ETERNAL SUNSHINE OF THE SPOTLESS MIND, Michel Gondry (2004)

Mood affects activies beyond our understanding. Not only that, but also the atmosphere, the companion, the weather…many external factors influence on the impact we receive when listening to a record, observing a painting or watching a movie.

I had seen this film 3-4 years ago, and didn’t understand why such cult around it. I thought it to be boring, abstract, and not very clear, you can add that I’m not a big fan of Jim Carrey, then the final verdict was thumbs down.

The fact that one of my best friends digs a lot, and considering he’s quite rough and extreme in his judgments, black or white and not much of grey in between, made me go for a second chance. This time Eternal Sunshine of the Spotless Mind made a great impression.

Having the story still very fresh, I don’t really know how to label this film. Many references  come to my head. On one hand, all the memory erasing procedure brings me to Total Recall, and all the love and lack of love story makes me think of Blue Valentine.

Among other qualities and features, chaos and impulsiveness reign in Clementine’s life (Kate Winslet). Sick of her relationship with Joel(Jim Carrey), contracts the services of Lacuna, experts in memory erasure, and undergoes this deleting and resetting procedure. Her decision is irreversible and unilateral, and Joel, after trying to contact her to see why she’s acting so erratic, eventually finds out what she’s done.

Miserable and devastated, he can’t cope with the situation, thus submitting to the memory erasure seems the only logic solution to overcome his pain. He bursts into Lacuna office demanding a quick and urgent action, as they are already involved in his misery.  Dr. Mierzwiak (Tom Wilkinson) promises the effective remedy for his suffering, assisted by Stan (Mark Ruffalo), who will conduct all the procedure while Joel is sleeping, together with Patrick (Elijah Wood).

In order to erase any memories, which include the tiniest details, Joes is required to collect any single item which reminds him of Clementine, thus, thanks to a mapping procedure collecting all the bran movements or reactions towards these objects, Stan will be able to reach any corner in his brain which might contain Clem in it. Mapping aside, as standard, an extended interview with impressions, explanations related to the erasing process and the reasons is tape recorded, to be included in the personal file of each client.

It’s the perfect job, with no claiming afterwards, as patients never remember their visit to Lacuna, and they’re responsible for notifying acquaintances of this procedure, so there won’t be any future side effects.

Joel is ready. he buys new pajamas, follows the instructions advised by Dr. Mierzwiak and quickly passes out. It’s time Stan and Patrick take care of business, but distractions related to women will prevent them from performing professionally. On one hand, Patrick had a crush on Clementine and thanks to his knowledge of her situation and things she confessed during her interview, he’s managed to become her boyfriend. But she, for no apparent reason feels awkward and estranged, and needs him to be by her side. On the other, Stan and the gorgeous nurse at  Lacuna, Mary (Kirsten Dunst) are secretly dating, and she stops by to make some companion and have some fun.

The sedatives are not working as they should and within his dream Joel notices something weird is going on. At the same time he’s recalling all those good and bad moments with Clementine and eventually he realizes he doesn’t want to lose those great past times they lived. That’s not the solution for easing the pain. So his dream and his conscious part will turn into a huge struggle against memory loss, trying to hide what le loves most, Clementine, in hidden corners of his mind memories, not related to her.

Things are happening at the same time both inside Joel’s mind, and in the real world. Events and feelings which prove that mind erasing is not the magical solution for certain problems, and all the characters involved, eventually suffer the consequences.

When I started watching the film this last time, and the concept of memory erasing was introduced, I thought that was something that would have perfectly worked for me, and even nowadays, when I can say I’ve overcome my sentimental wreckage but still scars aren’t totally healed, I thought of it as perfectly valid.

Considering an inner mechanism has blocked most of my memories of a 10-year relationship naturally, and I’m talking serious, I found it workable. Truth is that in a relationship you share  experiences such as travelling, shows and many other events I love, and partial erasure is not conceived.

Memory erasure would work  if you never had contact with the source of those memories again, but, and this is the reason why all this procedure fails, memories are highly influenced by feelings, and your sensitivity remains intact. Therefore, Clementine feels weird because she doesn’t know she still misses Joel, and after Lacuna’s intervention, when they meet on the train the attraction is instant. Relationships among human beings are said to be pure chemistry combination of hormones, right?

No, deleting memories is not fair, otherwise people making mistakes or choosing wrong, or hurting people, would be abusing of this method, that would become kind of artificial reset. Whatever causes you pain or sadness must be faced and overcome from within yourself. What would you do if one morning you received a letter confirming your best friend has erased you from his memories and consequently from his life without your consent and acceptance? You wouldn’t react positive, that’s for sure.

The dynamism of the film, the mayhem and unsteadiness of the camera, and the different levels of narration, past-present-future, past within past, and these time combinations, can contribute to a sense of chaos if you’re in the right mood, you won’t definitely enjoy. I remember the first time I saw the film, Clem’s hair color changing, cars crashing on the asphalt, things vanishing… Christopher Nolan’s Inception  was the opposite, with the adding and the creation of a fake world, but carefully explained and detailed, highlighting those changes of stages, however, in Eternal Sunshine of The Spotless Mind, that separation is subtly marked by lights, settings and attitudes.

