nostalgia (mircea cărtărescu, tr. julian semilian)

Cărtărescu’s fame has spiralled in recent years. The Twiterati are in a state of extreme excitement whenever his name crops up. Nostalgia is my first dive into his writing, and it’s clear that the author possesses what they always called back in my Writer’s Room days “a voice”. Nostalgia consists of five stories which are at most obliquely connected. The first deals with a Russian roulette player, who defies the odds. The last with an architect who creates the music of the spheres. Both these stories are breathlessly brilliant, in the way the writer’s imagination appears to stretch the boundaries, pushing the stories beyond any anticipated limits, in the process questioning the laws of probability and physics, respectively. These stories bookend three more which inhabit the middle of the book, and which this reader found heavier going. The intricacies of the writer’s mind at times seemed to overwhelm the scope of the story he was relating, or at least that was how it felt. The stories become ornately baroque and the quixotic Bucharest they occur in sometimes gets lost in the whorls and arpegios of the text. Or perhaps it was just the wrong week to be reading it. 

zone of interest (w&d jonathan glazer)

We watched this film in Montevideo at the exact same time it was being garlanded on the west coast of the United States. When I got home I watched Glazer’s honourable speech, the only one with the courage to mention Gaza, something that watching his film at this moment in history inevitably calls to mind.

There have been so many films that have used the Holocaust as a dramatic trope. Some with more justification than others. The issue with the events is how to present them. To seek to show or communicate the reality of a reality that will always be beyond representation. As such the Holocaust represents an artistic and philosophical conundrum and one that is particular to cinema, that most ‘realistic’ of the arts. Glazer is more aware than many of the fact. His film deliberately veers beyond realism from the very opening shot of blackness, which is held for long enough to make the audience question if all is right in the cinema, the world. Another sequence involves a flower dissolving, a la Jarman, to a red screen, which is again held. There are white out moments too. At other points a girl is seen in infra-red, leaving fruit to be discovered - a storyline which only became clear after the film had finished.

However, the majority of the film occurs in naturalistic colour, as the Hoss family go about the daily lives in the shadow of atrocity. All of which brings to the fore one of the key problematics of Glazer’s film. Rather than pondering the realism of what is seen, we end up pondering the aesthetics. The shots of flowers are beautiful. Is there room for beauty in the world he depicts? Is it appropriate? The issue isn’t a moral one: it’s that the question itself leads towards a contemplation of aesthetics rather than the subject matter which the film is dancing around. A similar thing occurs with the award winning sound mix, which seeks to represent the off-stage atrocities. In the end, it felt to this viewer as though this tool was used to hammer home the film’s point. Zone of Interest seeks to be a subtle film, but it utilises cinematic recourses which are profoundly unsubtle. It’s a film about the holocaust which ends up as a film about cinema and its limits. Every visual or auditory nuance seems to throw into question the project as a whole.

Having said all of this, and having returned to see Glazer’s brief discourse, it needs to be acknowledged that the filmmaker is only raising these questions because he is pushing the limits of the medium, in all sorts of ways, some of them the he could never have anticipated as he was making the film. Just as the bricks and mortar of the concentration camp overshadow the Hoss’s home, so the barbarity of the unbridled attack on Gaza’s civilians will always be destined to overshadow the walls of Glazer’s Zone of Interest. 

cuckoo land (tom burgis)

Tom Burgis tells us things we already know, but he does it with great verve, removing the mask of his prey, the lawyer/ philanthropist/ financier, Mohamed Amersi. Burgis connects the dots between Amersi’s donations to the Conservative Party and his close association with then chairman, Ben Elliot, who also happens to run Quintessentially, the horribly titled service provider to the rich and famous. (As well as being Camila’s nephew.) I’d quite like Burgis to do a book about Ben Eliot, a figure who has managed to turn Britain’s creepy reputation for class excellence into a global brand, when about all we have to left to sell, having butchered all our industries, is a commodified version of our class hierarchy. There aren’t any great revelations in the book, but the way Burgis stands up to his subject’s legal bullying is impressive and the sly verbatim accounts of the conversations he had with Amersi reveal the crude power-plays that underpin his subject’s craven grab for power and money. Sic transit gloria mundi. 

the teachers’ lounge/ das lehrerzimmer (w&d ilker çatak, w. johannes duncker)

