An extraordinary film released in 1981, Jean-Jacques Beineix‘s DIVA is a classic example of Cinema Du Look. Expressive, colorful, romantic. The French thriller is the story of an Opera Singer and a secret tape. Released by Rialto Pictures in the US.
After weeks of covering the build up to the US Presidential election then the actual voting and ensuing chaos I was in no mood for a heavy documentary. I got the screener for “Collective” from the press agency. My first impulse was to write my press contact to pass on the viewing. The past few weeks have been exhausting. Like the rest of the world, I wanted to go brain dead. Being unfamiliar with director Alexander Nanu’s work did not help the cause, however this particular work unspooled at the Toronto and Venice Film Festivals. I had to give it a try applying my 20 minutes rule. If I don’t like it, stop.
For some reason the film popped up again in my email. An omen to give the film a try. My first thoughts: Sadly, “Collective” played into the stereotypical image of Romania. A corrupt country run by an openly incompetent government placing more importance on off shore bank accounts than its citizens. The ones screaming for change are outside the power structure.
There are no heroes in this film. Brave, foolish or naive depends on the viewers perspective. None of big questions answered. A tragic event sets off a series of horrific events. A night club fire kills or injures dozens of people. A medical system run by political cronies based on connections and bribery, not abilities. Alexander’s work pulls you in by showing how systemic rot affects ordinary people. Nevertheless, even exposed the crumbling system has abilities to protect and sustain itself.
“Collective” is timely in today’s climate. Free press is under attack. Large institutional power has little accountability.
The documentary’s strong reviews are well deserved. The Berlin educated director has made a work that stirs the mind. More importantly, the people running Romania should ask themselves “Why can’t we do better?” I could ask this of the US after the elections.
4.5 out of 5 stars.
Collective is being released by Magnolia Films. Running time at 104 minutes.
One intriguing entry into the Venice competition program this year is Lahi, Hayop (Genus, Pan) by Lavrente Indico Diaz (better known as Lav Diaz). Those already familiar with the work of the Filipino director will know he is synonymous with slow contemplative cinema. His earlier films Evolution of a Filipino Family (2004) is ten hours long, one of the longest cinematic narrative films of all time. While some of his more recent prize-winning films, A Lullaby to the Sorrowful Mystery (2016), feature high on the longest ever films list. The director, a former film critic, drew from influences of work by the proponents of art cinema as Michangelo Antonioni and Robert Bresson.
Lav Diaz is also no stranger to the Venice Film Festival. His 2016 filmThe Woman Who Left won the Golden Lion. Lahi, Hayop, for the director comparatively modest in length at just over two and a half hours, still contains his trademark allegories of human greed and brutality, shot in monochrome with long takes. Dismayed by the working conditions at a gold mine, three workers journey to their home village on foot through the isolated wilderness of the mythical island Hugaw.
The weariness creates a hallucinatory effect for the three main protagonists; two mature men and a younger more capricious colleague. From here, with money, envy, and narcissism as the central themes, their relationship and events become more unpredictable and dramatic. As the recent back story unfolds, with scenes of contemporary Filipino society set against notions of the long-term effects of Japanese and American occupation.
Drawing allusions to the formal elements of Bertholt Brecht in its steady rhythm. Lahi, Hayop consistently uses the static camera, and almost always films at the same distance. With virtually no reference to the present, the film could be set at any time in the last 50 years. Given weight by the fact, when speaking of the film, the director’s inspiration came from a question asking him to define the human species. His urgent reply: “Despite being the better developed species, most of us still retain the demeanor and comportment of the chimpanzee or the genus Pan”. Transposed to capitalist society, the film depicts the destructive effects of the human animal, not least through greed. However, the director also finds optimism because the human brain contintues to develop. Diaz believes we will eventually become a self-actualized species, following the examples of Buddha or Gandhi.
Lahi, Hayop has been playing in the final three days of the Venice program. It was in contention for the Main Competition (Orizzonti) prize.
~ Steven Yates contributes to Black and Paper
France 24 reports on the great film festival.
Dealing with bureaucrats with artistic pretensions is a balancing act. On the one hand they crave the hell with life mentality of Fassbinder, the go your own path of a Bowie, the respectability of Nolan mingled with the steady monthly salary of a state tax officer. Nowhere do I see this more than at the Berlinale Film Festival.
After the release of the 2017 petition calling for an overhaul of the film festival I saw many of the artistic and bureaucratic emotions collide. Artist and bureaucrats have thin skin. I experienced as well as witnessed the staffs defensive sensitive side during the press screenings, the shorten opening press conference, then at the festival.
Having attended the festival for many years, I support the annual event and films. The Berlinale mixes mainstream cinema to the quirky to the “I Don’t Get it!”
My criticism of the organization has not been any harder or meaner than the any other site or press outlet. As an attendee, I stated the reality. Real change has to come on all levels if it is to stay relevant on the circuit. As the film world knows, the Berlinale has been beset by criticisms from all sides. Festival Head Kosslick resigns this year. After last year’s fest and more recently during a “Chat Cinema” podcast we restated our opinions. A complete redo needed if the Berlinale can gain footing on the level as Cannes, Venice, and Sundance festivals.
I applied for festival access as press, no response. After a quick call, the reply on the other end, “We will check on it.” Then a declined notice via email. Never a problem in the past, all of a sudden a problem. Should I call a CSI team to solve the case? A small website critical of the fest, suddenly there is no space for attendance, press credentials denied for Black and Paper. I was told the press team is being diligent this year. What was their working method in the past?
After speaking to the press team concerning the declined noticed, they mentioned my YouTube features, it felt like they used it as a homework assignment. The numbers were low and the long videos. The reasoning made no sense: the number of seats limited. A drop in attendance the previous year meant there should be more places in 2019, simple math.
I asked, if the staff is so Internet Savvy why did not they not see the 24 pictorial, written, and video features produced and published about the 2018 Berlinale festival posted on Black and Paper.com. Additionally, there could have been more features had we written about the films not liked. Instead I decided to focus on the films liked.
After sending 10 weblinks from the 2018 coverage, I called the press officer back asking if they wanted more proof. I am so important the response was,” we are discussing it, it will take a few hours to discuss the application.” To be the topic of discussion at a film festival by staff should inflate the ego. Instead it feels sad on this side of petty. Did the Chat Cinema Podcast cause this relationship breakdown? I was smugly told we did not have time to listen to the long cast. I had time to endure screening 40 or so films at the film festival, only a few worth processing at a negative lab.
Can you work for another magazine, was a question from the officer. I responded with a “NO!” This site has been ok for me. I’m listed in the Berlinale data base, receiving emails from the festival.
My advice, put together a good festival that engages, not sermonises. Or develop thick skin.
Waiting a “few hours” from 1 pm until 7:48. I posted on Twitter a Chat Cinema tweet. Finally, 54 minutes later an email sent from the Berlinale press office stated my accreditation declined, again. REALLY! The press team spent 7 hours discussing Black and Paper, an honor in a way, the center of attention of a festival with over 400 films, thousands of attendees and we were singled out. A rejection letter that took an afternoon to write. There is an saying in the American South, “If people are talking about you, you must be relevant.” “But if they tell you not to come, you must be really relevant!”
Black and Paper will not attend the Berlinale 2019 because we stated our opinion. By and large not suffering from FOMO Syndrome.
The latest news from the world’s top film festival.
Special Note: The reviews for the Javier Bardeem, Penelope Cruz film, “Everybody Knows”, have been mixed.