The story of Joel and Clementine is as standard as many others. A couple which reaches that point in which monotony and routines reign. Clem as an unstable woman can’t endure that situation any longer and carries out her personal choice without considering Joel’s feelings nor even hers. Too sad and ridiculous, the miracle, the easy way out,  eventually fails.

Progress and the power of our minds sometimes do not work fine mixed, luckily for us!

REQUIEM FOR A DREAM, Darren Aronofsky (2000)

I’ve been recovering  some very good titles I’ve adored since the first time I saw them and, unfortunately hadn’t enjoyed in very long time. It’s true, however, that the fact that it took me so long to review them, made the experience delightful.

When Requiem for a Dream saw the light, the director, Darren Aronofsky, was only 31.  It might not be an important detail to you, but for me it makes a point. Responsible not only for the filming, but also being in charge of the script, really makes me think of a genius. Perhaps, his filmography is not to extent, but all the movies have made a huge impression, not only on the critics, but also on the audience.

Everybody knows Aronofsky, thanks to his last two praised and rewarded films, The Wrestler and Black Swan, no doubt outstanding, and both commented on previous posts. This time I’m very pleased to talk about my favorite, the one that left me speechless and in shock from long time.

Situations recreated by Aronofsky are not standard at all. We witness  the way characters have to deal with their own Hell and demons, ending overwhelmed and devastated by the whole process and the tragic of their lives. These stories are perhaps too extreme, and we might think ourselves too far from them, but changing certain details and social surroundings, we’re subtle to experience something similar, and it’s really scary.

To approach Requiem for a Dream, we should first mark a division between Marion and Harold, and his friend Tyrone on one hand, and Sara Golfarb, Harry’s mother, on the other.  Rising and fall is depicted in 3 stages, everything starting in Summer, or the season of hope and happiness, Fall, things starting to get messed up, to finally collapse in Winter.

Sara Goldfarb (Ellen Burstyn) is a widow  whose only son is a drug addict. Their closest contact consists on the young man, Harry (Jared Leto),  visiting his mother for borrowing her TV set, the only thing that keeps her company and her most loyal friend, to get some money at the pawnshop for dope. As part of the cycle, Sara, will always end up visiting the pawnbroker, in order to recover the TV, as part of the routine, without complaining.

Harry and his friend Tyrone (Marlon Wayans) are in search of the magic trick that will ensure them money to afford to make their dreams come true. They seem to have found the score, by buying, cutting and dealing heroine.

Harry is deep in love with beautiful Marion (Jennifer Connelly), aspiring to become a fashion designer, and also very in love with substances to enhance her creativity. Marion seems to come from a wealthy family, as she has her own flat, and from time to time, in order to avoid her parents cutting her short, she dates her former shrink, Arnold, ensuring he won’t advise them of her habits and behavior.

On the other hand, Sara, hooked to infocomercials hosted by Tappy Tibbons (Christopher McDonald), receives a phone call, announcing she’s been selected to take part in one of these quiz shows on TV. For a lonely woman, such an invitation is the best that could happen to her, and standing in front of the audience means she must be stunning. Thus, Sara starts trying strict diet in order to fit in the red dress she was wearing at Harry’s graduation, but she can’t bear starving, and will eventually succumb to a magic diet someone suggests, based on these magic color pills, what we know as uppers and downers.

For a short period of time everything seems to be working for all them, the guys dealing in Coney Island and making good money, and Sara getting fit for the TV show, but of course, when all the grounds are unstable and based on dreams out of reality, eventually the world collapses, and things change radically in a nick of time.

The business has to close due to lack of dope to deal with, money runs out,  and all the happiness and perfection vanish instantly, because the reality for these addicts is that they only care for a fix. Just the opposite, Mrs Goldfarb gets so hooked to pills, she starts taking more than prescribed, developing a constant state of paranoia, dreaming of herself introduced by his beloved Tibbons to the set, having Harry by her side…

No need to  point out that the end of this voyage, is, to say the least, shocking and terrifying.

All the plot and issues related to the three young characters does not differ from many other stories related to junkies. Their behavior is a standard pattern, if there’s money everything’s perfect, they get on well, trust each other, love is strong… as soon as there’re no drugs on the street or money in their pocket, relationships quickly decay, allowing suspicion, disrespect, and tension to rise, causing chaos. Of course, despite the events to follow are quite predictable, it doesn’t imply the intensity of this downward spiral has to lessen.

Nevertheless, what I think the big deal in this film is, has to do with  all the way to madness Sara Goldfarb has to pass through to end completely demented.

Starting from the general assumption any intake pill is a drug (forget about natural stuff), prescribed by a doctor, we must think of ourselves as potential users, depending on illness or requirements. As patients we are not walking Vademecum’s either, thus we have to trust what we are advised, considering doctors are professional.

What happens to Sara is a combination of many factors, all mixed up, results into an exploding cocktail.

