Croat Director Nebojša Slijepčević lifter a page from a tragic event in his region’s history for the the short film “The Man Who Could Not Remain Silent“. The story of a train ride that turned into courage and loss during The 90’s Balkan War. This Chat Cinema Podcast talks to the Cannes Film Festival Palm d’ Or winner about the circumstances and speaking out in the face of brutality.
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
“It is not enough for a film festival to be righteous. The films shown should be engaging.” I did not attend the Berlinale this year “because of the limited space”. The likely reason, the Chat Cinema podcast I produced criticising the festival. Someone took offence.
Reading over the reviews of the 69thannual event, “the press offices rejection is a cinema lovers protection.” It feels like I did not miss much. More like, saved. I support filmmaking. But when a film festival states “your attendence is not wanted”. I can take a clue. Although, I wanted to see Monos and What She Said.
If a person is going to spend time in a dark cinema, the very least to expect is engagement on a some level, not a sermon with a heavy dose of pretensions. This has been lost on the Berlinale team.
While there were many tributes to Kosslick for helming the festival since 2001, this years Berlinale lacked a well received Competition entry. I spoke to a writer colleague who described a film as “Just Boring!” Why the lack of high powered wattage for the creative heads final walk on the red carpet? But with celebration of Dieter continuing, why notice the many mediocre to average films? Instead, focus on the face saving self-congratulatory events took precedent. The Guardian’s festival review of “hapless” seemed fitting.
I believe women should have more opportunities to direct. Sadly, the film business has not felt this way. But I say, a female helmer can make a Heaven’s Gate like her male counterpart. Being on the political left side of social movements, the Berlinale showcased many women directors. Too bad their films were not up to par.
I asked about fest opener, screened out of Competition, The Kindness of Strangers from Danish director Lone Scherfig. The words used, “Repetitive” and “too long”. The 34 metascore out of 100 says it all. Gender does not make anyone a good filmmaker. Holland’s Mr. Jones, screened in Competition, nodded audience to sleep with its 141 minutes weightiness.
Regardless if the Berlinale denies Chat Cinema/Black and Paper accreditation for 2020. Allow as many Instagram Influencers on the red carpet as possible. This is a festival in a transitional crisis having lost its artistic and commercial way.
Will Carlo Chatrian change course? One can hope, taking pleasure from attending the Berlinale should not be a mortal sin.
Perhaps I will attend the the 70th edition of the Berlinale. If I am not on the blacklist for honesty.
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 Berlinale is in a Crisis. What does our creative colleague David Mouriquand think? Click on the link: http://www.exberliner.com/features/opinion/we-need-to-talk-about-the-berlinale/
Black and Paper exclusive interview with Evolution Mallorca International Film Festival Creative Director Sandra Seeling.
Would you say filmgoers are looking for different stories and narratives?
In my experience as a festival programmer, filmgoers want to be surprised and inspired. They want to be taken out of their daily routines and experience new adventures and new point of views.
As a woman, why do you think there are so many challenges for women to direct films?
Women do not get the same opportunities as men. As a woman, we are instantly thought of as less capable, emotional and not as efficient. Unfortunately those attributes are deeply imbedded into the male think pattern (not only in the film industry) and make it harder for women to even get the chance to prove themselves. The challenge also lies in the century long history of the film industry. We as women have to simply keep pushing forward, to do an exceptional job, stand together, and support each other.
Why did you choose Paul Haggis this year as an honoree?
Paul is an incredible social justice advocate and his vision fits really well with EMIFF’s mission; BRIDGING CULTURES – BRIDGING PEOPLE. His work as a filmmaker and humanitarian makes him the perfect recipient for the Evolution Vision award, an award given to a filmmaker with an active vision to encourage unity and peace on our planet.
Isabelle Huppert is one of the greatest actresses of modern screen; her latest film has been submitted for the Academy Award for Foreign Film but “Barrage” seems dark for a festival on an idyllic island. Why did you decide to screen this film?
