o perfume da memória

So now YouTube has started helping me with the slightly neglected films_not_shown tag. It recommended to me the Brazilian movie "O Perfume da Memória" (2016) by Oswaldo Montenegro, which was so good I now seriously need to watch more random videos to confuse the algorithm.

I had never heard of Oswaldo Montenegro before (and Wiki tells me he is mainly a musician), but the impression from this film is that he managed to create stylish movies on a negligible budget by doing everything himself (with two actors and two musicians and probably a small technical staff), in a flat, and it turns out amazing. Oh, and then he makes the film available on YouTube on his official channel. Clearly committed to bypass capitalism.

So, the movie. My theory is that Montenegro saw Julio Medem's Room in Rome (2010) and decided to do a fully clothed response to it. Which is hilarious in that Room in Rome itself is a response to an Argentinian film, En la cama (2005), so this subject of one night in a room is playing ping-pong across the Atlantic. Next stop Stockholm?

Art is important in Medem's movie, but Montenegro adds a bit of poetry, and the two musicians playing his score on cello and flute (Madalena Salles y Janaina Salles - are they mother and daughter?). And a fairly serious plot twist. So not a remake, but I stand by my theory that Medem's film inspired Montenegro's.

Oh, and Montenegro also does the voiceover. He literally tells the story and you can hear his voice. I watched the version with Spanish subtitles (YouTube seemed to know that I don't want to be dragged out of romance language heaven by English ones), but a version with English subtitles is also available on his channel.

back to Basque roots

Three years after Ma ma, Julio Medem has a new film out (in Spain), so I am building up excitement. From the trailer and the reviews in the Spanish press it looks like a welcome return to the cryptic complexity of his early films based in the Basque country, such a Vacas and Tierra, which I haven't really understood to this day ...

It's called El árbol de la sangre (The tree of blood), and here is what I could find about it:

IMDB

Julio Medem returns to his origins, says Milagros Martín-Lunas in El Independiente.

Old style Medem with the brakes taken off, says John Tones.

A compendium of his themes and obsessions, says Manuel Lombardo in the Diario de Sevilla.





My guess is that it will not be shown in UK cinemas, but watch this space!

ma ma

UPDATE June 2016: UK release on June 24th! I'll just have to watch it again ...

Julio Medem’s eighth full length (fiction) film features an unexpected megastar in Penelope Cruz who did some of her best work with Pedro Almodóvar (Volver). Maybe they did a swap, as Medem’s early muse Emma Suarez stars in Almodóvar’s latest, Julieta.

Cruz plays a cancer patient who only has months to live and makes the most of it. Most of the time her character, still very much alive and lively, contrasts sharply with the sterile white background of hospital wards etc., and she has life to spare for the male characters surrounding her (too many blokes for my taste, perhaps), and even to create a new life.

If I don’t sound quite as jubilant as I did after Medem’s previous films, it’s probably due to the subject matter, which I’m not all that keen on, even though I admit that I’m getting to the age where one has to take mortality seriously, and Medem, who is a few years older than me, is probably right in addressing it at this point. But why oh why does the gynaecologist, master over life and death, have to look like David Cameron? That’s just a bridge too far.

Sweetening the bitter pill of mortality for the fans of his work are numerous allusions to his earlier films, including the use of white spaces (Los amantes del circulo polar), swimmers filmed from below (Lucia y el sexo), hypnotic countdowns (Caótica Ana), “Natasha” (Room in Rome), and more. There is even a plug for his book “Aspasia”, which in the film is credited to Alberto Lafont (Lafont being the surname of his mother, which is his second surname in the Spanish tradition). I know how satisfying it is to find that everything you do connects to everything else somehow, so I can’t blame him.

The title plays with the words for mum and breast, showing how the life affirmation and the death threat are both connected to the same gland.

I ordered the DVD from amazon.es

cover of the Spanish DVD (it does have the option of English subtitles)

en la cama

Germany/Chile 2005
Dir.: Matías Bize
Cast: Blanca Lewin, Gonzalo Valenzuela

The film that inspired “Room in Rome” would be interesting in its own right, but is even more intriguing when one sees it after Medem’s version of events. It is even more confined to the bedroom (here in a motel in Chile), and the film makes fun of this constraint by bringing up the old children’s game where one is not allowed to touch the floor, restricting the movements of the two characters even further.

