For the record, no foreign-language film has ever won the Oscar for Best Picture. They’ve been nominated before but never won. Roma could just be the first. It has the story and all the other ingredients to do it.
The story begins in late 1970 as the maid Cleo is cleaning the driveway to the garage of the house she tends to. The house she tends to belongs to a couple, Sofia and Antonio, the grandmother, and their four children in the affluent Colonia Roma district of Mexico City. Cleo and Adela, both indigenous, are the two live-in maids. The parents see Cleo as their maid while the children look up to her and talk to her often. The driveway and garage is the place where the dog is left to stay while the family is gone during the day.
The driveway and garage is too small for the big car Antonio drives, frequently bumping into the sides and driving over the dog droppings. That even comes in private conversation as Antonio angrily tells Sofia about all the dog droppings on the driveway. Cleo notices that, as normally Antonio is not that angry. Antonio, a doctor, mentions to all he’s going off to a brief trip to Quebec for a conference. He returns days later, but says he will be going to Quebec for a few weeks. The children believe it, but Cleo and Sofia sense something is wrong. Cleo knows it because she saw his wedding ring in the drawer.
Life for Cleo and Adela does not always revolve around the household. Both have boyfriends: Adela has Ramon and Cleo has Fermin. One night they all decide to go to the movies together, but Cleo and Fermin sneak away to rent a room. Before they make love in the bedroom, Fermin shows Cleo the martial arts skills he learned with a shower pole. Fermin tells Cleo that this is what gave him, an orphaned boy, his will to live.
Some time later, when Cleo and Fermin are watching a movie, Cleo tells Fermin she’s pregnant. Fermin says he has to be gone for a bit, but doesn’t return. Cleo tells Sofia that she thinks she’s pregnant. Sofia takes her to the hospital Antonio works at. While waiting in the maternity ward, an earthquake happens. Cleo learns from the doctor she is pregnant.
Cleo and Sofia try to carry on with their lives despite their difficulties. Sofia takes her children, Cleo and Adela on a New Year’s trip to a hacienda owned by her Norwegian-Mexican friends. Before the party, we hear a conversation about recent tensions over the land. The celebrations begin with festivities and fun for the children. However just before midnight, a fire erupts in the forest. As everyone is trying to put the fire out, a man counts down the seconds to New Years Day 1971 and sings a Norwegian lullaby.
Back in the city, Sofia organizes a movie night with the grandmother, the four children, Cleo and Adela. As they wait in line, Cleo notices Antonio. He hasn’t left for Quebec at all. In fact he’s holding the hand of another woman. Sofia has known this all along, but she wants to conceal it from the children until the time is right. Though one son, Paco, does notice it. Sometime later, Adela tells Cleo Ramon has been able to locate Fermin attending outdoor martial arts classes. Cleo watches the class, and is even willing to participate (and does the blind-balanced exercise better than the male students). As the class ends, she confronts Fermin, but Fermin refuses to acknowledge the baby. She tells her to leave or he’ll beat her and the unborn baby.
Time passes and the baby is almost due. The grandmother takes Cleo crib shopping one day. However a student protest takes place. The protests turn brutal as police respond with clubbings. Then violence erupts as a group of youth — strongly believed to be the paramilitary group The Hawks — start shooting the protesters. The grandmother and Cleo seek refuge in a department store, but the Hawks enter and shoot a protester dead. One of the gunmen aims the gun at Cleo, but when it turns out it’s Fermin, he drops his gun and runs off.
The incident gives Cleo so much stress, she has to go into labor. Teresa rushes Cleo to the hospital in a taxicab, but the chaos of the massacre makes it next-to-impossible to get there. Once there, Antonio reassures Cleo in the delivery room to stay calm but leaves her with Teresa and other doctors. The doctors hear no heartbeat in Cleo’s womb and decide to operate. The baby is born a stillborn girl. None of the attempts to resuscitate the baby succeed.
