Monday, 13 May 2013 12:00
Disenchantment, Jaime Chavarri since its release became a cult Spanish film, and each year, increasing legion of fans who are fascinated by the personality of the family Panero, or traces left of it after father's death. And it is this mix of horror and comedy keeps you in suspense throughout the viewing, shocked by the horrific elements emanating from the decay of the bourgeois family Franco, seized at the end of their race, while vibrating with those masks and those personalities that each member of the family takes in their interpersonal relationships: is a unique blend of scary and humorous. Framed within the documentary can actually screenings of almost as a fiction, as the role is becoming a brother is the character who performs his duties in the family plot. And Jaime Chavarri director has told us a few tidbits of Disenchantment, both the shooting and the brothers Panero:
"The word disappointment was a term in use, not related to anything, and it seemed to be so integrated into Spanish society that no one used. Was almost a little short recovery appellant. Disenchantment and disillusionment I used a family who grew up in the Franco regime, and after the death of the father came to ruin. "
The producer Elías Querejeta, then a career dedicated to promoting the filmmakers of the new Spanish film, with interesting works to his credit as Carlos Saura hunting, it was decided in the early seventies to produce four short films of four new directors film, and Jaime Chavarri was one of them. Chávarri talked about his project: "The year was 1975 and I wanted to get into an asylum and life filming was inside unscripted, letting the images narrasen everything. But let us introduce cameras madhouse. Then said Elias Querejeta that filming of the family of Panero, who had to sell books for a living. cocktail I met one of the three brothers Panero, Michi, and I said, "let alone." But then I met Happiness, and I fell for her and her character, and wanted to make the movie around it. "
"I found a project that was a short, based on the honor of the city of Astorga poet Leopoldo Panero father, and wanted to film the placement of the statue of the father and the story of his death. But to collect all the testimonials the children discovered that as short not working, had no sense to limit the narrative to that duration. Talk to Elijah and said, or is this a long, or it is nothing. started shooting, and we shot for a year and a half and was the great virtue of the film: they forgot what they were saying, it was the mask as people would like you saw them, and then a mask was born closer to the truth. Though spent so much time that Panero cut their hair and are not recognized in the plane, but could not limit its life and beauty to the film. "
As for the technical issues, the team was very limited, as only had 5 people in total for the filming and editing "was filmed in 35 mm black and white to save". And, despite being documentary, has a language close to melodrama, as the initial idea was to do a melodrama Chávarri, this is seen primarily in the ride by the house mother of Astorga or use shot-reverse shot, a more typical of fiction: "And I asked both chambers to Elias Querejeta, because I like the shot-reverse shot, a character talk to another and Elias agreed. wanted to do tracking shots in talks to signal important moments, and he asked: How will you know when they say something important? An operator touched my right shoulder to start traveling back, or left for the traveling forward as he tried to pick a key phrase of a character. "
"One of the most beautiful moments that occurred on the set born of disgust they felt for the making of the film, because they had their life and did not charge anything. Juan Luis was the one most opposed to the shoot, wanted to talk to Elijah and had at a meeting in a cafe in Astorga. The thing was so bad that we cut the shoot. But the next day without saying anything, we were all on the film set, because it was time that the film became an addiction " .
"But ultimately, the film is made in assembly. And to dispel the myth that there is not more material mounted discarded. Loose there any conversation with happiness, but practically nothing was discarded. It is true that we tape-recorded much, especially with the mother Felicidad Blanc, but in front of the camera would not count, as his experiences during the Civil War. But the assembly is very deliberate, and features works by contrasts., for example, introduces the characters normally, and suddenly there is a presentation with Leopoldo Maria in the graveyard that seems Dracula coming to suck the blood of others and myself. "
"It was the last film that had influence on the censor. Wanted to remove all references to drugs, etc.. Finally, I imposed a cut, I could not save: when Leopoldo Panero mother talks to her love of youth, he says that yes he had, "because in prison sucked me some subnormal for a pack of snuff." But I had to cut the verb suck, which diminishes forcefulness, but at least you understand the meaning. Basically, it was a sentence to shock the mother. "
As a viewer, one of the moments that fascinate me Happiness is the description of the poet Luis Rosales Blanc, the best friend of her husband and constant presence at home, as an indefatigable talker on poetry. But Blanc him from direct contact with her husband, as stated in one of the most ironic interventions of the film:
Well, I first met Luis Rosales. He was also inseparable companion of our lives. I remember that at first, when you get married you are wishing her husband comes home, opening the door is a very transcendental. But always at the same time it opened the door I heard a characteristic cough that brought the company: it was Luis Rosales. It was inevitable: it was lovely, great conversationalist, loved me, I loved him so, but he was always with us. The talks could begin including two on an intellectual subject or other, beginning at 2 or 3, and could end at 5 or 6 am. The theme could be anything, I would go for a walk, again, the theme was varied, the thread was broken, still continued, I went to bed, I went to bed, he heard the voice of Luis Rosales in the distance. Luis Rosales was my life.