Although the dialogue is completely different, the characters can easily be aligned with Medem’s cast. Bruno is in certain ways like Alba, and Daniela clearly inspired Natasha – and both conceal the same piece of information until quite late in the movie.

The cast consists exclusively of the two people in the room (so in the difficult moments one can think of Sartre and conclude that hell is the other person). We don’t even hear the voices of people calling the characters on their mobiles, and we have to trust them on what they report – which may not be true, as trust is being a problematic issue in this story as in Medem’s.

I liked the cast, although, of course, no bloke on the planet could really compete with Elena Anaya. Blanca Lewin as Daniela is almost a Medem-like figure, she’s got something of the look of Medem’s female protagonists, and one can easily imagine how her performance caught his interest. So I would recommend it to anybody who liked Room in Rome (or Sartre’s Huis Clos ?). My DVD from Germany has a 12 certificate - if you convert that from Euro to Sterling and add the number of frames revealing nipples, it would probably end up at 18, if anybody bothered releasing the DVD in the UK (there is a region 1 DVD, released in 2008, not rated, cover shown below).

amazon.com

7 days in Havana

I'm hoping to catch Julio Medem's latest work, which is a seventh of the 7-episodes film 7 days in Havana, at some time this year. Medem's contribution is the Wednesday, and it's called La tentación de Cecilia. Am a bit nervous as his last two feature films didn't get cinematic releases in the UK, but let's wait and see.

UPDATE 21.7.2012): in theory, the film was released in the UK at the beginning of July, but a check at our local indpendent cinema revealed they are planning to show it "off-release" i.e. later ...

In the meantime we can enjoy the rather lovely official website of the film co-sponsored by my favourite rum, Havana Club. What's not to like?

Just keeping all limbs crossed and hoping that I actually get to see the movie.



official poster of the movie

Almodóvar’s Frankenstein

The skin I live in / la piel que habito

I guess the quickest way to define this film is “Almodóvar’s take on Frankenstein,” although it is loosely based on a different book, a novel by Thierry Jonquet. As I’ve seen a dozen of Almodóvar’s movies, most of them more than once, but zero Frankenstein movies, I’m coming to this junction from a different angle than most people in the English speaking world. So here are some thoughts on how the film fits in with the work of San Pedro (I unilaterally elevated him to sainthood in a previous blog entry, these catholics are sometimes too slow in recognising achievement).

The movie is in fact, Almodóvar through and through, in every part of it there are aspects that are familiar, from the medical / bioethical issues through to he (trans)gender, rape, and sexual identity themes. As these are natural parts of the story, they don’t feel like the auteur is quoting himself – it just amazes me every time that he can assemble a completely different story from what at first glance might appear to be the same building blocks. (Which strikes me especially as I don’t necessarily share his obsession with these recurring themes, and yet they win me over every time.)

There is one interlude where Almodóvar is in fact shamelessly citing himself and contrasting the shrill style of his early work with the mellower style he has adopted since “All about my mother.” It’s the sequence that features a man in a tiger carnival costume and references Kika among other early works. The tiger aside, the rest is all in very mature taste - just savour the interior decorations, worlds away from the women on the verge of a nervous breakdown, although everybody in this movie has good reasons to be on the verge of that or worse.

For fans of the early work it is, of course, a major occasion to welcome back Antonio Banderas, who last appeared in Women on the verge and in Tie me up, tie me down! I prefer not to think of what he did in those 21 years in between (am very busy erasing those spy kids movies from my memory), but it is good to have him back, even if he looks ten times older than the last time. He looks a bit like Sean Connery from some angles, maybe Almodóvar and Banderas should do a Bond movie together, now that would be interesting!

Another familiar face (for the aficionados of Spanish cinema, at least) is the female lead Elena Anaya, who had a supporting role in Julio Medem’s Sex and Lucia and a lead role in Room in Rome (and a small role in Talk to her, apparently, will have to watch that one again to find her). And we welcome back Marisa Paredes who starred in All about my mother and Flower of my secret.

The Frankenstein-esque story is interesting too, of course, not least because of all the bioethical dilemmas that we also have to confront here in the real world, but that wouldn’t necessarily have convinced me to watch the movie if it had arrived from somewhere else. It’s the way San Pedro does it. He could make a movie out of the phone directory of Madrid and I’m sure it would still be fascinating.




The skin I live in is on general UK-wide release from today (I was lucky to catch a preview last night). Full details at IMDB.

Peter Bradshaw's review in the Guardian (his second take, as he already reviewed it when it was shown at Cannes).