Cleo tries to carry on her usual work and tries to live life again. One day, Sofia drives a smaller car into the garage, and with ease this time. She says she found a job of her own and she’s able to tend to the children herself. She tells the children that they are going on a brief family vacation to the beaches of Tuxpan as one last trip with the old car. Sofia invites Cleo to come along to help her cope with the loss. As they arrive, the mother tells the truth to her children. Sofia and Antonio are getting a divorce and the purpose of the trip is so Antonio can collect his belongings from the home. Before the trip ends, Cleo looks after the children as they are swimming in the ocean. However Cleo notices the waves are getting dangerously bigger. Cleo, forgetting that she can’t swim, swims out to try to save them. She succeeds in saving them and Sofia and the children are thankful for her selfless act. However Cleo confesses right there that she did not want her child to be born. The mother, the children and Cleo return to the house with less furniture than before but with a new sense of unity between Sofia and Cleo. The film ends as a conversation between Cleo and Adela begins.
The film is unique because it is semi-autobiographical of Alfonso Cuaron’s childhood. This film happens from 1970 to 1971: a time when Alfonso was nine to ten. The film Marooned, which was the film in the family movie night scene, was a film Alfonso saw as a child and may have inspired him to become a film maker. The film does give a lot of reminders of what it was like to be a child in a middle-class family in Mexico City. There are posters of Mexico 70, the World Cup Mexico had just hosted, on the walls. There’s the brother making fantasy (American) football saves, which was a time Mexico was just discovering American football.
However Alfonso’s childhood isn’t the central story behind Roma. The story is about two women and their lives around a pivotal turning point in Mexico’s history. Mexico experienced a lot of changes for the better and for the worse during that period of time, but it’s the changes within the women that were noticed most in the film. We have Cleo, an Indigenous woman who is one of the two maids, who is the main protagonist. We also have Sofia, the matriarch of the family, as the secondary protagonist. Both have their common female roles at the beginning: Cleo as the maid; Sofia as the housewife. However things change as it becomes obvious the men in their lives are doing them wrong. Antonio leaves Sofia for another woman, and Fermin abandons Cleo upon her pregnancy. The cowardliness of both men are shown in later scene as Fermin is part of the rebel group shooting protesting students and Antonio just simply puts Cleo in the hands of doctors as he leaves her behind. However both women find their strength inside as Sofia learns she can manage things, even motherhood, on her own and Cleo is able to save Sofia’s children in a situation when she thought she couldn’t.
The film is not just about the unity of two women but of unity of two women from different classes. We have Cleo, an Indigenous woman possibly from an impoverished background, who is impregnated by her boyfriend and then leaves her. We have Sofia, a Caucasian woman from a more well-to-do background, who is losing her husband slowly but surely. Both appear lost, but they later find an inner strength they never knew they had. It happens as Sofia is able to get a job and own her own car. It happens with Cleo as she saves Sofia’s children and admits her feeling toward her stillborn baby. It’s at the end where Sofia tells Cleo how she will always consider her part of her family that we see the bond of two women coming together. United in their struggles despite their class.
One unique aspect of Roma is its use of metaphors. One is the use of airplanes in the imagery and in the various poignant scenes. Another is the use of the marching band in a couple of key scenes, including the end. Another is how it was right after Cleo saves the children from giant waves that she confesses. Another is how the size of the cars in the garage are symbolic of the marriage and divorce. Another is of various scenes involving movies that tell a lot about relationships. Even the time in which it’s set, from 1970 to 1971, is considered a turning point in Mexico’s history. The marginalized were going either get nastier or protest democratically. The government and their crackdowns would only expose the police or whoever else attacked as cowards. The rich would no longer have their peace and order as the poor would seek to destroy or steal for their own gain. On top of that, women would gain more, They would achieve more freedoms over time and a sense of independence. Mexico would not be the same.
