to read Tian into the film's concluding quote: that his life has been about truth and Go (which in his case one could replace with art).

Hong Sang-soo's Woman on the Beach furthers a trend in the Korean auteur's corpus (Virgin Stripped Bare by Bachelors [2000] may be the paradigmatic case) wherein character subjectivity is expressed in the manipulation of a seemingly objective narrative. Here, Hong offers a second reading of the film as the story of the main female lead by concluding Woman on the Beach with a scene that depicts the thirtysomething having her vehicle pushed out of the sand. Up to this concluding turn, Woman on the Beach reads as the story of a director Kim, who clearly instantiates the contemporary Korean male, as he suffers from an irrational jealously directed toward the lady's earlier affairs with Europeans before he sleeps with a woman whom he says looks exactly like her (after the former leaves for Seoul). However, when the first woman returns to the off-season beach resort where both of the affairs had been consummated, Hong's film becomes a variation of Vertigo (1958) were it somehow possible for Madeleine and Judy to coexist and compete for Scottie. (In fact, the picture's extensive utilization of character doubling clearly marks the film as descending from Hitchcock's cinema.) The Scottie of Hong's film, Kim, is to be sure a stand-in for the director himself -- as it is worth stating that the film's self-consciousness is further connoted by the semi-frequent zooms and a framing strategy that calls attention to the artificiality of the frame -- though as the earlier description should suggest, Woman on the Beach is perhaps the least flattering self-portrait this side of the cinema of João César Monteiro (Recollections of the Yellow House, 1989). Of course, this sense of humor extends far beyond the contours of the director character, making Woman on the Beach by a large margin the funniest reflexive Korean art film of the year.

Two Traditions of Late Soviet Counter-Cinema: Zero City and Stalker

The Film Society at Lincoln Center's From the Tsars to the Stars: A Journey Through Russian Fantastik Cinema does precisely what repertory cinema in the age of DVD ought to do: expose audiences to large numbers of otherwise unavailable titles, selected from a historical moment that remains mostly unknown to moviegoers. Karen Shakhnazarov's Zero City (1988) is in this way representative of the series as a whole, representing neither the salad days of the Soviet silent cinema nor the period of the Thaw and the subsequent emergence of a poetic counter-cinema in the works of Sergei Paradjanov and Andrei Tarkovsky. Instead, Zero City is very much a product of its own, slightly overlooked moment -- the late perestroika era, of which Kira Muratova's The Asthenic Syndrome (1989) and Aleksandr Sokurov's The Second Circle (1990) are the better-known masterpieces -- with its preminition of the Soviet Union's disintegration twined with an ambivalence toward the nation's post-communist future. Shakhnazarov's picture, like Muratova's, relies heavily upon the (il)logic of the absurd and trades heavily upon the creation of images of striking visual beauty, which to be sure would reach its stylistic apogee a decade later in Aleksei German's virtually incomprehensible Khrustalyov, My Car! (1998).

As an earlier step in this tradition and not that latter point of extremum, however, Zero City does paint a somewhat clearer portrait of both Soviet administrative disfunction, in the not-so-with-it provincial office replete with its very own nude secretery -- unbenounced to the boss -- and the trans-Atlantic crassness that seems to infect both Shakhnazarov's home country and its Cold War opponent -- which the director dissects first in the oddly out-of-place waxworks museum and later in a hotel meeting that makes careful reference of both anachronistic American rock-and-roll and even more out-dated Soviet song.

If anything, Zero City has the flavor of a David Lynch-Theo Angelopoulos mash-up, even as it maintains a strongly allegorical, and therefore late Soviet narrative: particularly revealing is the tree, whose branches were said to have granted the Russian state's greatest leader their might, but whose limbs have become startlingly brittle. Indeed, if there is a single image that can be said to sum up the Soviet Union's subsequent collapse in the cinema of that still relatively nigh era, it is this twilight visual.