Sara is alone, living a boring life based only in watching infocomercials and spending sometime chatting with her neighbors. Her son is a drug addict she doesn’t turn in because is the only next of kin she has, thus she allows him to steal the TV set, once and once again. In certain way, she’s supporting his addiction, by recovering it afterwards.

She’s not a very enlightened woman either. As soon as she receives the phone call seeding the idea of making her dream of appearing on TV come true, and bringing her the possibility of projecting  a successful and fulfilling image of her life, to the audience, she’s 100% convinced it is for real, thus she starts setting personal targets for a date not yet confirmed.

And yes, same as usual, vanity comes always the first, when dealing with such events. She wants to fit in the red dress. She thinks it’s only a matter of losing weight, but she’s not considering also years pass by. She’s so narrow minded as to associate this red dress to happiness, just because wearing it before everything was just perfect: her soon graduated, her husband still alive and by her side, and she looking younger and stunning. She wants to be popular and feel loved by her neighbors.

Surprisingly, Sara lacks of will power, so she can’t bear a strict diet program, consisting on reducing not only quantity of food, but also erasing sugar, salt and other fattening additives. The solution is to invest into these wonder diets you don’t feel hungry and weight loss is immediately noticeable, you only have to take series of pills on a daily basis. Although Sara feels the alterations, she assumed them as normal because the pills have been prescribed by a doctor, who is always right. Both her physical and mental states are soon disturbed by the pills, feeling anxiety, euphoria, hyperactivity … Everything is fine as long as she reaches her goal, the red dress.

Her weight loss is directly linked to her developing tolerance to pills. she starts suffering from hallucinations and paranoia, and in order to get going she starts increasing the dose, in order to keep balanced, to eventually lose total control, becoming completely hooked to the pills, unable to establish a drug pattern, being high 24/7, up to a point she’s a unable to differ reality from imagination, turning completely insane.

All this told, enhanced by many shots, crazy close-ups and these cameras showing oneself views, sound effects, and other technical aspects, makes an impression. Montage is super elaborated.

This last time I watched Requiem For A Dream, I had the same feeling as the first time, didn’t matter I was already acquainted with the story. As Sara’s addiction is stronger, and consequently the sequence of images is more disturbing, I started feeling uneasy. Perhaps this time it affected me even more, as I’m quitting smoking. Fact is that as Sara’s sanity is slipping, the rhythm of the film is also mental.

Not sure whether I could refer to the conclusion as a lecture, but somehow there’s a message in this film. In fact there are many, and are quite frightening. I can’t stop thinking of these two:

First one has to do with what I mentioned earlier. Everybody is a potential victim of drug abuse. You might not try cocaine, but you can be prescribed with Valium, or extasis, and depending on your physical and mental condition you could get hooked without the proper monitoring. I’ve met people hooked to relaxants to get some sleep, others playing with laxatives to lose weight. People think as junkies, they are focused on immediate pleasure or results, forgetting about side effects or extended usage consequences. And there’s the real danger.

The philosophy of achieving a goal no matter what, can easily turn against you and ruin your life. You have to be realistic, and work within your limits. Last night a close friend of mine said something about ambition, more or less the idea was that you have to set and renew targets in order to improve but always on a real scale.

Thus, divided into 3 stages, we witness the stories of four people who have dreams of a better life, and how, succumbing to their addictions, they end up hopeless and their lives ruined forever.

Requiem For A Dream is one of the most shocking and impressive films of the past decade, and one of my favorites. The subject is tough and the story is definitely one of a kind, and depending on your sensitiveness, you might find it hard to endure. Aronofsky here, reconfirmed his role as a director wasn’t going to be ignored.  And believe me, if you get to see this film, you will positively want to dig more in his work. Excellent!

JANE EYRE, Cary Fukunaga (2011)

First of all, Happy New Year. I’ve never been in mood for resolutions, because I don’t accomplish half of them, thus what I can say is that I will try to be posting at least once a month. Too many things in my head, writing on movies require certain concentration I sometimes lack of. Sorry!

Still having some films I’d like to talk about, but I’m going to start this year 2012, with this movie, I went to see last night, on my own, while it’s still fresh in my mind, and all the feelings and emotions provoked, are still pounding.

If you are familiar with The Brontë’s novels, then you already know their stories are characterized by portraying tortuous and stormy love stories, in which society conventions have a very important role, so as the nature environment.

I was ready for the drama, really, I don’t consider myself a weak and super sensitive girl who always cries at the movies, but I wasn’t expecting such intensity in this film as to end up crying nonstop. Never left a cinema with tears in my eyes until last night, and believe me, they weren’t caused by disappointment at all. Jane Eyre is pure poetry.

Life had never been merciful towards Jane Eyre since she became an orphan and was supposedly under Mrs. Reed’s care. Rejected and abused by the members of the family, she’s eventually cast out and sent to Lowood School to be straightened up. Hard discipline, with beating punishment, miserable living conditions, lacking any expression of affection, will mark her life forever, but Jane, as a rebel character, will develop an inner creative world she will portrait in her paintings.

Once her stay in Lowood is over, Jane Eyre (Mia Wasikowska) will have to work for living, she’ll move to Thornfield Hall, working as a governess of a little French girl, Adele, apparently adopted by Edward Fairfax Rochester (Michael Fassbender), due to some kind of former relationship.