This masterpiece belongs to Alfonso Cuaron. He is the writer, director, cinematographer and co-editor with Adam Gough of this film. The film is a lot like his childhood, as he said it would be, but it’s more. It’s about the two women who find a new sense of freedom in a Mexico that was changing. He creates a masterpiece that’s as telling as Mexico and himself as it is of the characters. The lead acting went to newcomer Yalitza Aparicio and she shines. This may be her first film role ever, but she does an excellent job with her role. Interesting to know in the scene where she swims out to rescue Sofia’s children, she couldn’t swim, just like her character! Also excellent is Marina de Tavira as Sofia. A veteran actress in Mexico, she did an excellent job playing a woman in a troubled marriage who comes out stronger. The child actors who played the chilren were also excellent. I think it was Carlos Peralta as Paco who was intended to be the representation of Cuaron.
The unique thing about Roma is that this is a film most shown on NetFlix. It was screen in theatres beforehand so it does qualify for Oscar eligibility. However with it being on NetFlix, very few theatres have shown it on the big screen and there are no official box office statistics as of yet. The VanCity theatre in Vancouver was the only theatre in Greater Vancouver that screened Roma on the big screen. I had the luxury of seeing it on the big screen just days after Christmas. Those who just see it on NetFlix are missing out on an amazing experience. It is 100 times better seeing it in a movie theatre. However the NetFlix factor is very unique for a film with this many Oscar nominations and a huge chance of winning Best Picture. That NetFlix factor could rewrite the game on how films, especially independent films, are shown.
Roma is nothing short of a masterpiece. It’s also a film with a poignant social message as well. However it’s very picturesque to watch and an excellent experience for those lucky to see it on the big screen.
There have been some adaptations of James Baldwin’s literature in the past, but I don’t think there’s ever been one ever to hit the big screen. Director Barry Jenkins brings If Beale Street Could Talk to the big screen and it’s quite the experience.
The film opens with a quote from James Baldwin of how most of America’s African-Americans were ‘born’ on the Beale Street of Memphis. The story opens in a prison just outside New York City in the late-1960’s with 19 year-old Tish visiting 22 year-old Fonny behind glass and communicating via telephone. She announces to Fonny she’s pregnant. Fonny is overjoyed and looks forward to being a loving husband and a good father once he’s proven innocent. The crime Fonny is charged for is rape of a Puerto Rican woman: Victoria Rogers. She knows Fonny didn’t do it because he was three blocks away with his friend Daniel when the rape happens. She knew he was arrested because of the racist Officer Bell.
Tish always knew Fonny was the right man for her. They were friends since childhood. Then months earlier Fonny wanted to take the friendship to the next level and date. She agreed. Both Fonny and Tish are people willing to work for a living. Fonny went to community college and had plans of going into woodworking. Tish found a job as a perfume saleswoman at a department store, which considered hiring a black woman in that role to be progressive.
Tish announces the news to her parents and sister. She’s very nervous about it, even though the family see Fonny in high regard. She first announces to her father, and he’s happy. Soon the mother Sharon and sister Ernestine are happy, though nervous as the trial is coming. Fonny’s family, who call him by his real name Alonzo, come to visit. The mother and Fonny’s sisters always had contempt for Tish. When the news is announced, Fonny’s father is happy, but the mother is the complete opposite. The sisters look down upon her and the highly-religious mother even goes as far as saying the child will be a child of sin because he’s conceived out of wedlock. The mother and sisters leave in disgust.
The film goes frequently from the present of the story to the past quite often. Tish reflects back to when they were walking the street and the feelings of love they had for each other. She reflects on the Mexican restaurant and the waiter Pedrocito that made them feel welcome there. She even remembers the time when she and Fonny were searching for an apartment. Fonny came across a loft being sold by a Jewish developer. She didn’t like the idea of a loft, but Fonny saw potential. They were both surprised that the owner had no problem with them being black, but he just loves seeing couples in love.
Soon Tish flashes back to the present. There is a trial they have to work on. The lawyer claims that this is a difficult case to manage, but they feel this white lawyer just doesn’t care about justice for a black man like Fonny. Tish’s and Fonny’s father team up to do illegal trading in order to raise the right money for Fonny’s case. Victoria Rogers returned to Puerto Rico because she couldn’t handle the reminders of her rape in NYC. Sharon has a mission to go to Puerto Rico to get Victoria to come back to New York and testify for Fonny’s innocence, but it will be very costly. In the meantime, the months add up and the child inside Tish is developing. Tish goes to see Fonny again at the prison, but Fonny has gone through months of torture there. He wants to get out so he can live the life he was meant to live and love Tish.
