Consolation Champs

The Sugar Curtain (Spain/Cuba/France, director Camila Guzmán Urzúa): Strangely and almost unintentionally apolitical, this film is a personal remembrance of growing up in the 70s and 80s in Cuba. The director seems to have shot all of the footage herself, making it more like a home movie. And it’s incredibly nostalgic, with lots of comparisons of old photos with the present. But the film’s thesis, if I can use a word that strong, is impossible to prove in this context, even if it’s correct. The director seems to be saying that life in Cuba in her childhood was good, that Castro’s revolution was achieving positive results and that the end of the Cold War was disastrous for Cuba. But this is pretty self-evident. We see a lot of run-down or abandoned buildings that were in good repair thirty years ago. We hear interviews with her classmates who agree that things aren’t as good anymore. I don’t want to sound facetious, but I could probably make a pretty similar film about my own childhood.

When she talks to students at her old high school, about the only privation she can uncover is that they no longer get snacks. In the director’s childhood, they got chocolate biscuits and fizzy drinks. But in a society where the government provided so much (and still does, compared with the rest of the world), these examples seem a bit forced. I’m sure life in Cuba is difficult for many, but from the evidence of the film, it still seems to be doing pretty well. For a society that has withstood a trade embargo from the world’s richest nation for more than fifty years, and whose biggest benefactor cut it off more than fifteen years ago, it’s doing remarkably well. Its children are literate and fed, and it seems to have avoided the extremes of poverty seen in many parts of the Caribbean and Latin America.

Unfortunately, I think the director’s complaints are fairly universal. The idealism we feel in our youth turns into disillusionment as we age. The forces of globalization and capitalism are affecting Cuba, even as Castro tries to hold them at bay. The fact that the director and many of her classmates left Cuba in the 1990s (during the “Special Period” that followed the end of the Cold War, a time of tremendous economic hardship for Cubans) also clouds the picture. How does her memory of Cuba as a socialist paradise differ from the memories of the anti-Castro crowd in Miami, who remember pre-revolutionary Cuba as a different kind of paradise? Both are unreliable and nostalgic.

While the film was enjoyable as a window into one person’s experience, and it was great to see the modern footage of life on the island, overall I found it unsatisfying.

(6/10)

The Way I Spent The End Of The World (Romania/France, director Catalin Mitulescu): This was an earnest but uneven film about life in Romania during the final months of Ceausescu’s rule in 1989. Teenaged Eva and her young brother Lalalilu live with their parents and suffer the hardships of living under a hated dictator. Since their neighbour is a cop, they have to be careful what they say, and Eva’s parents encourage her budding romance with the policeman’s son Alex because of what the family connection could do for them. Instead, her rebellious attitude gets her expelled from her school and sent to a technical school for troubled students. There she connects with another neighbour, Andrei, whose family have already been punished for protesting against the regime. Together they make plans to escape Romania by swimming across the Danube, but when the crucial moment comes, Eva turns back.

Meanwhile, Lilu is plotting with his friends how to kill the dictator. Young Timotei Duma is very reminiscent of Salvatore Cascio, who played young Salvatore (Toto) in Cinema Paradiso. Which means he was extremely cute, and some of his scenes were the best in the film. There are two whimsical scenes where we seem to enter his childlike world: one is set in a submarine taxi where all the villagers can be taken to whatever city in Europe they wish to visit, and the other visualizes the boy blowing a huge chewing gum bubble that becomes so large that it floats away. Clearly, the theme of escape is on everyone’s mind.

I wish there had been more scenes like that. Instead, most of the film consists of Eva’s various meetings with Alex or Andrei and very little dialogue. For a main character, she was just a little too enigmatic. I definitely felt the film could have used a bit more dialogue and a bit more editing to speed the pace a bit. As well, the ending could have used a bit more explication. There are some pictures of Ceaucescu on live television and what appears to be live coverage of him fleeing but there is no explanation. For Romanians this might be self-evident but for the rest of the world, we could use a little bit of help.

The ending itself is quite lovely, with the increasing tension suddenly released with Ceaucescu’s fall. And there were some moments of dark humour, as when the students are required to sing patriotic songs about how wonderful their lives are in Romania when it’s plain that everyone is living in misery. But there is a bit of unexplained business at the end surrounding the policeman and his son Alex that bothered me. As well, there were a few strange cinematographical choices throughout the film that proved distracting. Scenes would be clumsily blocked by objects as if the director didn’t quite know where to place his camera. It’s not a huge surprise to discover that this is Catalin Mitulescu’s first feature film.

(7/10)

The Host (Korea, director Bong Joon-ho): A huge box office hit in Korea, The Host is a good old-fashioned monster movie, and a lot more. The director introduced the screening by saying that the film isn’t really a monster movie at all, but an emotional Korean family drama, and he’s right, mostly.

The family in question is a strange one. There are no mothers and no spouses, just a grandfather, his three unmarried children, and the daughter of his eldest son, whose mother abandoned her shortly after she was born. The grandfather and eldest son run a food stand next to the Han River, and one day, a gigantic lizard-like monster emerges from the water and attacks the people picnicking along the riverbanks. In the process, 13-year-old Hyun-seo is carried off before the horrified eyes of her father Kang-du. The family grieves together in the hospital to where they’ve all been quarantined until Kang-du receives a staticky cell-phone call from his daughter, who is alive and begging him to come and rescue her from the monster’s lair, somewhere in the sewer system.

The reason for the quarantine is that the government believes the monster is carrying some sort of virus and are trying to limit exposure to the rest of the city. The problem is that they’ve called back all the troops that they’d first sent to capture the monster, and now it falls to this dysfunctional family to find their child. After breaking out of the hospital, the whole group embarks on a search and rescue mission armed only with a couple of rifles and sister Nam-ju’s bow (she’s a bronze medal-winning archer). They’re all ineffectual in unique ways. While Nam-ju (Bae Doo-Na, so great in last year’s Linda Linda Linda) is an excellent archer, she’s slow to take aim, which cost her the gold medal. Brother Nam-il is a university graduate who can’t find work, so he’s turned to booze. And Kang-du is just generally lazy and a bit dim-witted.

There is quite a bit of humour in the way the family members interact, as well as a fair bit of social and political satire at the expense of both the Korean and U.S. governments (the Americans are blamed for dumping toxic waste that created the monster in the first place). This was amusing, though pretty heavy-handed.

The cinematography made use of lots of rain and cloudy skies to convey the claustrophobic feeling of the sewers even when we weren’t actually there. In fact, the only sunny skies in the film occur just before the monster’s first appearance.

While I did find the film enjoyable, I felt it ran a bit long, and stretched credibility a few times too many. It’s a monster movie, after all, so maybe I shouldn’t have had such high expectations. The effects are well-done and it was certainly fun to watch, but it’s not an art film by any stretch of the imagination. The theme seemed to be that even dysfunctional families are still families, and that we need to take care of each other and not expect our governments to protect or rescue us.

(7/10)