Furthermore, these words are assembled creating a counterpoint to the images because Chávarri Rosales introduces a scene completely hollow devoting a few words to the deceased poet Leopoldo Panero. With these statements, it is normal that the poet would suffer at the premiere of the film, as noted Chávarri: "Happiness premiere led to Luis Rosales and Luis will Release at 5 minutes and she yells," But Luis , why are you angry? ".
But the film had a limited release, but word of mouth allowed him to become a cult hit, although distribution in small rooms, "was released in three arthouse cinemas, and retired the first week of February . the end, the film stayed more than a year in Madrid and Barcelona in small cinemas. decided to send her to San Sebastian, where he seemed to receive a prize, but we agreed that Elijah and I if there mess in San Sebastian , the film does not go to the festival. then rained stones on Dolores del Rio, the poor, who had no fault at all, as in a restaurant threw breads, stolen and was told that I should not have come to the issue. Y then decided not to take her to San Sebastian and Elijah kept his copy Querejeta under a mattress of his mother's house. "
And the film also functions as a symptom of his own time in which he lived. Without intending to, the director reflected the decline since the end of Franco was filmed in the aftermath of the regime and if the film chronicled the decline of an aristocratic family in the elite under Franco, everything could be seen as an allegory of the final collapse of the dictatorship: "The film was shot in 1974, just before the death of Franco. There were critics who saw the film in a way different from what we thought: the father figure associated Leopoldo Panero died with the death of Franco. And then I saw her again and found that association that I had not seen. But no matter, because the film runs without Franco ".
Leopoldo Panero father
The father is the main character does not appear in the film, because everything revolves around him, all relationships are woven around her figure absent. Is Alfred Hitchcock's Rebecca, moved to the late-Franco Spain and the documentary genre. The meeting also on the 12th anniversary of his death serves as desencadentante of family discussions and the remembrance of the past, so that Leopoldo Panero is, the end of the day, the engine of the plot. But a quiet engine, as we showed Chávarri gagged through his statue, unique visual presence of her figure, but always hidden under the cloak: "I thought about putting pictures of the father while talking, but it was very strange to interrupt the conversation. He preferred to make him a mysterious character a mister x, and Elias agreed, never saw the presence of father Leopoldo real presence. appears only indirectly at the beginning and end: Panero gagged father is a very important image, and the epitaph end ". Leopoldo father figure is spoken of, but he has no voice except through this epitaph in which seems to reveal your personality through his mask, and rejects the softened image of his life, claiming his alcoholism in a verse fundamental
riddled with the kisses of his sons,
acquitted by the sweetest blue eyes
and heart quieter than other days,
the poet Leopoldo Panero,
Born in the city of Astorga
and matured his life under an oak silence.