Memories go back to the harder memories. The first is when Fonny is reunited with his friend Daniel. Daniel had just come out of prison for grant theft auto; the result of a plea bargain after being arrested for marijuana possession. Daniel tells him how it’s hell in prison and how he knows how racist the justice system is. She also flashes back to when she and Fonny were just shopping at a grocery store. Tish is harassed by a man and Fonny throws him out. The throwout is witnessed by Officer Bell, who things that Fonny has committed aggravated assault. However the white storeowner comes out and vouches for Fonny that Officer Bell lets him go, but not without that look of the desire to arrest in his eye.
Sharon did it. She was able to get enough money to confront Victoria Rogers and convince her to come back to New York for the sake of Fonny’s freedom. Victoria’s long stay in Puerto Rico is what’s delaying the trial. Victoria is not happy to see Sharon. The rape is the whole reason she left NYC and has no plans to go back. It’s too upsetting for her. Sharon tries pleading to Victoria to come back and give the true story for the sake of Fonny’s innocence, but that just causes Victoria to break down mentally and emotionally. Sharon returns back to NYC and the trial is still delayed. Tish gives birth to the baby in a bathtub with Sharon’s help while Fonny is still in prison. It’s a boy. As the wait drags on, Fonny accepts a plea deal. Years later, Tish and Alonzo Jr. visit Fonny in jail as they all hope for Fonny’s eventual release.
James Baldwin has been known to be an outspoken civil rights leader as well as a renowned author and poet. Racism is one of his biggest themes in his works. The film which is based on his novel of the same title definitely focuses on racism. It’s set in the mid- to late-1960’s just after more civil rights for blacks had been championed. However it was still a struggle as a lot of rights were limited, a lot of racial riots were happening, and many wrongful arrests were taking place. The novel and the film give a depiction of what it was like at the time. Especially with a black man in jail for a crime he didn’t commit as seen through his pregnant fiancee. The film also shows the hopes and dreams of a young black couple in love. They will have a future previous generations before them couldn’t have, but it would still take a fight. Very often, you hear Tish and others having negative things to say about white people. Even having a mistrusting attitude towards them. Those who saw the documentary I Am Not Your Negro will know about the mistrust towards white people had back then. I’m sure it was a mistrust shared by many African Americans at the time and we hear it echoed in the characters, mostly from Tish
However the novel and film are about more than that. It’s about undying love through hard times. Tish knows Fonny is innocent and she and her family team up to get Fonny free in time for the birth of their son. We see that Fonny is a good honest man. She’s known Fonny since she was a child. She knows Fonny would never hurt anyone like that. When they started dating months before the arrest, she knew right there and then she was the right man for her. We feel that love in the film. Interesting how a gay author like James Baldwin can deliver a better sense of love between a man and a woman than most straight authors. The novel and film however isn’t all ‘whites are bad’ and ‘all blacks are good.’ That meeting between Tish’s family and Fonny’s family showed a certain friction. While the fathers got along well, the mother’s, especially Fonny’s, looked down upon Tish’s family and the sisters had the same snooty attitude. It’s possible that scene was meant to send a message about how certain African Americans aren’t all unified or there’s a superficiality between certain types.
The film does a very good job in adapting the novel, but it does more than that. Barry Jenkins adds his own unique flair to the film. One flair he has in the film just like his previous success Moonlight is the inclusion of a lot of music. The film is a good mix of original score and songs from years past. It fits the movie well. However one thing he does that’s different from Moonlight is he includes a lot of imagery to set the theme of the time. He also includes a lot of scenes where many of the characters involved in the story have their own shots where they face the camera standing still. That adds to the film. Also what Jenkins does is during many scenes, he slows the moment down and softens it so that one can get a feel of the moment. That happens many times during scenes with Fonny and Tish, the scene with Tish working the perfume counter, and the scene with Fonny and Daniel. Sometimes it’s half-muted and we hear Tish’s narration, but we get a very good sense of the situation. I think Jenkins made some good choices in making the film.
