PARIS MOVIE REPORT (May 2011)

[Chris Knipp]

UPDATE: IN PARIS I FINALLY SEE ALL OF REVOLUCIÓN, THE MEXICAN ANTHOLOGY FILM FROM 2010.




Revolución (2010) is the Mexican anthology of short films in the 2010 NYFF that I missed more than half of due to a projection problem during the first press screening. It is reviewed, with help from Leslie Felperin's coverage, in the NYFF 2010 section of Filmleaf here. It is an interesting collection to see, since it includes Mexican directors to a larger audience. Since it opened in limited theatrical release in Paris May 11, I got to see it in toto and add my observations on the parts I had not seen in October 2010.

The Reygadas segment is a shocker, sort of an alegory of indulgence, violence, and chaos. It's just a very unruly, tacky party, with drinking and smoking, some chatter, destruction of a derelict car. The car is later set on fire. Reygadas' aim seems to be to create a sense of danger and disorder and ugliness. It's not pleasant to watch and isn't meant to be. I thought of Trash Humpers, though it lacks the fantasy.

I was not very impressed by "The Estate Store," though it is significant in being by a woman director and presenting a woman's point of view. The main relationships don't seem quite credible, and the story-line isn't entirely clear. Maybe Mariana Chenillo is just trying to cram too much information into ten minutes. It's a basic principle that short films work better when they are simple (not that exceptions to this rule aren't possible in the right hands).

In contrast in "R-100" Gerardo Naranjo creates a story that's vivid, visceral, and simple. There is no dialogue, no attempt to explain how the two men became covered with blood and one of the unable to walk. It's truly a slice of life.

I would have to re-watch "30/30" by Rodrigo Plà to understand the irony Felperin refers to in its story of an exploited grandson of Pancho Villa brought in by politicians to attend revolutionary commemorative evennt. It took me the whole time to see what was being got at. I give the film credit for a convincing feel of authenticity.

Diggo Luna's "Abel" seems very fragmentary. I missed something. I'm not so sure its tech credits are below par as Felperin says, but I'm not convinced either Luna or Garcia Bernal are going to be notable as directors. What they are notable for is encouraging cinema in Mexico and helping it to be recognized internationally through their own international recognition as actors, particularly Garcia Bernal's. [IY tu mama tambien ]I[/I] seems like some kind of classic to me, along with Amores Perros, a signal of something coming alive in Mexican filmmaking, at least for the foreign audience. Both put contemporary Mexican filmmaking on the map for American moviegoers.

Rodrigo Garcia's "7th Street and Alvarado" indeed is a standout. Its images are haunting and beautiful and profoundly thought-provoking. It's quite amazing how the men or horseback costumed so realistically as Mexican revolutionaries of a hundred years ago seem etched in stone against the sunny sky, while the pedestrians wander below, seeming unreal, though unaware of the horseman. I'd have to see more by Rodrigo Garcia to know what he's like; apparently he has moved to the Anglo world, and his new feature for 2011, Albert Nobbs , is set in Ireland and features Jane Eyre star Mia Wasikowska -- so we may forget about his contributing to a new Mexican cinema.

I would like to see more by Amat Escalante ("The Hanging Priest"), and of course by Reygadas and Naranjo. I know I like anything by Fernando Eimbcke, whose wistful, ironic black and white fim of the welcoming party whose guests (for a celebration of the revolution?) never show up at the tiny town, begins this anthology. Fernando Eimbcke's film, by the way, on the real film stock, is the best looking, along with Rodrigo Garcia's slo-mo color film at the end.

Revolución dubet on Mexican TV last November Paris May 11, 2011 seems to be its first theatrical release anywhere. I'd expect to see it in a little West Village theater. Allociné gives this film a good critical rating, 3.2 with 10 reviews consulted. "Diversity" and "richness" were noted.