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NEW DIRECTORS/NEW FILMS 2003 Send This Review to a Friend
A highlight of every movie year in New York is the opportunity to see new works showcased in the New Directors/New Films series presented by the Film Society of Lincoln Center and the Museum of Modern Art. A number of the films that I managed to see among the selections turned out to be special.
Among my favorites was "Mondays in the Sun," a powerful film from Spain written and directed by Fernando León de Aranoa and starring Javier Bardem, an actor whose presence in any film adds a major plus. Set in a northern Spanish coastal city, the drama focuses on the lives of men who have lost their jobs because of a tightened economy. While the locale is Spain, the problems that we see unfold could be in many countries around the world, including in the United States. The filmmaker has written a story that goes to the heart of the casting aside of working people wherever they may be and many in the world know the pain and frustration of being in such a position.
Bardem as Santa, one of those dismissed from the local shipyard, is the central character among a group of men who bond in friendship and defeat. But there is also a rebelliousness that lets itself out in humorous ways as Santa struggles to cope with life, keep his dignity and deal with the absurdities that he sees around him. The film looks into the personal lives of the men, including an examination of the strains of marriage under pressure. Merely going for a job interview is traumatic for someone older, who sees young applicants who have all the edge. There is pathos, but there is also the humor that comes from finding ways to hold one's head high.
"Mondays in the Sun" is rich in characterization, with the cast including Luis Tosar, José Ángel Egido, Nieve de Medina, Celso Bugallo, Serge Riaboukine, Enrique Villén, Joaquín Climent and Aida Folch. The director captures the local atmosphere effectively. When tragedy occurs, the way in which the men deal with the situation provides a humorous finish that, whatever happens, leaves the pals, momentarily at least, with the upper hand of personal satisfaction. This is a very special film that is among the year's most impressive.
Another favorite among those showcased was the beautifully made and meaningful "The Guys," now in commercial release and dealing with 9/11 events and emotions. It was adapted from the play by Anne Nelson and directed by Jim Simpson . (See review in Film or Search.) Another top film showcased was Peter Sollett's "Raising Victor Vargas," also now in release. (See Film or Search for the review.)
"Respiro," an Italian import, written and directed by Emanuele Crialese and set on an island off Sicily, is reminiscent of Italian neo-realist films of the post-World War II period. Valeria Golino gives a strong performance as the troubled Grazia, who is a dutiful wife and mother, but who behaves strangely. She is given to outbursts, and it is clear that she needs help. She manages to function, although she is the subject of island gossip. Her husband loves her and is patient with her, up to a point.
A crisis occurs when there is a move to send her away for psychological help, and she rebels. Her eldest son is determined to protect her and hides her in a cave, but it is assumed that she has drowned. The drama unfolds with great beauty and sensitivity, meshed with the natural surroundings and the passions that erupt. Crialese, who was born in Rome, studied at New York University's Tisch School of the Arts.
The Czech Republic was the source of another worthy film in the series. Vladimír Michálek's "Autumn Spring" deals charmingly with older folk who are trying to find happiness in living out their remaining years. There is a wonderful performance by Vlastimil Brodsky as Fanda, who, accompanied by his pal Eda (Stanislav Zindulka), gets a kick out of making mischief, such as pretending to be rich and getting a real estate agent to lay on a car and lunch in an effort to talk him into buying a huge estate. The men don't worry about the consequences to come.
Fanda loves his wife Emilie (Stella Zázvorková), but she is furious at his ways and much more concerned with being frugal in managing their money and planning for their funerals and burials. That seems to be all she has to live for. Their son Jara (Ondrej Vetchy), who has an ex-wife and a new girlfriend, is scheming to get the apartment of his parents by maneuvering them to go into a home for the aged. But just as Fanda and his friend Eda refuse to go meekly to their fate, Fanda and his wife make a new beginning.
"My Architect," a documentary, explores the life of architect Louis I. Kahn, who died in 1974, through the eyes of his son, Nathaniel, who grew up with various issues connected to his father, and has now made a film of discovery. He has explored the public, professional and mysterious aspects of his father's life, and there are various revelations about his relationships. The combination of a tribute to Kahn's architectural achievements and focus on his quirky personality and behavior results in an absolutely fascinating and sometimes moving film. It is at once educational and deeply personal, and as Nathaniel comes to a greater understanding, we come to learn more about both father and son and thereby enrich our own knowledge.
"Bus 174" deals with a real event in Brazil, a 2000 hijacking of a bus in Rio de Janeiro that traumatized the city. José Padilha's film is a searing social document that traces the life of the hijacker and the lives of his victims, as well as records the response of the police and others. As the story unfolds through news clips and interviews with those who were there, a disturbing picture is offered of the desperation that engulfs Rio's underclass and what can occur when young men grow up in an atmosphere of neglect and hopelessness, as well as the resulting reverberations in the society around them. The film goes on a bit too long, but it nonetheless leaves a strong impact.
I was less enamoured with the Italian import "The Embalmer," Matteo Garrone's strange tale about a Peppino (Ernesto Mahieux), a dwarf-like man who is a taxidermist and embalmer, and his odd relationship with a waiter whom he invites to learn the business and work with him. The comedy is dark, and Diego (Valerio Foglia Manzillo), the waiter, finds his new life has plunged him into an uncomfortable closeness. Peppino is demanding and manipulative, and there is no easy exit from the situation that develops. The film is attention grabbing, but more strange than satisfying.
"The Missing Gun" offers an unusual take on China. Lu Chuan makes a feature debut with a film about a policeman whose gun disappears. In the United States, where there is such a proliferation of guns, it seems odd that there would be so much of a to-do about finding the weapon, which is the property of the state. The policeman not only risks dishonor for the loss of his gun, but he could face prison as well. There is the complication of what happens if someone is killed or injured as a result of his gun having fallen into the wrong hands and the extent to which the policeman would be responsible. (Gun lobby take note.) The tone is one of gallows humor comedy, or perhaps one might call it Chinese film noir. Here's a film from China that's definitely different.
There were 34 works from 24 countries in this ambitious series, and although it was impossible for me to see all of them, it was worthwhile if only for those films cited above. A number of the films already have distributors and are scheduled to open, and it is hoped that others will also reach the American public.
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