Barry Jenkins does it again. It’s hard to say if it’s as good as Moonlight, but the film is nothing short of excellent. He not only plays out the novel on film, he allows us to feel the story. I feel James Baldwin would be very proud. KiKi Layne was very good as Tish as was Stephan James as Fonny. The whole cast was excellent, but the standout was Regina King as the mother. She really did an excellent job as the mother-in-law going out of her way for Fonny’s innocence. For the technical, James Laxton did a great job with the cinematography, Joi McMillon and Nat Sanders made the right editing moves and Nicholas Britell delivered a great score that fit with the film and blended in with the tracks of past songs.
If Beale Street Could Talk is more than about racism and social injustice. It’s also about the undying love of two. It’s a love no prison system or injustice can destroy.
One of my Christmas treats was seeing Rogue One: A Star Wars Story. I’m glad I had my chance because it was an excellent movie.
Now just a reminder to you all, this is not part of the nine-episode Star Wars saga we all know. This is part of the Anthology Films of the Star Wars franchise. Actually this is the very first Anthology film to be released. The film is a triumph for writers of ‘fan fiction’ or ‘fanfic’ as it’s commonly called on the internet. However bringing fanfic like this to wide release on the big screen was no easy task. We all know how Star Wars has become a cinematic phenomenon like no other. George Lucas knows about it. Lucas himself is comfortable with ‘standalone’ films based on the Star Wars stories but wanted to make very clear that any standalone stories could not carry characters between the Saga films.
Here we have a story that is to take place between Episode III: Revenge Of The Sith and the very verse Star Wars film that’s now referred to as Episode IV: A New Hope. It’s a pretty lengthy amount of time between when Anakin Skywalker becomes Darth Vader and Luke Skywalker seeks to become a Jedi. Nevertheless it does make for ample time for any Star Wars fan to create a story of what happens in between. Storywriters John Knoll and Gary Whitta aren’t just any Star Wars fans. Knoll has done camera operations and visual effects supervision for many science-fiction films including four Star Trek films and the three Star Wars prequels. Whitta is a scriptwriter for The Book Of Eli and After Earth.
The adaptation of the story to screenplay had to fall into the right hands as well. Scriptwriter Tony Gilroy may have had his biggest renown with 2007 Best Picture nominee Michael Clayton (for which he himself was nominated for Best Director and Best Original Screenplay) but his he’s also made his biggest impact in writing the scripts for all four Jason Bourne movies. Chris Weitz has an eclectic resume of writing and directing from Antz to American Pie to About A Boy to The Golden Compass to one of the Twilight films. Then there’s the film being directed properly. Gareth Edwards may have not had the most experience in directing but he has developed his reputation in recent years upon films like 2010’s Monsters and 2014’s Godzilla.
Then there’s the story itself. There are possibly loads of Star Wars-inspired stories. The story would have to be true to the Star Wars saga without it being a rip-off. There’s lots of that and even professional writers can make something that’s a Star Wars rip-off. Most Star Wars fans will not go for something insulting. True, there are a lot of people that are Star Wars-crazy but most will not go for something if they sense it’s a rip-off. Don’t forget many felt insulted by the prequels so that’s a reminder.
They succeeded. They provided a very good story about the completion of the Death Star and the family behind it and the rebellion attempting to steal the plans leading to the hope in the end. The story had to be well-researched in order for it to make the right connection between Episode III and IV. Any new characters like the Ursos, Cassian Andor and K-2SO had to fit with the story as well as include original Star Wars characters like C3P0 and Darth Vader properly. On top of that, it had to have the right action scenes and the right battles done. Basically the whole movie had to have it all to work. The story could not be compromised despite the action sequences. The acting also had to be top notch from Felicity Jones, Diego Luna, Mads Mikkelsen, Ben Mendelsohn and Forest Whitaker. Even the theme of the story of heroism has to be present. It’s there, but in a way like no other Star Wars saga film does it. For the first time, self-sacrifice is needed for heroism.