Neither as epochal as Zero City nor as little-known internationally, Andrei Tarkovsky's crowning masterpiece Stalker (1979) is likewise being screened as part of the Russian Fantastik series, before receiving its long-awaited US DVD release from Kino International -- in a beautiful new print supplied by Russian distributor Ruscico -- on the third of October. Yet, if Stalker fails to summarize an era, it nonetheless impresses mightly with the courage of its critique of the then current political realities of Soviet life, and particularly its figuration of religious supression: it is no coincidence that Stalker is Tarkovsky's last Soviet film before seeking political refuge in Italy. To be specific, Stalker allegorizes the process of spiritual journey in a state that has forbidden an equivalent form of knowledge, which in Tarkovsky's film is translated into the space known as "The Zone."

Stalker opens with the titular lead leaving his wife and crippled daughter to lead two seekers to the aforementioned location (behaving as though he is answering the New Testament call to leave everything and follow Christ). His fellow travelers are referred to merely as Professor (a physicist) and Writer, thereby providing the film with unmistakable metaphorical grist for its narrative mill. The stalker subsequently leads the pair under the noses of armed military guards into the so-called Zone, at which point Tarkovsky transforms his palette from a sepia monochrome to full color. If this shift is the most obviously totem of Tarkovsky's stylistic transformation, it should be likewise noted that the Zone itself is filled with tall grasses that have overtaken the military hardware that is scattered throughout the space. This is a post-apocalyptic world to be sure, but one in which nature has begun to reclaim its place among the symbols of desolate industrial landscape. Of course, Tarkovsky's configuration of the space thusly not only fits his narrative discernment of the sepia industrial wasteland and the color-filled Zone, but it offers an external expression of the human beings in-born quest for spiritual fulfillment and its inability to be supressed through the rational ordering of human life within the socialist state -- a sort of reverse Man With a Movie Camera (1929).


Once there, it soons become evident that neither passenger possesses the purity of motives that the stalker had hoped they would: the Professor reveals his desire to destroy the Zone, and the Writer instinctively collaborates. In this way, Tarkovsky seems to suggest the Soviet Union's systematic elimination of religious life and the complicity of his country's artists (Eisenstein and October [1928] for example) in discouraging faith -- often by the barrel of a gun, to be sure. As such, Stalker reveals a crisis of faith certainly, but it is one shared by his fellow countrymen to the exclusion of the film's lead, and implicitly Tarkovsky, both of whom can only despair at its prospect (though, importantly, Stalker does suggest that there may be hope for the next generation, which the director establishes via the stalker's daughter's telepathic powers).

That one can read Tarkovsky in Stalker, moreover, is an important element of both the film's narrative structure, as well as its style: at one point the stalker himself argues that purpose of life is to create art, through which one can't help read the author's point-of-view. Likewise, even the picture's style, as has been suggested, indicates the conscious agency of a creator artist. As an example, take one of the film's opening long takes -- Tarkovsky's preferred means of constructing the time and space of his narratives -- wherein the titular Stalker exits frame and then reappears immediately in front of Tarkovsky's camera. In so doing, the camera seems to announce its presence in Stalker, as said character gets too close to the camera to maintain the illusion of an unembellished depth-of-field, even if he moves unawares through the space of the film. Similarly, the director's use of a zoom lens and even two seperate instances in which a character looks at the camera, in the second the character addresses it verbally, further confirms the interventionism of the director's practice, and ultimately the self-consciousness of his directorial style.

Even so, if Stalker can be read both as a direct condemnation of the Soviet Union's supression of religious expression (and the subsequent barrenness of spiritual life in that state) as well as an affirmation of art's privileged status, and particularly of its importance to the director himself, Tarkovsky language often remains analogical and his symbolism personal: what for instance is to be made of the profusion of water throughout the Zone? In this way, one might position Stalker within a tradition parallel to the absurdist school noted at the outset, noteworthy for its poetic language rather than its illogical impulse.

New Film: Vers le sud (Heading South)

One of the unmitigated commercial art house successes of the summer, Laurent Cantet's Vers le sud (Heading South) continues that director's examination of the intersection between the personal and the political in a very uncharacteristic environment -- 1970s Haiti. Leaving behind the industrial French and Swiss hinterlands of Human Resources (1999 ) and Time Out (2001) respectively, Cantet fixes his gaze on the Western hemisphere's poorest state during a moment in which that nation profited exceptionally from the pre-AIDS sex tourism industry. Specifically, Vers le sud treats the practice of middle-aged Caucasian women traveling to Haiti to experience all the sensual pleasures that their wealth will purchase them.