They loved much,
drank a lot and now,
bandaged his eyes,
awaits the resurrection of the flesh
here under this rock. "
And, despite misgivings among brothers wake exerted a major influence, and all had implicit rejection of dependence symptoms. Therefore, they can not give it away or even after death, for he found an heir of his figure, which rested on Leopoldo Maria Panero, who acquires power through their overweening intelligence and autonomy: "Leopoldo Maria is the father substitute some accept and others are revealed, but is the head of the family in every way.'s the antinode of the time. At that time, it is understood to oppose badly. "
Leopoldo Maria Panero
The entire film revolves around Leopoldo Panero father, but also around Leopoldo Maria Panero son. And that he, as a substitute parent, is responsible for giving the final thrust to the family: in the footage are two distinct halves, the first, which is absent and the characters narrate their past and their relationships, and the second, which produces the final rebellion against her mother in the gardens of Italian Liceo. And indirectly, the whole film seems built to the uprising against the family network, although his entry into the film took place in the middle of shooting: "Leopold refused to leave at first, and later agreed because he spoke Michi of the film and was curious, and thought "if you're counting epic legend of the family, I must go." So out from the middle. "
Chávarri spoke about her figure: "It's the smartest people I've met in my life, Lacan had read much, and always told me I did not understand. Misunderstanding To my face, I said," Lacan reads " and I opened a book I read three or four pages and I had to close because they did not understand. then he gave me a book that was titled: "To understand Lacan." Most of the things he says are quotes, but are nicely tucked. Leopold was a character built from Lacan and psychology. Leopold used the asylum and refuge, has nothing crazy, outlive us all. 4 or 5 years ago I do not see, is a big head and a great poet. Trend very literary self-destructive, for example, has survived very divinely Leopoldo ".
The three brothers
But the film works by the very duality of the brothers and mother, who are both individuals and characters: they are and are not, are shown with a mask that explicit and hidden his true personality: "There is a literary recreation throughout the film , because at that time, there are people who had life focused around literature. makes me angry when people despise the Panero, because I think they are very smart and they have always do a wonderful Castilian. they always speak well, what was fascinating is that going to dinner with them and were the film. Whatever portrayed in the movie was the reality, regardless of whether it was true or not what they said, which is that they always give a picture themselves beyond the camera. This is completely endearing, and turn them into pure cinema, as they are doing theater, film making completely, and even though they have lies, tell lies about truths, and these truths come by capillaries.'re interesting as a figure, as someone rebuilt, and this is very Borgesian game is very interesting and has been little used film. "
Michi always said that the idea for the film came from him, and assisted at all times in their preparation and shooting: "Michi Spanish literature knew a lot, had some knowledge of poetry journals and authors that I had not heard in my life, but then was too lazy to work. Michi was very much against the film because he thought the movie was going to give a status, make him a character, and had misrepresented the facts of reality. But then one day I met him at a presentation of the film with Ricardo Franco, and I said, "Jim, you've caught a common history and has become a legend."
But one of the biggest opponents of the film since its inception is Juan Luis, for even agreed to be in the movie, would not work in every scene, so their sequences are in solitude, but the first conversation with Michi, in the that each of the characters look at one end, so it seems that the director has not respected the shaft, although solitary confinement that creates that effect. In other scenes there is no company, and refused to collaborate in the climax, in the rebellion of the children in the Italian Liceo "Juan Luis is the most masks character sets, and in fact, did not want to be in the movie . But that mask works perfectly in the film, because it's a comic character. During the filming thinking, "This guy just says nonsense", but in the assembly could not take his phrases. And, at some point all approaches to limits next to the theater, especially when speaking of fetishes, do not know if it's true or not, but anyway: you can think only gives you courage. "
Without doubt, one of the most endearing masks Film Blanc Happiness is a very intelligent lady with a perfect Castilian forms and always keeping a constant elegance, although aware of the resources of irony and humor: no 's complete innocence in his words, is discovered always careful to destroy the established confessions. Jaime Chavarri has spoken about her: "Happiness wanted to give that romantic image of being so exceptional that even Neruda liked, but in the end it was a vision of a woman who is lonely and cast a character on it. Was a very attractive woman was very beautiful. During the filming, the mother was also delighted because I gave him the opportunity to participate in two films of mine and meet Bibi Andersen, that he loved. Ultimately, The disappointment is like a movie Bette Davis, is like watching Whatever Happened to Baby Jane in documentary. "
There are two fundamental areas: the home of the Panero of Astorga, which contains the petrified time within its walls, with progressively selling antique furniture to survive and containing a past they want to get rid, and Lyceum, air space allowing creativity free of brothers and, above all, the rebellion. Among the curiosities of Disenchantment, Jaime Chavarri spoke of his choice: "They were Italian high school students were brought back many memories. And let us shoot free, and free speech was essential in this film.'s Childhood memories and was the more important, so the location was important in this space of the film. The same goes with the family home, who speak of it as if it were the Leopard, but was tiny and people. The Italian lyceum is all that appears monumental , yet is the most intense, where the children eventually rebel against the mother. "
And, although he has seen an analogy between the death of the father and Franco, Chávarri wanted, above all, setting a witness the collapse of the bourgeois family, but not really definitively occurs in the film, as such , and as the director: "There is something in the bourgeois family that manages to survive, if the parent is not, that figure making another. As the bourgeoisie manages to survive even after the Russian or Cuban revolution, and that concept is terrible, is pessimistic, but I see ".