The story worked very well. The critics on Rotten Tomatoes gave a total percentage of 85% approval. Many praised it for its depth in the Star Wars mythology and for breaking new narrative and aesthetic ground while paving way to a potential future for other blockbusters. The film scored well with crowds too as it would become the 20th movie to gross over $1 billion worldwide.
Rogue One: A Star Wars Story is not just an excellent movie. It’s an accomplishment. It’s proof that Star Wars standalone movies can not only be a hit but be excellent in their own right.
DISCLAIMER: This film review will mention of various explicit acts and may offend some readers. Reader discretion is advised.
“This is not your average party!”
Back in 2014, I ended the VIFF with a Mexican film that was part of the Altered States series called The Incident. I end my VIFF at the Rio Theatre again with another Mexican film part of Altered States called We Are The Flesh. And boy was it something!
The film begins with Mexico City in a completely ruined state. A recluse of a man taking shelter in a hidden location: one of the few livable locations left. Even without uttering a word, he displays some eccentric human behaviors. Even making a bizarre mix of batter, fish and human blood. He talks of the essential elements and of gas.
Two siblings find their way into his location. They’ve been out in the city’s ruins for years and are in need of food and shelter. The man, named Mariano, teaches the two his beliefs and his philosophies. He offers to help them but they must comply to his demands. First he wants them to help him build his domain. They agree, building the walls to his desires. Then he wants the two to have sex. It’s a world where there are no laws. Not even anti-incest laws. The sister complies, fellating the brother. The acts become even more explicit and Mariano dies while masturbating watching them.
The two try to find a place for Mariano’s body. After they find a place in the area, they’re left to their vices on how to fend for themselves. The sister has been mesmerized by Mariano and does things according to the way he wants it but the brother is hesitant. Suddenly Mariano appears again. It’s like he came back to life. But he’s not ready to die yet.
Mariano wants to make sure his world is created before he can die. Cannibalism is part of Mariano’s world. The first victim is a soldier who finds his way into Mariano’s domain. The soldier is scared for his life but Mariano is able to calm him down with his mesmerizing talk and even having him singing along to the Mexican national anthem before being killed by Mariano and the sister. Before Mariano is to sacrifice his own body as flesh to be eaten, he needs more people to be part of his world. Over time the number of people grow. Mariano is then ready to die and have his flesh consumed. The film ends with a man in a dress making his way out of the world and into Mexico City which has returned to its normal state.
Without a doubt the film creates another world: a deeply disturbing world. This world is to be a shelter from a ruined city but instead it’s a world completely devoid of morals and full of lust and animalistic desires. This is the world created by Mariano. This is the world he tries to incorporate the brother and sister into. This is the world he wants to incorporate others into before he decides to leave this earth for good. However it’s a sick world, a world where unspeakable things like incest and cannibalism are the norm because there are no earthly rules. The rules are all gone because Mexico City outside is a load of debris. The two have no choice but to help Mariano create his world and become a part of it.
To make this world work, it all boils down to the character of Mariano to work. Mariano isn’t just a svengali. He comes across as a crazy man full of his wild imagination at first. However he also comes across as a mesmerizing madman reminiscent of Charles Manson of how he’s able to convince the sister that it is the right thing to do all these things including kill the soldier. Mariano’s mind control goes as far as working on the soldier he’s about to kill. The soldier is first scared for his life but as Mariano sings the national anthem, the sister joins in as does the soldier and the soldier is then willing to be killed. That’s the type of mesmerizing mind-control of Mariano. However Mariano knows that if he was to die, it would have to be at the right time. It’s only after hundreds of people become a part of his world that he’s able to sacrifice his body for his feeding. He wanted it that way so that he could create a world of his own. He couldn’t stop at just the brother and sister.