“Barrage” tells the story of three generations of women. Isabelle plays Elisabeth who is raising her granddaughter while her own daughter Cathrine is busy exploring the world. When Cathrine returns, she kidnaps her daughter from her mother and the story takes a dark turn into very emotional territory. I love the way director Laura Schroeder tells this fragile story of three women, all different ages but connected by the simple fact that they are family. They mirror each other, at the end of the day they are more similar than they like to admit. EMIFF wants to promote young new filmmakers who have a unique vision. Laura’s work in “Barrage” is all that and more.
How do you envision the festival in five years?
In five years I see EMIFF as a year long event with Evolution LAB’s (Workshops and conventions) in the summer and a solid festival in the fall. I want the festival to be known as “The Mediterranean Sundance” and want everyone to know our mission is “Bridging Cultures, Bridging People”. I hope to continue to grow our audience and attract more international filmmakers to come and enjoy our island, inspiring films and great networking.
You meet filmmakers from all over the world. What is your opinion on the general state of global cinema?
My sense is that the world is our playground. Globalization creates endless possibilities for filmmakers to connect, interact and create together even when being on different continents. On the other hand, I think filmmakers still appreciate nothing more than a real face to face conversation, round table or discussion panel or Q&A. Connecting virtually is a great possibility but real connections is what sparks new ideas and fuels new stories and films.
Sandra Seeling is the founder and director of the Evolution Mallorca International Film Festival in Palma de Mallorca, Spain. She is an actress, director, and producer.
The 6th annual The Evolution Mallorca International Film Festival starts on October 26 until November 4th. For more information go to: http://www.evolutionfilmfestival.com/
The 2017 Cannes Film Festival line-up has been announced, read the feature from France 24.
Black and Paper interview with Director Yance Ford.
“Strong Island” is a documentary that is topical on a social and historical, the shooting of an unharmed African American Man followed by a criminal justice system that vilifies a person of color with a “Guilty Label” regardless of the circumstances and ultimate outcome. The 107 minute film investigates the 1992 murder of Mr. Ford’s older brother, William Ford Jr, who was involved in an altercation with car mechanic Mark Reilly.
The Limo at the scene of the crime, chop shop, while the police were there, was there a mafia connection to the garage?
No, it was not Mafia. The limo’s owner was the father of the owner of the garage. He was a wealthy builder. I put these pieces together of what happened that night. There was no proof concerning who was in the limo at the time. The guy who shot my brother called his father first, then the police. Funny enough Mark Reilly is now in prison for dumping illegal materials.
The Red Lining in your neighborhood, was this a form of segregation?
Yes, of course! It was institutionalized. This structure or form of segregation started with the GI Bill. African American soldiers could not take total advantage of the bill. There were restrictive clauses, where you buy, what articles did not apply based on skin color selling, buying, and reselling housing. My Black colleagues have had this experience but my White colleagues are in shock. They are surprised because they have never known this.
Was your brother the victim of same script different cast, unharmed African American, armed white man?
That has been the script for generations. My grandfather died of an asthma attack because he had to wait in the hospital waiting area because he was Black. It is a script as old as America.
The police description of the hyper black body; powerful, oversize, strong, all of the words pointed to aggression, aggressive. None of “facts” added up. The autopsy report and pictures were not aligned. The guy shot my brother because he could. It was easy to take a Black Life.
“Judge People by Character not Color” was a quote from your mother in the film; did your mother question this value assumption after your brother’s death?
Yes! She was devastated. It was a realization. Character not color does not apply when you are Black. My mother has been 2nd guessing herself ever since, did she do her son a disservice by teaching him what Dr. King taught. She did not think it was mistake until after police investigation, wrestling with this feeling of “what if”.
Why aren’t you angry?
The look on my face in the film was irony. I think about the loss of my brother everyday.
If you had told your parents about your brother’s first incident do you think history would have been different?
I don’t know! I try not to think about that.
Strong Island was screened by Black and Paper in the Panorama Section of the 67th Berlinale.