This is the kind of film that the UK, for all its reflected Hollywood glory, doesn’t seem to produce anymore. Taut socially conscious dramas. Perhaps all the energy for making them goes into the more lucrative arena of high-end TV. The film deals with the travails of Carla, a sympathetic teacher of Polish descent in a German school. When she realises that someone is stealing from her, she sets a trap, little realising that the person who will end up caught in the trap is herself. The film explores a variety of issues, from racism to identity politics, to cancel culture. The action never leaves the school: we don’t learn where Carla lives, or what kind of town this is, but this is compensated for by an increasingly claustrophobic vibe which constantly ratchets up the dramatic tension, until the slightly underwhelming finale. Nevertheless, it’s an example of cinema being used to prise open the fault-lines in German society. The heightened tensions amongst the teachers felt redolent of Germany’s angst around the issues of both Russia/ Ukraine and Palestine, cleft sticks where either action or inaction only seem to makes matter worse, and every tiny conflict becomes exacerbated until it has blown up into a full-scale crisis. Who will benefit from this rarified chaos? Clearly not the well-meaning teachers, as the film makes clear. The well-intentioned, naive Carla just keeps making things worse, the more she tries to right the reeling boat. 

close up (w&d abbas kiarostami)

The playful intellectualism of Iranian cinema seems to have echoes in the mind games of Rio Plantense cinema. This is what happens when you yoke cerebral educated filmmakers who don’t have a capitalist imperative to the artform. See also Communist era Poland.  There’s something Borgesian about Close-Up, with its imagined film within a film and its impersonating director. But there’s also a tragic social history there, as the impersonator, Hossain Sabzian, a film lover with no hope of ever making a film, indulges his Walter Mitty life for a while. Sabzian is so disarmingly charming and unassuming, playing himself in the movie, that you cannot help but root for him. The humanism that underpins Kiarostami’s vision is also indicative of Iranian cinema’s progressive agenda, which seems so little in keeping with the country’s official or apparent politics over the course of the last thirty years. In addition, the very fact that Sabzian’s fraud is constructed around the fame of a director speaks of a society that  values cinema in a way that the West does not. Even our most famous directors, the likes of Nolan, Mendes or Macqueen, are unlikely to be recognised in the improbable event they decided to go rogue and travel on public transport. 

the woman in the dunes (d. hiroshi teshigahara, w. kôbô abe, eiko yoshida)

Curry and I went to see this at the NFT all those years ago. No idea why we chose to go, a blind whim, or perhaps he had done his research. It was, in its way, a revelatory viewing experience which shaped our thinking on The Boat People just as much as Cortazar & co. Little did we realise, cinema ingenues that we were back then, that no-one in the UK was either going to be interested or impressed by a film referencing Teshigahara. As ever, it was a trip returning to see a film that has lingered in the memory over the course of twenty years. The near sadistic brilliance hasn’t waned a bit. I couldn’t help thinking about what the cast and crew must have gone through to film in this relentless jungle of sand. An almost Herzogian process. In many ways this is a classic horror movie. Man who is hoodwinked by callous locals, held captive against his will, starved and brought to the edge of sanity through thirst, flees only to get caught in quicksand. And yet, as the title suggests, it is also a warped love story, of the kind that appears to recur so frequently in Japanese culture. 

the man without a past (w&d kaurismaki)

Kaurismaki’s cinema really doesn’t feel as though it ought to work in the 21st century. It feels like the lost child of the silent era. The photography is beautifully crude. The colour palette is unashamedly contrived. The dialogue lacks any obvious subtext. The stories are simple, without any of the derivations or complications so beloved of modern scriptwriting. It feels like the anti-Nolan, if you like, whose bombastic cinema is the apotheosis of what the movies, even ‘serious’ movies have become. And yet, Kaurismaki’s cinema is always an unadorned delight. Simplicity, as his fellow Nordic savant, Fosse, also understands, has a power that all the machinations of the world struggle to compete with. The Man without a Past is yet another example of this, a fable which feels timeless, which nevertheless succeeds in communicating so much about the nature of identity, and its construction, a sly peaen to the IG generation, all of them deadset on creating themselves from scratch. It can be done, but it helps if someone smashes you over the head with a baseball bat first.  

perfect days (w&d wenders, w. takuma takasaki)

Daily life is a repetitive strain syndrome. Sometimes it feels ok, sometimes it doesn’t. Sometimes, just maybe, it feels great. The beauty of Wenders’ film is the way, in telling the story of Hirayama, a toilet cleaner in Tokyo, he captures this so perfectly. Film is generally about dramatic action. Plot points. Development. Whenever these threaten to appear in Perfect Days, Wenders and co-writer Takaski rein them in. What matters about this film, what makes it special, isn’t what happens. It’s what doesn’t happen. Not many filmmakers get to the point where they’re permitted to explore this kind of vibe. I for one am thankful that in this instance, someone has given Wenders money to do just that. I could watch this film a hundred times and never get bored.