Medem medley

All seven of Julio Medem's feature films are mashed up in this six-minute clip, highlighting recurring themes. Must-see for all fans:

• A la carta
• > Especial Julio Medem en Versión española

seven days in Havana

I hear that my all time favourite film director, Julio Medem, has started filming a short feature which will be 1/7th of a movie called "Seven days in Havana" (7 dias en La Habana). His contribution is called 'La tentación de Cecilia' (The temptation of Cecilia), and it stars German actor Daniel Brühl. The other 6 parts are from colleagues including Benicio del Toro and Gaspar Noe.

There is preliminary information available from IMDB and spanish cinema blogs (such as this one), hoping to find out more soon, watch this space!


Picture from official website: www.juliomedem.org

Room in Rome reviewed

I was a huge fan of Julio Medem’s small but exquisite oeuvre already, but Room in Rome easily made it into the top five of my all-time favourite films (where it competes with Medem’s Sex and Lucia). What, you may ask, makes it so special?

First the set-up – a one-night encounter in a hotel room, which the camera never leaves except to peep out onto the balcony or through the entrance of the room into the corridor. This would work brilliantly in a very small theatre as well. The basic idea is borrowed from a Chilean movie (En la cama) with a couple of very important tweaks. Medem turned the man of the first movie into a woman, and he moved the room to Rome, and embedded it in Italian art history. There are paintings on every wall and even on the ceilings, which play an important part in the movie.

Alternatively, to relate it to a better known movie, one could call it an all-female “Before sunrise” set indoors and in a different city. In one rollercoaster night the protagonists get to know each other and learn to trust and love each other.

So in that room, we have two women, not too many clothes, lots of art, and modern IT equipment enabling them to show each other their outside lives via Google Earth. Oh, and a splendid view from the balcony over the roofs of Rome. (One could have called it Room with a view, had the title not been taken by some other movie.)


(still from official site)

Let’s get the clothes issue out of the way first, as it seems to have scared UK distributors to an extent that they didn’t give the film a chance in the cinemas. Yes, both women are undressed for most of the length of the movie, but after about two minutes that appears completely normal and one stops noticing it. In a sense, considering their respective vulnerabilities and difficult path towards mutual trust and truthfulness, one could argue that most of their nakedness is psychological rather than physical. Seen this way, the cosy white bath robes they put on for breakfast in the end seem to represent the comfort and protection of a trusting (if time-limited) relationship.

More interestingly, the art, chosen by Medem’s wife and art director Montse Sanz, tells us something not only about the story and its possible interpretations, it also offers insights into Medem’s philosophy when Natasha cites the Renaissance artist Leon Battista Alberti, seen in one of the paintings, as saying: “The artist must know at all times what he is representing.”

I would argue that the film contains more classical art than we see on the walls. Many of the poses of the women remind me of paintings – most of them reclining nudes, obviously. Towards the end, Medem acknowledges artworks as a source of inspiration explicitly when he makes Natasha copy the pose of the Venus de Milo, which is present in the room as a small scale model. Come to think of it, with all the gorgeous lighting and colours, many of the frames would make nice paintings.

Ironically, the state of the art IT equipment including a smartphone and a laptop running Google Earth (or the Microsoft equivalent) almost seamlessly becomes as important as the Renaissance paintings, as it’s the only connection to the previous and outside life of the protagonists. Talking of technology, I also love the fact that Alba turns out to be an engineer who came to Rome to plug an invention she made. While she failed to score a contract on this occasion, her business seems to be going ok, judging by the quality of the hotel room she booked. And as Natasha is an art historian, the story could be read as a “two cultures” dialogue as well.

The five languages – some of the most touching moments involve each character speaking their native language (Spanish / Russian), assuming the other won’t understand. But the English dialogue, with just enough of an accent to identify the origin of each character worked surprisingly well for me (I do like my Spanish films and am not necessarily happy if people switch to English). It’s sad and ironic, however, that Medem’s first film to feature dialogue mostly in English wasn’t actually shown in UK or US cinemas. We also get some Italian (via the singing room service waiter) and some Basque via a video, reminding us of Medem’s cultural background (I understand that, genetically, he is as much German as Basque, namely 1/4 each).

The music of Spanish (but English singing) singer-songwriter Lourdes Hernandes, aka Russian Red (a pseudonym she borrowed from her favourite lipstick, apparently) is perfect for the movie, not only because her accent matches Alba’s.