But in the end, the whole film is, ultimately, a struggle between the mask and the camera, and between the two there is always a face, which is what most interested Chávarri grasp: "To me the biggest landscape is the human face, which can cause greater interest is the human face. And this was a film of faces reacting. Bertolucci said that film was wonderful because you saw people age. And in this more, because it changes over time. The face as landscape, is the idea that I'm addicted to this project "*.
Admission Behind the scenes of Disenchantment, Jaime Chavarri appears first in Extracine .
Monday, 13 May 2013 02:42
In 2000, German director Romuald Karmakar had a risky film, Das Himmler Projekt (The project Himmler), where he developed a stage leading to their extremes of minimalism proposals: the film consists of reading, by the Actor Manfred Zapatka, of a speech by Heinrich Himmler on October 4, 1943 in Posen, Poland, to senior SS trying to keep Polish territory under German control, the documentary is only a stage, a bottle water, microphone and the speech which the actor reads continuously, during the three hours of footage. The film was acquired by MOMA in 2008, and considered one of the 250 best acquisitions of the museum that had been made since 1980. And is that Himmler Project banishes the stock image, eliminating the visual imposition on the viewer. He repeated this formula with Hamburg's speech, this time centered on a radical speech offered an Imam in a mosque.
And following this minimalist staging, Portuguese director Salomé Lamas presents Ninguém Terra (No Man's Land), one of the most radical proposals Documenta Madrid 2013 and finally has won a special mention by the Jury Honours . Because Lamas part of the same elements: making a character, in this case a mercenary, who talks directly to camera, with the only furniture chair and backdrop, and through his words traveled to the past, their avatars and personal history. And although the first is a reading and the second an interview with both encounter the same movement: an update of the past through the word.
And this kind of documentaries seem to point in one direction: the image file is overrated. And the image implies a decrease in the freedom of the spectator: first, it imposes a vision to words that actually are much more open to interpretation than the pictures, and so limit the ability to imagine the viewer and their motivation to reflect on the past, as is given, on the other hand, the image seems to say that an event happened, that was true and, therefore, is unquestionable. Criticism of No Man's Land is directed, first, against the omnipotence of the image, which always acquires a higher credibility to the word.
But this does not trust the director claimed the word, for indeed the very mercenary in their drifts and narration of their stories, it seems contradictory. But what I want is to motivate active reflection by the viewer to reflect and, above all, the flight of your imagination, you must register such words into images that are not provided directly, therefore you can not see this movie from the passivity. And this aspect is fostered by their own anecdotes described: Paulo de Figueiredo, the mercenary protagonist, narrates its past colonial wars in Mozambique and Angola, your job as a bodyguard in Portugal, its phase as a mercenary in El Salvador and their jobs as executor of killings by the GAL, counterterrorism organization ETA responded with their own weapons.
And the cruelty of many of the events described overwhelm precisely by the absence of images: we can only see his face, his expression and, above all, hear his voice, that places the viewer in an uncomfortable situation, as this has to imagine the cruel mercenary past events. The viewer is then violence within it, as in a film by Michael Haneke with violence happening off the field. Here, the off-field is the past, and you access it through the voice that narrates incessantly.
This interview is constructed through a series of chapters, which correspond to the various questions that the director makes, but of which no trace: effects attended only to the response, narrative fragments account Paulo, but the director seems to fade and let his word be the protagonist. Although, even then, the director knows how to use the space with great skill, with the plane compositions vary according to the stories narrated, with a predominance of the fund in the toughest moments and the filming of a bright window when the story is other less sadistic tone.