These days are the closest to happiness for Jane, teaching her pupil, enjoying the company of Mrs Fairfax (Judi Dench), the housekeeper, receiving kindness and affection. Until the landlord of the estate arrives to settle  temporarily at the mansion.

Edward Rochester is the first male contact to Jane, and initially is not a very pleasant one. He’s a strong character, very moody, strong, rough, who spreads some kind of vice and corruption, completely alien to the young teacher. Still, Jane is not overwhelmed by such destructive personality, and with all the respect, she manages to earn her landlord’s respect, and complicity.

One night, Jane is awaken by the feeling of a presence by her bedroom door, and weird noises. Alerted, she discovers Rochester’s room is on fire, and she will save his life by waking him up and trying to stop the fire. The landlord’s attitude, fully in debt with the governess, will radically change, he trying to earn her body, and soul, something she will initially reject, confused about her feelings and his intentions.

Thus, a tense friendship among them will go on, with Fairfax flirting with Mrs Ingram, and Jane silently feeling tortured, because she doesn’t believe herself worth enough for the gentleman’s love.

Inevitably, once Jane receives the sad news of his beloved engagement to the superficial lady, all the cards on the table, Fairfax will declare his wish of sharing his life with her, and she will finally accept. Unfortunately, the terrible secret he’s been hiding from her all this time, will bring out just about to get married, and Jane will run away from Thornfield Hall, completely devastated, to be sheltered and adopted as a new member of the family, by the young Rivers. But she will be unable to forget who she’s devoted to.

Long sight right now while writing these lines, friends. It is really a sad story, which nowadays, with law adapted to modern times, and women stepping upwards at all levels, after a really long struggle our generation is not really aware of, perhaps could be sorted out easily. Not in that time though, when women were 100 steps behind men, and they couldn’t even freely think, nor act, and even less live.

The director, Cary Fukunaga, knew from the very beginning how to depict Jane Eyre. Not following the current canons of beauty, he looked for a cold and fragile character, still strong as a consequence of the tough times she had to pass through in her childhood. Mia Wasikowska is a gorgeous actress, capable of transmit so many emotions at just a glance, she’s just stunning at her role of Eyre. Really impressive! Those moments, subject to Fairfax’ pressure, when he’s trying to seduce her in the beginning, to finally fall in love with her, are so intense, so emotionally loaded, and she stands firm, because she doesn’t want to lose her freedom, she doesn’t want to endure more pain than is normal, and although she would give him absolutely everything he’d ask, she needs that security, a vicious character as Edward couldn’t ever provide.

What can I say regarding Fassbender? Let’s leave the hot part aside, I’m trying to be objective here. Up to date, I cannot find any weak point to his performance, and definitely he’s to be one of the greatest actors of this new decade, I’m positive. Related to his role as Edward Fairfax Rochester, he’s also fascinating. The strength and manhood he spreads, his strong and vicious character willing to be tamed by the innocence and purity Jane, seeking for an act of kindness which he thinks that will free him from his terrible burden, is just awesome. Passion is the engine of his life, but rejection is something he cannot deal with quite well. Thus, if Jane is not to be by his side, Mrs Ingram will entertain and exploit his superficial side, so he won’t be alone.

St. John Rivers (Jamie Bell) is just the opposite to Rochester. On one hand he doesn’t conceive women as equals, and on the other, love issue is a weakness, and he doesn’t not tolerate feelings and passion over pragmatism, tradition nor manners. His intentions towards Jane are too honest, but how can he conquer her after the romance, and its consequent pains she’s been living with her former employer? Jane wants freedom, no matter her life can be miserable.

It’s also remarkable the importance of nature in the film, from the weather to the thick and scary woods, including the palette of tones and shadings applied. Forces of nature really had relevance in the Brontë’s universe. The darkest moments Jane passes through, are enhanced by the rough weather, especially in the beginning, when she’s getting away from Thornfield Hall, unable to stand by Edward, after his terrible secret is reveiled. She’s devastated and heart broken. The storm is full of rage, almost killing her. Lowood is dark and grey, so is her life. But when everything seems to be going well for her, the warmth also accompanies her state. Despite the age of the mansion, she feels fine with the life she’s having, enjoying teaching Adele, and the friendship of Mrs Fairfax, and the hearth provides such smooth atmosphere.

Both the woods and the mansion suffer a transformation when the master arrives. The woods, covered with thick fog and humidity, is the place where their first encounter occurs, the difficult visibility causes Rochester’s horse gets wild, him falling and twisting his ankle. And regarding the mansion, all of a sudden a strange and uneasy atmosphere is perceived by Jane. It’s as if the place was not safe any longer, and some kind of danger was about to happen anytime.

Thus, the characters, the houses, the nature, the lights and tones… everything is masterly put together in order to offer an adaptation of one of the most popular classic novels of British literature, enhancing this tortuous and painful story of love, and avoiding superficial and ostentatious resources, making of this, a direct, stunning and brilliant film.