Ps I got a counterpoint to this on my first night back in the UK from Mr Curry, who said that the more he thought about the film the more it got on his nerves. In is view, a film about a toilet cleaner  who just happens to have a wealthy background and drives around playing their favourite songs was the kind of project overprivileged males dream up in fancy hotel rooms… and he might have a point…

swimming underground (mary woronov)

Watching Wenders’ Perfect Days, with its nods to the VU, Lou Reed et al, one can’t help thinking about how influential that music and that time has become. There is something about the dirty nihilism of New York in the Warhol era, an era of washed out art-as-capital, that has coloured the way we in the West perceive the world. The maw of the great superpower, where a perverse, sado-masochisitic consciousness flowered in filthy needle-strewn rooms, driving the engine that makes the rich richer, turning a soup can into a million bucks, laughing in the face of honest toil. In a way this is also the world of Trump, the fast buck, the cheap con. Or rather, this was the environment in which the Trumps of this world could flourish. A few of these rich Nuyoricans drift around the edge of Woronov’s captivating description of her time as part of the Warhol inner circle. They hang out with Andy, knowing that the more the works of art they buy from him are inflated, the richer they, the owners, will become. She has little time for them. From a suburban background, Woronov is fascinated by the decadence and strangeness of the characters she comes across, hating them as much as she loves them. She shows the world as dirty and degrading, with little of the glamour that has subsequently been bestowed on it. The lives of impoverished artists and drug addicts are always more glamorous in the movie than IRL. Woronov describes how she herself fell into a drug addled purgatory which neutered her moral compass (in one notable chapter she tries and fails to kill her groupie) and lead her to tread the fine line between survival and its opposite. She later moved from NY to LA, where at least she wasn’t constantly on the verge of killing herself. Through all this, Warhol glides like a grey ghost, the shrewdest of operators in a world whose true value he alone grasped. 

los colonos (w&d felipe gálvez, w. antonia girardi, mariano llinas)

The story of Red Pig, the Scottish mercenary and Indian killer Alex MacLennan, is one we came across when we visited Punta Arenas. The savage war that was waged against the Selk’nam in Tierra del Fuego, on both sides of the border, is the central pillar of Gálvez’ curious film, which follows in the footsteps trodden by Théo Court’s poetic Blanco en Blanco, also featuring Alfredo Castro. Los Colonos is split into two parts, the first describing one of Maclennan’s savage trips, the second reflecting on this seven years later. Camilo Arancibia’s wistful mestizo, Segundo Molino is the connecting link between the two parts, when a Santiago politician arrives to question him about Maclennan’s terrible crimes, provoking in Camilo and his wife the question of what it means to be Chilean as the nation celebrates its centenary. There’s a sense at times that the film doesn’t quite know what it wants to be: a mixture of Western, social commentary, historical testament. There’s even an apocalyptic sequence featuring a Scottish soldier who appears to have gone full Kurtz, (played by old acquaintance Sam Spruell). Perhaps it’s the presence of Mariano Llinas in the screenwriting team that leads to the inclusion of so many fascinating detours and side avenues: the sequence at the end of the world felt like it could quite happily have made for a whole film on its own. Maclennan, the central figure, drops out of the narrative before the final act; the conflict between him, the Texan and Segundo is arbitrarily curtailed. This final act feels relatively disconnected from the aesthetic and tone of all that has gone before, at once more assured now that the dialogue is not in English, but more stately, consisting essentially of two long set piece scenes. It might also be relevant to the film’s unevenness that its financing has come from so many different territories, many of them a long way away from the land of the Selk’nam. In spite of this unevenness, Los Colonos is always watchable, even if it feels as though, in the shadow of the overwhelming scenery, it sometimes pulls its punches.