But this character not only guide the viewer, but also built himself. And is that a mercenary is, by definition, a subject no stable identity, because identity is always a flow that adapts to situations and, above all, to the demands of their work. Therefore, Paul does not have a self that can define and capture, and for that, this explanation requires your past, because through word projects an image of himself in the word that tells your personal story and orders finds its self. The word therefore serves as liberation and as construction of a subject, and only after their stories, you can go to get lost and return to off-screen, which is where it comes from, the end of the day, all mercenary.
Admission ninguém Terra (No Man's Land) or being a mercenary and live to tell first appears in Extracine .
Sunday, 12 May 2013 17:30
"It is forbidden to kill, therefore all murderers are punished unless they kill in large numbers and to the sound of trumpets." With this phrase of Voltaire, which refers indirectly to the Apocalypse, The Act of Killing starts, Joshua Oppenheimer, undoubtedly the most radical documentary Documenta Madrid 2013 and one of the most daring of this mode of representation in recent years. And this phrase has biblical resonances undoubtedly a practical application to any genocide that has gone unpunished and have not received a Nuremberg trials after execution. Because if the Apocalypse is justified as a way to cleanse society, likewise, every genocide is argued by the desire for racial purity of the class that runs it, and, if done in large quantities, the harder it is to fix his punishment .
In the case of The Act of Killing, we moved to the genocide that occurred in Indonesia in 1965 and 1966, fully veiled to Western society and that this documentary aimed at converting the front. Because in just two years, more than a million people were killed, military accused of communism or share this ideology, among them all the ethnic Chinese was eradicated, because its simple origin of a country with established communism as a form of government was sufficient pretext for execution. But the documentary, which won the first prize at the festival, he raises an interesting question: how to be a genocide in the image? Translate into film how systematic killings?
And The Act of Killing offers a brilliant answer to this question. Because the first thing is to banish proposes two elements that drive the sensationalism: first, the reconstruction of events faithfully, as the film knows it is impossible to access the reality of the past and that any attempt to emulate is ultimately After all, a fiction, and second, the image file, which is, in one hand, an expulsion of all that once was not set in an image, and secondly, an imposition of images on the viewer's retinas, preventing the free flight of your imagination.
The Act of Killing resort to fictionalisation of the killings: not rebuilding, it is not intended to be faithful to the past, but a recreation of the same in the current conditions. Because the director knows that the convention of the documentary, which states that reflects the reality and the camera at the end disappears, is a fiction, since all inevitably part of a documentary point of view. So, what is desired is to make explicit the fictional character of the documentary and show that the only way to access the past is, in fact from the fiction.
In fact, it would be unthinkable to reconstruct the systematic killing scenes, because genocide is a fact too traumatic, always blinded by his sadism and cruelty: it is impossible to represent in the eyes violence and death of a million people. And, in the eradication of a sector of the population, emanates the Lacanian real, the trauma of a society that expels who do not accept the official ideology and resort to his assassination: Lacanian real that can not be captured directly but grasp only through its effects, its social symptoms. And, to access that core unrepresentable, you can only resort to fiction: Joshua Oppenheimer runs, here, a documentation of the imagination, as the only way of knowing the massacres.
But this is guided by architects ficcioanlización luxury: the director contacts the executors of killing themselves in 1965 and 1966, over 40 years later are still proud of their actions, they claim that thanks to his performance managed to stop communism: this pride comes from a country that has not experienced a transition and, therefore, has not been able to rewrite history by taking the point of view of the defeated as well. A country that has not yet looked at the past, which has imposed a pact of forgetting, and in which you can listen to sound bites of the executors as pouring directly to camera:
It is hard not to murder someone, or avoid punishment. The difficult thing is not to feel guilty about it, and for that, any excuse is valid.
These performers are not actually men the government but private gangster capitalist ideology act according to the government, but on their own, privately: sometimes a massacre was organized from the private sector, as well could get favors of the public. In fact, gangster in Indonesian translates as "Free Man" literally, as these social elements have a free radical in their behavior.