Believe me when I reckon, it’s been too long time since I haven’t felt so many emotions thanks to a film. You might think it’s a movie for women, perhaps it is, but I really insist, it’s worth seeing.

SITGES FILM FESTIVAL 2011 (PT. II)

After the success of the morning sessions, and finishing with a nice lunch time at a Jap restaurant outdoors, my friends suggested I could try to find tickets for this film. They were available , so were for the last Livide projection, thus I bought tickets for the two of them. I felt really pleased for this unexpected possibility of extending my festival experience. Unfortunately marathons for the day after were sold out.

After a couple of carajillos and a beer this is what we swallowed.

THE DAY HE ARRIVES, Book chon ban hyang (2011)

Asian cinema is a still pending subject for me. I’ve enjoyed some of these already modern but already  horror movies, even their western remakes, from The Ring to The Audition, Zatoichi, Dolls or Battle Royale…

Regarding classics, I’ve seen some of Kurosawa’s but it wasn’t the right time. The slow rhythm of the stories require me to be in the mood, and I wasn’t, in fact I was imposed to see some of them, thus I didn’t get to enjoy them.

I’m an objective and positive person, otherwise, after the experience lived with The Day He Arrives, I’d give up on Asian films.

During the projection I passed though all kind of mental states. From concentration and interest, to astonishment, flipping with part of the audience passionately clapping, and eventually wondering whether I’m so stupid I didn’t get the message. Well, apparently I’m not, two of my friends took a nap, and I was exchanging glances with another friend who was in same state as I was. Total disaster, poor people, they even apologized for such crap.

A film teacher and temporarily retired filmmaker, Sang-Joon, is spending few days in Seoul, mainly to enjoy his old friend and mentor, Young-Ho. Basically the film recovers his encounters with students who recognize him and try to approach him, and the nights plenty of booze and deep thinking conversations with his friend, and a close acquaintance of his, all this put aside when the beautiful owner of one of the taverns turns up into scene.

Somehow it reminds me of the brilliant Groundhog Day, in the sense that each day Sang-Joon spends in Seoul is a repetition, with slight changes. High spirits get low, the barmaid and he get close up to physical contact, and everybody around him seems to get tired of him. Apart from that, nothing else happens.

Thus, there I was, flipping for around 80 minutes, without understanding much, giggling due to extreme zooms, weird takes, and uncomfortable silence. Really, it was a waste of time, and my feelings were awkward. If you get to see this film, and understand something else, please, let me know.

LIVIDE (LIVID), Alexandre Bustillo & Julien Maury (2011)

After such crap, the group divided, some attending the remake of The Thing premiere, and we heading to shit in our pants with a dose of French horror.

After the wild A L’Interieur, commented a couple of years ago in this blog, the expectations were quite high. Truth is we didn’t get disappointed, but Livide doesn’t reach that level of insane brutality. Still, it was worth seeing.

In a French town by the sea, lately disturbed by the increasing rate of children disappearances, today’s Lucie’s first day as social worker trainee. Her boss, madame  Wilson, a rough woman, guides her in the route to follow, introducing her to the old people barely able to take care of themselves, she’ll have to take care on a daily basis. Basically her duties are visiting the patients and supply them with medicine.  But she’s asked to wait outside in one of the stops, at a very old mansion almost in ruins. Wilson comments Lucie is still not ready for such challenge, immediately awakening the young girl’s curiosity, who will cross the fence and get into the house, to discover the horrible picture of a very old woman, Mrs Jessel, in a deep coma.

Wilson explains Lucie, Madame Jessel used to be a very established and strict ballet teacher who amassed a vast fortune hidden somewhere in the mansion.

When telling her boyfriend about this shocking experience to her boyfriend, frustrated for working as a fisherman and sick of his boring life, he quickly convinces her and another friend of breaking in the house and look for a treasure which will allow them to have the good life they deserve.

As you can imagine, the apparent static house will immediately react against the breakage, with surprising and horrible consequences for the three of them.

I did like Livide, although many people got really disappointed. It’s easy to set comparisons with A L’Interieur considering both are tagged as horror films, however they are completely opposed. The greatness of the first one was perhaps the fact that the crazy and brutal story was focused on an act of revenge by an insane woman, but keeping close to what we could call reality. I mean, not likely, but something like that could ever happen. We all know world is falling apart and everything can be possible.

Livide is totally different. A haunted house and its hidden secrets are the main protagonists in this story, opening a door to a series of brutal and supernatural events. We’ve seen many stories of haunted houses, and evil powers acting against people unlucky to be there at that time. It’s a repeated pattern, and probably that’s why great part of the audience got upset.

In such way, I must admit Livide is not so original, and the fantastic element is a bit forced. There are still some details I’d rather not reveal, which I still don’t comprehend, and in my opinion, are completely unnecessary.

As a horror movie, it’s pretty enjoyable, anyway. Plenty of disgusting and brutal moments for your pleasure.

The roughness and spontaneity is lost in Livide, on behalf of a more twisted story, combining horror with fantasy, but not being totally consistent nor shocking as A L’Interieur.

I dig it, honestly, but sometimes when your starting register is so powerful and remarkable, audience will become very demanding, and reaching such level is not something easy.