One thing about this film, it’s obvious it’s done for artistic and experimental purposes. This film features countless elements that would make this film uninviting and unwatchable: incest, cannibalism, torture, murder and a demented insanity. It may not be as disturbing to watch as 1975’s Salo but it’s disturbing enough. The subject matter of incest and cannibalism is enough to deter lots of people from seeing this.
Obviously this is a film meant for the film festival circuit. In order for a film like this to get screened, it would need support. Emiliano Rocha Minter is a director who has earned acclaim from fellow Mexican directors Alfonso Cuaron and Alejandro Gonzalez Inarritu. Support of the director from elder Mexican directors is a definite boost for a film like this. However it would surprise me if a film like this does get a release in a box office anywhere. I know dildos were used in certain sex scenes and you can’t call it porn, but even knowing that doesn’t stop those scenes from being hard to stomach. Even with the film being hard to watch, there were some scenes that became confusing. One example: that batter that we see Mariano make at the beginning and then add more flesh to it in a later scene. It’s not clear what it’s for. Even the ending with a person who’s not one of the main characters being the first one to leave gets one questioning.
The film’s possibility of a box office release may be in question but it has actually won some acclaim at some film festivals. The film was nominated for one award at the East End Film Festival two awards at the Rotterdam Film Festival including a Bright Future Award. It even won Best Film at the Fantasia Film Festival.
This is the first feature-length film for writer/director Emiliano Rocha Minter. As I mentioned, Cuaron and Inarritu are already touting him as the next big thing from Mexico. I don’t know if a film like this is good enough to send a message that Minter could be the next big thing from Mexico but it definitely shows his fearlessness. The acting of Noe Hernandez is the highlight of the film. He did an excellent job in capturing Mariano with his eeriness, controllingness and insanity but also his creepy charisma and imagination. It took the right character choices for a lead character like Mariano to work for the film and Hernandez made it work. The next-biggest highlight is Maria Evoli who played the sister. Going from a naive young adult woman to a follower of Mariano is definitely a big effort. The music from Esteban Aldrede added to the eeriness and creepiness of the film.
We Are The Flesh can best be summed up as an ‘envelope pusher.’ It’s definitely an over-the-top film that’s meant for the film festival circuit as it has subject matter too discomforting for your average movie-goer. Even though it can cause many people to leave the cinema, those that stay will be as intrigued as they will be disgusted.
And there you have it. That’s a wrap for my experience at the 2016 Vancouver International Film Festival. Wrap-up blog coming soon with big news.
Okay, you remember how I mentioned a while back about the struggle of big budget action movies this summer? Elysium has been out for a while. Does it have what it takes to get things moving again? Or will it be another casualty?
Before I get into the plot, I have to give you a picture of the two worlds. It’s 2154 and Earth is a poor polluted overpopulated planet under anarchaic conditions. Out in space is the satellite Elysium: a luxurious satellite full of sun, life and full cure from disease in the comfort of your own home. Earth isn’t even ruled by humans. Just ruthless androids programmed by computers. Elysium however has robots in their favor, as servants to them.
Max da Costa has developed into a rebel on planet Earth. He grew up an orphan and has lived in prison most of his life. Out on parole, he now works an assembly line of robot parts for Elysium in a wrecked-out Los Angeles. Max has a dispute with a robot that turns violent and lands him in the hospital with a broken arm.
In the hospital, he meets with a nurse named Frey. Frey was actually his childhood love in the orphanage. Despite his hard times growing up in the orphanage, he had the comforts of the love of Frey and a nun who served as a spiritual mentor to him and always believed he was meant to do something great one day. Frey is not only a nurse now but a mother of a daughter dying of leukemia.
Elysium is under a power struggle. It’s run by President Patel but Secretary of Defence Jessica Delacourt has power desires of her own. She orders the shooting down of a spaceship full of civilians from Earth which earns her a reprimand from Patel and her top security agent Kruger fired. That only fuels Delacourt’s desire for power as she connives a plan to have CEO billionaire John Carlyle design a computerized cybercoup to make her president which allows Carlyle’s company to override security for the next two centuries. Carlyle has the program implanted in his brain for safekeeping until his return to Elysium.