And they, who once exercised absolute cruelty, the exercise again, but this time in a fictional. In front of the camera take the position of executioner and show us the techniques used to eradicate the population, through actors who serve as victims. But later, they themselves take the role of victims, and soaked in the staging of the killing in the skin of those who are condemned to death, in advance. Thus, the documentary is not intended, only, act out the genocide, but reverse the roles, try to put the kicker in the position of the victim and starts a process of empathy. This obliges the executors, the executioners, to watch the videos of the killings fictional, trying to understand and, through the fixed image, and with distance, and encouraging their imagination, cruelty and sadism that have moved his conduct in the past.
But the discourse of fiction is much denser, it not only serves as a means of representation and access to the past but also as a means of understanding and analysis. Because executors themselves claim that their methods were inspired by gangster movies Hollywood at that time arrived in the country, and they extracted the idea of assassinating individuals with a wire surrounded the neck, then plunges both in the skin which prevents the victim extraction. Therefore, the director filmed the scenes as if it were a fiction film, black film with smoke crashing the plane. Thus, the fiction has two phases in the footage: at first inspired the mechanisms of murder, and in second place, it becomes the only way to represent the killing.
But this idea that transcends the discourse of fiction can generate effects on reality: you do not want the director noted that the representation of violence creates violence in reality. No, his speech is much more interesting and less Manichean. The film seems to indicate the ease with which we live as a fiction reality thanks to the massive consumption of film, so that the actions we perform in reality sometimes does not seem real, but simulated: we live in a simulation, as the philosopher Jean Baudrillard, where the image has supplanted reality. Therefore, the executors are contaminated by images that have invaded, and act without glimpse of reality effects they produce: why feel proud of their cruel deeds. And The Act of Killing serves as a double consciousness: for the executors of the reality of their deeds, and to society, of the need to recover the memory and not repeat these systematic killings.
The entrance The Act of Killing: did someone say genocide? appears first in Extracine .
Sunday, 12 May 2013 17:30
In the week that we left Ray Harryhausen and Alfredo Landa , Extracine most read this week is linked to the news, apart from those sci-fi projects that always generate interest like the Concept Art for Captain America : The Winter Soldier , the different aspects of the universe of JJ Abrams , both in regard to Star Trek and Star Wars, and the progress of the upcoming movies of Edgar Wright and Alfonso Cuarón , highlighting developments in the rules of the Academy ahead of the Oscars 2014.
Regarding the criticism most consulted, besides the linked titles as Documenta Madrid, of which the most accepted are Google and the world brain , Metamorphosen , The Gatekeepers and I will be mirdered, between the fictional as was consulted Stoker , the first film shot in English by Park Chan-wook, followed by Olympus has fallen and Rebelle (War witch) .
I am always amazed by the readers rescued items Extracine. On one hand it makes sense that Google Doodle this week he devoted Saul Bass , serve to rescue an entry on the credit title sequences of great graphic designer, and the news of the release of the three young men from Cleveland, served to revive the interess by 3096 ], the project into the kidnapping of Natascha Kampusch. But what is spontaneously reborn interest in what is considered the first feature film comic: The watered watered , which, no doubt, celebrate.
Among the most interesting of this week's featured retrospectives on Carey Mulligan , who after an interesting career in independent film seems to dive fully into the mainstream of the labor and Baz Luhrmann adaptation of The Great Gatsby, as well as the review of joint trajectory developed Emmanuelle Seigner and Roman Polanski, who meet again in Venus in Fur , presented in Cannes 2013. And certainly neither followers nor indifferent detractors know how you did Trance as have their own creators.
Walk through Hypertext
Cinema is not off limits for other publications that are Hypertext, so, while ALT1040 warned us about the cast changes that could occur in The Avengers 2 , in ALTFoto deterioration showed us one more film set Popular Star Wars , the sequences of some Tatooine, located in Tunisia. On the other hand, the filmmaker and video creator Flora Sigismondi, getting all the attention meidática with the video for The Next day , which has led to David Bowie, with Marion Cotillard and Gary Oldman stars, calling the attention of both Sonic Spoon MonleyZen as due to the controversy and censorship , although that really bothered them was that Joe Wright is being considered to direct the film adaptation of 50 Shades of Grey . The fear, no doubt, is that he also invluyan Keira Nightly jaw.
Admission Extracine Most popular: media now gets all the attention appears first in Extracine .