SITGES FILM FESTIVAL 2011 (PT. I)

What a mess! Once again, it’s taken me longer than expected to update on this festival I attended a month ago already. My apologies!

Wish I could talk about more films from Sitges Film Festival 2011 edition, but unfortunately, not press registration, bad planning, and lack of time and money, only allowed me enjoy a wonderful Saturday in town. Can’t complain though, for I had tickets for just two films, and ended up attending 4,with a result of 3 positive and worth seeing, and one a total joke.

I’ve not too much experience regarding film festivals, but I’m starting to think they’re as worth attending as music festivals, especially if contents are related to genres you love.

I’ve come to the conclusion I’m trying to get more involved in the future, in order to discover new proposals, and opening to new stuff. And of course, the possibility of meeting friends and share interesting conversations regarding all this marvelous world is simply priceless, and helps you realize how much you still can learn, and set new targets you to focus on.

So here it is my Sitges experience I want to share with you. Hope you enjoy.

DRIVE, Nicolas Winding Refn (2011)

There are many components in this explosive cocktail as not to fail: Ryan Gosling, cars, pink neon credits, 80s inspired soundtrack, violence and blood…  Nothing could be wrong, and in fact it didn’t, Drive is gonna be the hype of the year, but it’s worth it, believe me.

The Driver, by Walter Hill, as a strong source of inspiration comes to mind immediately. And of course, memories of Bullit or Vanishing Point also spark underneath.

The driver (Ryan Gosling) is a workaholic. He devotes his life to work with cars, as a mechanic in a repairing shop owned by his mentor, Shannon (Bryan Cranston), who also introduced him into Hollywood as a stuntman for car action scenes. Moreover, he performs occasional driving for robberies requiring a professional driver for the getaways.

He’s a guy with no identity, no attachments, not relatives known, and not a very talkative person or emotional either. Until he gets acquainted with his neighbors. A young woman, Irene (Carey Mulligan) and her kid, Benicio. A kind of platonic story starts, with the shadow of Irene’s husband, serving prison for armed robbery.

In the meantime, Shannon is making business with dangerous people, in order to get enough money to develop a car prototype the driver would race with, involving lots of money. The associates, Nino (Ron Perlman) and Bernie Rose, are the kind of guys you don’t mess around with, and they accept to invest, supervising and nosing on the preparations as to ensure their money is safe.

Eventually Standard, Irene’s wife, is released from prison, which means the friendship among neighbors should logically come to an end, for obvious reasons. But nothing was said to be that easy, and Standard is attacked and beaten for unfinished business, up to a point if he doesn’t carry out a robbery at a pawn shop, his family will suffer the consequences. And who will do the driving? Easy to guess.

What seems to be a non risky job, turns out to be a trap, and the driver will be forced to apply all his skills and cold blood to get Irene, Benicio and himself out of danger.

The way the plot is developed is perfect. Opening with a robbery as a way of introducing the driver to the audience, as cold, calculating, and professional, is enough as to catch the bait.

Although the start of the film is powerful, according to the typical pattern of the action movies, with the first 5 minutes creating tension, the following change as to introduce us to the actual plot is radical in its rhythm, focusing on the strong attachment among the driver and his neighbors, Irene in special. There are some moments you can think of another cakey love story, as the tone is very evocative, takings are very artistic, and the whole thing is kind of bucolic. But it’s a good technique, to enhance the super blow to come.

Really, Drive is the perfect shot of action. It’s violent, dynamic, surprising, bloody and mean. Beware! It’s not to be related to last year’s major action releases, such as Expendables or Machete, better considered as just entertainment and a great laugh. Drive is serious in its story, not aiming to be taken as a joke. Characters are not super heroes but just the opposite. Standard is a vulgar robber, the driver is a mechanic and Irene is just a waitress. If you think of the mob side, involving Albanian mafia, believe me, there’s no glamour or attractive in that.

The cast is something to take serious. With Ryan Gosling, absolutely brilliant, confirming, not only he’s the most wanted man in the world, but also a great actor, with a promising future ahead, but also featuring one of the current hottest goddess Christina Hendricks, a rough Ron Perlman, and the innocent but seed of the whole mess, Carey Mulligan (truth is her performance is not so consistent).

Release date in Spain is due to the end of this month. Sure I will repeat and will go to the cinema to watch it for the second time. Believe me, this hype is worth seeing, and most likely is to be one of the films of the year. hope you like it!

KILLER JOE, William Friedkin (2011)

After an extense career as director, featuring more than 20 films, including classics such as The Exorcist, The Cruising or The French Connection, Friedkin is not expected to prove anything. Perhaps, because he can do whatever he wants, he’s delivered this shocking black redneck comedy this year, away from social politeness.

The Smiths are pure white trash. Dumped from his mother’s house, Chris (Emil Hirsh) asks his father for money and shelter. He’s in debt with Digger Soames, the kind of big guy you cannot play with, and his life is in risk. Ansel has no money and if he had, he wouldn’t spend a dime on his stupid boy, his wife Sharla (Gina Gershon) would not allow it.