Vers le sud focuses upon Brenda, a woman of in her late forties, who returns to the island nation three years after she had a life-changing sexual encounter with a then fifteen year-old black boy. Upon her reappearance, the finely-sculpted young man, Legba (Ménothy Cesar), has become the favored paramour of fifty-something Wellesley professor Ellen (Charlotte Rampling). The former is in the employ of a full-service, so to speak, resort catering to all the hedonistic whims of its female clientele. However, with the arrival of Brenda, Ellen's domination of Legba, and indeed the equilibrium of the world they inhabit, is threatened. At the same time, Legba unwittingly finds himself becoming the object of desire of a well-taken-care-of lover of a Haitian military leader.

To be sure, the stakes of Vers le sud are not exclusively personal, but in fact reverberate according to the film's anti-colonialist allegory. Precisely, Cantet's picture utilizes this narrative structure to produce a parable for the Haitian people's tragic fate, being stuck between their capitalist colonizers -- from whom they readily accept the benefits of their riches -- and an oppressive state instantiated both by the aforesaid colonel and his lover and also by the resort's defacto pimp, who contrary to his inherited anti-white, anti-American sympathies, readily sells out his own people for profit. Indeed, the film's social situation is expressed acutely in an opening, pre-credit preface in which a woman attempts to sell her daughter to the resort worker in order to prevent the young girl's rape at the hands of a lawless populace that would just as soon murder the mother if it would make it easier to get to the fifteen year-old (the age being no coincidence, certainly). In other words, the position of the underclass in Vers le sud is represented by the untenable choice between being used and abused by Haiti's Western colonizers or becoming the victims of the nation's despotic -- terroristic -- regime.

Then again, the implications of Vers le sud's elegant allegory do not end with Haiti's poor, but indeed extend to the female Western subjects around which Cantet structures his story. The fact that it is women -- and not men -- who here partake in the sex industry reveals the power politics that are unique to the film's setting: they attain a desirability via their wealth, which is to say a power, that is absent in their lives in the States and Europe. Then again, this power is not unassailable as the laws of the transaction (and not the power of capital) remains immutable. Beyond the obvious implications for the romantic feelings of the middle-aged women toward Legba -- they cannot have whatever (or whomever) they want -- there is also, for the instance, the congruent moment when Brenda begins to dance like a Haitian and is quickly reined in by those who would deem it necessary to uphold the racial and social politics that define said transaction, even if it means ascribing acceptable modes of behavior to be determined by racial and social difference; in other words, the class system is static.

Nevertheless, if Cantet's narrative engages the injustice of Haitian sex tourism, it does offer a subversive counterpoint through the director's treatment of the Haitian male body: as inversion of the Mulveyan critique, it is "he" who is the object of desire, while the film's older female characters can be said to share the audience's point-of-view with respect to the fetishized body. This is not to say, however, that the film participates in the salacious: importantly, this sex tourism film never once depicts coital love on screen. In fact, when the sex act is not being elided, be it in the case of the first present-day love-making scene between Brenda and Legba or Legba and the colonel's lover connection (to be certain, we actually have no idea whether or not they ever consummate their "friendship"), it either doesn't happen, as with the one scene in which Legba and Ellen share a bed, or it is narrated through one of the film's talking head interviews, as with Brenda's clip.

Speaking of these insertions, it must be said that they lend a certain quality of the "document" to a film that is in other ways far from verite in its ethos. Having said this, there is a certain clunkiness to this stylistic choice, as could also be said of the polyphonic performances in general. Nevertheless, Cantet maintains a certain visual gracefulness otherwise, defined as it is by perpendicular, slightly below eye-level compositions and the sustained tight (identifying) framing of the director's camera. Moreover, there are the ubiquitous tans and turquoises of the Haitian beaches that are finally brought into full relief through a late travelling shot in Port-au-Prince that belatedly establishes the nation's extreme poverty -- the film's consistent natural beauty is tellingly confined to this privileged world of the resort in keeping with the picture's social critique. However, it is less in any of these details than it is in the film's narrative integration of political allegory that the success or failure of Vers le sud rests. And according to this measure, Cantet's film may just be the best new picture to be released this summer.