Max however is exposed to radiation at the plant one day and is given only five days to live. He desired to head to Elysium to cure himself and through the help of Spider: a computer hacker who builds illegal space caravans to Elysium. Spider agrees to send Max up there as long as he agrees to steal vital information. Max agrees and Spider gives him weapons, a fake Elysium ID, a bionic exoskeleton that can help him withstand force from android sentinels, and a cerebral data upload that can allow Max to steal data implanted in Carlyle’s mind.
However Carlyle and Delacourt know what’s going on and try to end Spider’s plan by shutting down the system. In the ensuing fight, Carlyle is killed along with most of Spider’s men. Max’s friend Julio sacrifices himself so that Max can get away. He does but only after being stabbed. Max goes to Frey for help but she wants to come along to get her daughter cured. Max tells her to stay out of it as this might be a suicide mission. Meanwhile Delacourt is in pursuit of Max as he holds Carlyle’s data implanted in his head. Spider wants to extract the data to make all people citizens of Elysium but can’t as long as the power is shut off in his place. The power outage can’t even get Max to Elysium just before he dies.
They are able to get a ship to Elysium through Max exchanging the program with Kruger but only to disguise Frey and her daughter as hostages and hold a grenade to his own head. Kruger agrees and Spider is able to sneak more people on board. During the trip, Kruger’s head is severely damaged by the grenade explosion and the plane crash lands in Elysium causing Delacourt to set off a state-of-emergency and fire Patel.
Right when Delacourt plans to get the program from Max and ‘bring him to justice’ Kruger’s head is reconstructed and he has mutiny plans of his own which includes assassinating Delacourt and making Elysium his own private playground. This allows Max and Frey to escape and get her daughter cured. However the ‘cure booths’ on Elysium only work on Elysians which her daughter is not made officially. It’s all up to Max to work with Spider to make everyone a citizen of Elysium and defeat Kruger from his regime in what little time Max has left. The ending is somewhat predictable but it works well for the movie.
The film seems to focus on the division of the rich and poor. It’s not an uncommon theme. Those who studied classic literature must have read A Tale Of Two Cities. Now we have Elysium where Earth is a hellhole for the 99% who can’t afford to live on Elysium while the rich 1% have it. It’s interesting that Neill Blomkamp is tackling such a common theme of the ‘other 99%.’. If you’ve seen his first big movie District 9, you’d notice how the transporting of aliens from one area of land to another echoes of apartheid. Now we see the separation of classes in Elysium. It’s unique to see Blomkamp make sci-fi movies that can get people thinking. It’s a welcome relief from most of this summer’s sci-fi with is mostly mindless. One unique twist from District 9 is that District 9 shows an outsider succumbing to the apartheid he’s participating in. Elysium is the opposite as it shows the lesser people trying to make the unfair fair. Good change of twist that works here.
This is another great sci-fi effort from director Neill Blomkamp. It’s not as well-written or well-directed as District 9 but it does make for a more intelligent sci-fi film than most of what’s been released this summer. The acting however was not that much of a standout. Matt Damon came across as a cardboard hero and Jodie Foster looked like she was trying to be a robot. Alice Braga wasn’t much of a scene stealer. Sharlto Copley however was quite good at playing the villain and Wagner Moura was a scene-stealer as Spider. The visual effects were very good and the satellite of Elysium was done excellently without flaw. It almost looked like a satellite capable of acting the same way earth does, with plant and sunshine, is actually a possiblility even in this century.
Checking out the box office, things don’t look so good. Elysium opened two weekends ago at the top of the box office with $29.8 million. Pretty somber since it cost $115 million to make. Last weekend also gave some bad news with only $13.6 million and this past weekend was more bad news as it didn’t even muster $7 million and ended the weekend at #7. I don’t know. Do you think it’s a victim of timing?
Elysium seems to be the right sci-fi thriller out at the wrong time. It is intelligent and does get you thinking unlike most of the sci-fi movies this summer but it suffers because of the current audience weariness of sci-fi movies. I think if it was released earlier this summer or even last year, it would have had more impressive box office results.