The only solution is contracting Joe Cooper (Matthew McConaughey) to kill Chris’ mother, so they’d be able to claim for her life insurance policy money, pay the killer, clean the debts and share the money among the family.

Problem is that Joe Cooper only accepts prepaid jobs. But he finds a way to ensure the payment. Dottie, Ansel’s 12 year old daughter, a night walker and a very special girl, still virgin, will be the pledge.

As soon as the agreement is done, Chris will regret having ruined his sister’s life in the hands of the killer and will try to put things into order.

Killer Joe is an excessive story. The protection of the underage is not valid here. Dottie is to fulfill Joe’s requirements and is a grant for payment. Everything is unacceptable and morally wrong. But who cares? Anything goes.

Dialogues and situations are so way out of line, so absurd, while watching the film I was totally shocked, so astonished, I found myself laughing nonstop. The way all things are messed around, how situation is getting more and more twisted is insane.

Such extreme the contents are, don’t think this film is being released at any cinema. Positive Friedkin wasn’t looking to be acclaimed nor praised, he just doesn’t care.

Therefore, if you are sensitive to certain subjects or morally concerned as not to understand this film as a joke, don’t waste your time watching it, otherwise you’ll get angry and disappointed. I had fun though.

THE FOG, John Carpenter (1980)

Fall season and Halloween knocking at the door have caused the need to swallow Carpenter’s classics again, and together with Cronenberg’s, I’m trying to gather all his films.

No doubt he’s one of the top masters in horror/sci-fi genres, and personally I’d include him in my top 5 of directors.

The Fog was created during his golden decade, and although wasn’t as shocking as Halloween or The Thing, nor so genuine as Escape from New York or They Live, this horror tale is equally enjoyable.

About midnight, April 21^st, in Antonio Bay, in California. People from this nice fishing town by the sea are hosting the centennial  of its foundation.

During the witching hours lots of weird incidents occur all along the town. Empty cars horning, TV sets switching on, glasses breaking… during that crazy hour, in the church Father Malone discovers a hidden diary written by his own grandfather. The real terrible history of the town is depicted on those pages. The disgust caused by the upcoming leper colony close to the town led by a rich man named Blake, and the seek for the gold these people were shipping, forced the founders  to sink their vessel, Elisabeth Dane, by crashing it, with all the crew dying hopeless.

During the celebration night, a glowing deadly thick fog, bringing out nonhuman creatures resembling pirates, seeds panic and death over the town. Blake and his subordinates are back for revenge.

The owner of the local radio station settled at the old Lighthouse, Stevie Wayne (Adrienne Barbeau), on one hand, and another neighbor, Nick Castle (Tom Atkins), on the other, will soon realize something threatening and evil comes with the weird glow, and will put all their efforts  to protect the town.

After the huge success of Halloween, John Carpenter decided to continue working on some horror theme title.

The Fog wasn’t generously budgeted wither, but the director managed this wasn’t an obstacle for delivering a story in which supernatural powers were involved.

Truth is that, probably for this reason, we are not standing on front of a slasher, gore film. Executions are not super obvious and lack of blood unfortunately lessens the impact these could have caused.

Same with Blake and the foggy creatures. When I commented on Assault on Precinct 13^th, I was supporting and cheering the fact that none of the gang members was highlighted. Faces weren’t important, the plague-like effect of all of them creeping and moving incredibly fast around the police station as an unnatural threaten was the point. However in this case, these weird creatures are already non human. Their terrible appearance should have been more exploited in my opinion.

One of the features of this film I like most, apparently was added after filming and editing. Carpenter didn’t find the story catchy enough and decided to add the initial scene. Kids gathering around a bonfire close to midnight, and this old fisherman, Mr. Machen, telling about the story of a clipper vessel, crashing to the rocks, due a thick fog, and a deceiving light caused by fire, and warning the kids that if such fog returns, the men at the bottom of the sea, will accompany it to Antonio Bay.

This scary tale tone provided since the very beginning, introducing the audience to the events about to happen, is simply brilliant.

I’m wondering the loyalty and boundaries among Carpenter and the cast. Many actors participate in several of his titles. You see Nancy Loomis in Assault, Halloween and The Fog, for instance, or Tom Atkins and Adrienne Barbeau.

I really love Janet Leigh and her daughter, Jamie Lee Curtis, working together under Carpenter’s command. Two actresses, whose roles in horror, made them legend. Excellent!

Never seen the remake released in 2005 and don’t feel like watching it. A cast billing tv series gorgeous actors and actresses, I really don’t find much appeal.

The Fog might be more innocent than Carpenter’s previous work, dealing with the unnatural is not easy and as commented, possibilities seemed to be reduced due to low budget, still, it’s a funny horror movie, perfect for a cold dark Sunday, with the lights turned off.

HAUTE TENSION (HIGH TENSION/SWITCHBLADE ROMANCE), Alexandre Aja (2003)

It’s been sometime since I haven’t written any post. Several events and the fact that I’m revisiting The Sopranos at insane speed have made me feel a bit lazy. Hope it doesn’t take so long next time. I actually have a list for future updates which I don’t want to grow too much, now that I have memories and thoughts still fresh in my mind.

