New Directors/New Films Review: PENDULAR

Pendular. 2017. Brazil/ Argentina/ France. Directed by Julia Murat. Courtesy of Still Moving.

Pendular. 2017. Brazil/ Argentina/ France. Directed by Julia Murat. Courtesy of Still Moving.

A dilapidated industrial space in Rio de Janeiro houses buckets, tables, carts, and more strewn between its pillars, white on top and green on bottom. A wooden, asymmetrical sculpture sits at the center of the frame. From the camera’s perspective, it appears to be a plank cutting through the center of a cube. Within seconds, we will witness another bisection. We hear it before we see it; the sound of tearing tape leads to a man and a woman working their way across the room with orange tape. He peels it, and she stamps it into the ground. Once the task is complete, they run back and forth across the line in an impromptu game of tape ball soccer.

This opening to Júlia Murat’s relationship drama “Pendular” —executed in one static shot— sets the stage for a film where its titular couple creates boundaries and transgresses them constantly. Ele (‘he’ in Portuguese) is a sculptor working in wood as well as industrial materials like wire and aluminum; Ela (‘she’) is modern dancer whose work veers into the abstract. The tape demarcates an area for each artist’s studio. Read more

New Directors/New Films Reviews: BY THE TIME IT GETS DARK, QUEST & THE FUTURE PERFECT

By The Time It Gets Dark

By the Time It Gets Dark. 2016. France/Netherlands/Qatar/Thailand. Directed by Anocha Suwichakornpong. Courtesy of KimStim.

“By the Time it Gets Dark”, the new feature from Thai director Anocha Suwichakornpong, is the narrative equivalent of a leisurely stroll through an unfamiliar landscape. Characters from all walks of life in Thailand —from chamber maids and students to film actors and revolutionaries— appear, disappear, and reappear at random in scenarios centered around a female filmmaker’s research for a script about an aging female revolutionary. While this exploration of identity and roleplaying creates a surplus of vantage points for a colorful survey of Thai culture and history, Suwichakornpong uses the same tactics as an icon of Nordic cinema in crafting this journey.

The film’s dreamy pace recalls the work of Nicolas Winding Refn. The Danish director’s films about criminals are contemplative, preferring to explore the moments when these psychopaths brood as opposed to whenever blood is shed. Think of “Drive”’s long shots of Ryan Gosling–captured from the front passenger’s seat–driving his car to the strains of pop music as neon colors bathe his face, and you will have a pretty good idea of how Suwichakornpong appropriates Refn’s pacing for a more pacifist film. In one scene, Suwichakornpong follows a lone woman as she arrives at her home. When she prepares to fry a single egg, the camera’s interest focuses on the wok more than the woman. This choice forces the viewer to follow the action of the sequence via the small breaks in the ambient noise soundtrack. The film in turn demands an understanding of a character’s surroundings in order to understand the character. This same deliberateness charmed audiences at Cannes in 2010, winning the Palme d’Or for Thai director Apichatpong Weerasethakul’s masterpiece “Uncle Boonmee Who Can Recall His Past Lives.” Just like in that classic from a countryman, slow, methodical action in “By the Time it Gets Dark” lures and eventually charms viewers into following its unpredictable turns until the screen itself gets dark. Read more

New Directors/New Films Review: STRONG ISLAND

Photo credit: 8SP - Simon Luethi © 2016

Photo credit: 8SP – Simon Luethi © 2016

A simple disagreement with a mechanic about fixing his girlfriend’s car led to the shooting death of William Ford Jr. on April 7, 1992. After the Suffolk County District Attorney’s office on New York’s Long Island showed more interest in investigating the African American victim than the white defendant, a grand jury declined to indict. William Ford was treated like another black body destroyed and discarded by a prejudiced justice system.

Screening as a part of New Directors/New Films, “Strong Island” —a documentary from William’s sibling Yance Ford— explores the circumstances surrounding the terrible evening. In an attempt to put some attention on his brother’s story, Yance lenses his own black body in ways that brings William’s murder back into focus.
 
Yance’s face —round with a small scar stemming from the left side of the bottom lip— often faces the camera in a close-up. The background is dark black, and little below the director’s chin is visible, isolating his face in the frame. This stance is confrontational, setting the tone for a story seeking to challenge an authoritative account of events. In a statement at the start of the film that gives us a pretty solid understanding of what’s to come, Yance lets the audience know, “If you’re uncomfortable with me asking these questions, you should probably get up and go.”

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New Directors/New Films Review: ARÁBIA

Arábia

Arábia. 2017. Brazil. Directed by Affonso Uchôa and João Dumans. Courtesy of Katasia Films.

The city of Ouro Preto is an historic site known throughout Brazil for its decadence. A gold boom in the 18th century bolstered its initial growth, which led to several famously ornate churches dotting the horizon. During my year on a Fulbright Fellowship in the country, many Brazilian Millennials fondly remembered the city as the site for class trips admiring gilded Baroque architecture. João Dumans and Affonso Uchoa’s “Arábia” steers the Ouro Preto narrative away from the city’s opulence, drawing to the forefront the tough lives of laborers in the state of Minas Gerais.

Dumans and Uchoa begin their film with teenaged Andre’s struggles caring for a sick brother in place of absentee parents. Early in the film, he discovers the journal of laborer Cristiano. When Andre opens the book and the title card appears 20 minutes into the film, we start following Cristiano as he bounces from job to job. The framing device is largely unnecessary; we could have gained just as much insight on Cristiano’s experiences in the working class from his narration without ever introducing the Andre character. Considering the fact that Andre’s one reappearance after the narrative device begins is fleeting, basing the film in Andre’s discovery distracts the viewer more than it gives the viewer a point of entry to Cristiano’s life. Read more