Let’s get started once again.

Despite all the Hollywood monopoly on film business, horror is not exclusive, in fact I’d dare to say, most their products delivered, focused on huge money profit, lack of the true essence of the genre, and scripts are often poor.

This powerful empire is the British Museum in movie business. As soon as they smell brand new success and potential in directors or writers, these immediately are abducted by the monster.

This is not a critic towards Hollywood, well it is in a way, but it’s like horror genre has eventually proved to be successful, followed by many devoted fans, thus, it has to be submitted to the mainstream chain.

Think about the classics, from Hammer films to Carpenter’s, Cronenberg’s, Romero’s early works. Their narrow budget films shocked the world and turned into icons and legends.

In my opinion, the case of Alexandre Aja is quite an example of what I mean. This cult movie discovered his potential, and immediately he was summoned to the American film empire, to get involved into, first, a remake of Wes Craven’s Hills Have Eyes, and then Mirrors, a good story, but weakening in the end, to finally work on another remake. Aaah! I think it’s a pity considering, in my opinion, of course, with Haute Tension, he delivered one of the best horror films in the past decade.

Once this said, and trying not to ruin your possible future viewing, let’s get focused.

First I got to remind you Haute Tension is a French film, and I’ve never seen it dubbed into a different language, thus make sure you get a copy with subtitles. Truth is, dialogue is not one of its most important features.

In order to stay away from any kind of distraction, Alex (Maïwenn Le Besco) invites Marie (Cécile de France) to spend the weekend at her parents’ countryside cottage, so they can relax and study hard without being bothered. As you can imagine the house is in the middle of nowhere, and you depend on a car to move to the nearest town.

They arrive quite late, and Alex barely talks to her parents and her little brother. The girls are exhausted after partying the night before, thus Alex shows Marie her room upstairs, give her few tips for making herself comfortable, and goes to sleep.

Laid on the bed and listening to music, somehow Marie notices a threatening visit of a stranger. Alerted, she starts peeping realizing something wrong is going on.

A man dressed in greasy overalls and face hidden by a cap, gets in the house brutally killing Alex father, to continue stabbing the mother with a shaving knife. It’s apparent to Marie, he wants to rape Alex and take her with him against his will, so she will try to save her best friend by all means.

The relationship among the two friends is a bit peculiar. Feedback is not much provided. They seem to be friends from college, but not for long time. Marie has never met Alex’ family before, however there’s a picture of them together in the house.

Despite the standard and even innocent appearance of Alex, according to some conversation, her sexual life is quite active, and she’s inclined towards engaged guys, a fact that pisses Marie off quite much. On the other hand, her friend is not interested in men at all, and the sex issue is a topic of discussion she doesn’t feel much comfortable with.

There’s no further explanation of such matter, she’s in love with Alex. It’s like this teenage thing, when you like someone but is out of reach, in order to get closer you become friends, so hopefully sooner or later that person will realize how wonderful you are and eventually, will have a crush… Not only Marie’s condition is evident due to her protective and jealous attitude towards her friend, but also her physical appearance implies something.

What would you do if you were staying as a guest in a house that is suddenly assaulted, you’re placed in the most isolated room in the house, and initially nobody but the inhabitants knows you’re there? Let’s not pretend to be heroes here. If you weren’t putting yourself at risk of course you’d try to help, but if that wasn’t the case, and you could get away, believe me, you would run as fuck and hide wherever.

Marie’s cold movements are simply amazing, and for some time you think of her as a heroine with all the typical features: she’s strong and well built, she’s smart, quick, silent, brave and almost a professional in improvising. Too perfect!

She passes one obstacle after another successfully, but all the same the viewer starts developing an uneasy feeling of something that doesn’t fit in the puzzle. This is the greatness of this movie, you know there’s something rotten behind the scenes, but it will take you 80 minutes to discover what really is (I’m not going to tell you).

Just want to mention a moment that , let’s say, alerted and caused me starting to question what I was watching. You know in dynamic films, like these epic sagas such as Star Wars, Lord of the Rings… the weird ability of characters to overcome tragedy in just few seconds. Let me put you an example. When Obi Wan allows Vader to defeat him just for the sake of the rebels (Leia, Han and Luke), the Jedi apprentice is morally down and depressed for just 30 seconds, until they have to defend themselves from the attack of the Empire when escaping from the Death Star on board of the Millenium Falcon. You might think I’m crazy, but there’s a scene in Haute Tension,  when Marie releases Alex from the chains, inside the van, she’s so joyful as if this was the end of an adventure, as if ignoring her friend’s family were brutally massacred, and she had been raped and humiliated for many hours, captive by a psycho. It’s like, how can you be so happy and not concerned about what has been happening that night?

If you seek for blood, violence and brutal scenes this is your movie. I’ve seen it many times and still feel the knot in my stomach, and feel uneasy.

This is one of these movies, first time you see it is no doubt the best, still, reviewing it from time to time is very enjoyable. As commented earlier, it’s last decade personal favorite in the genre. If you are a horror lover, this is a MUST.