So in summary, buy the DVD, you can’t borrow mine, as I need to watch the movie another five times.






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movies we're not allowed to see

-- last updated 25.06.2015 --

NB: for more recent updates see my new blog post on this issue.

I've been catching up on some European movies from the last years that for some reason or another didn't get a cinema release in the UK (criteria: no release date listed on IMDB and film didn't show up here). There is a growing collection of recent films that I really liked and that didn't get shown in this country, so I'm compiling a commented list here:

Mädchen Mädchen (Girls on top) - Germany 2001, Dennis Gansel.

Juana la loca - Spain 2001, Vicente Aranda - it's just a straightforward period drama based on the same events as Gioconda Belli's more ambitious novel El pergamino de la seducción (which I reviewed here) but I love the story so it doesn't harm to have a second view on it. It's nicely done and should interest people outside Spain too. (It has in fact been released in the US as "Mad Love", but not here.)

800 balas (800 bullets) - Spain 2002, Alex de la Iglesia - surprisingly brilliant film, see my review.

El otro lado de la cama (The other side of the bed) - Spain 2002, Emilio Martínez Lázaro - starring Paz Vega, Natalia Verbeke.

Suite Habana (Havana Suite) - Cuba 2003, Fernando Pérez - not European, but still interesting.

L'esquive (Games of love and chance) - France 2003, Abdellatif Kechiche - only shown at the London film festival.

Dot the i - UK 2003, Matthew Parkhill - this one puzzles me, actually, it's made in Britain, with funding from UK film council, in English (though with stars better known in Spanish speaking countries), all nipples carefully covered up, and it still went straight to DVD (more here).

Tout le plaisir est pour moi (The pleasure is all mine) - France 2004, Isabelle Broué, starring Marie Gillain - comedy around libido lost and found, a bit painting by numbers and too americanised for my taste, but apparently not enough to get a UK release.

En la cama - Germany / Chile 2005, Matías Bize starring Blanca Lewin, Gonzalo Valenzuela - the film that inspired Julio Medem's "Room in Rome" (2010, see below). See my review.

Melissa P - Italy / Spain 2005, Luca Guadagnino - a difficult topic handled tactfully, see my review.

Ensemble c'est tout - France 2007, Claude Berri - ok, I wasn't really overwhelmed by this one, see my review of the book (by Anna Gavalda) with post-script on the film here. The film was only shown at a festival here and hasn't even seen a DVD release (my DVD is from Germany).

Caótica Ana - Spain 2007, Julio Medem - maybe not his best work but still worth watching, see my review here.

Les anges exterminateurs - France 2006, Jean-Claude Brisseau - although part one of the trilogy, Les choses secretes, was shown in UK cinemas, this second part and the final one, A l'aventure, weren't.

Tangerine - Germany 2008, Irene von Alberti - German musicians try and fail to connect with the culture of Morocco ...

A l'aventure - France 2008, Jean-Claude Brisseau - third part of the trilogy, of which only the beginning, Les choses secretes made it to UK cinemas.

LOL (Laughing out Loud) - France 2008, Lisa Azuelos - a teenage comedy with a twist, as Sophie Marceau, who shot to fame with La Boum in the 80s, plays the mother of the lead girl this time round. Looking this up on IMDB, I found out that a US remake starring Miley Cyrus and Demi Moore is due to be released on 1.6.2012. Oh, and there hasn't even been a DVD release in the UK, another movie I had to import from Germany.

Française -France 2008, Souad El-Bouhati - shortish film about being a foreigner and choosing your country, starring Hafsia Herzi from Couscous (La graine et le mulet), review to follow.

Soul kitchen - Germany 2009, Fatih Akin - review to follow.

Castillos de cartón - Spain 2009, Salvador García Ruiz - charming film based on novel by Almudena Grandes, about three art students in 1980s Madrid who find their ways in art, love, and life. See my review of the UK DVD edition trying to mis-sell it as porn.

Je te mangerais - France 2009, - girl-on-girl obsession complete with harrassment and a background of classical music. Love the setting (in Lyon) and the views, but there are some disturbing things going on that aren't really addressed. Also, the link between emotions and their musical expression wasn't easy to catch for mere mortal non-pianists like me. Went straight to DVD in the UK in 2010 (title: Highly Strung, cert. 15).

Now & later - USA 2009, Philippe Diaz - free love vs. the power of military and financial oppression, heart-warming stuff, read my review here.

Mentiras y gordas (Sex, party & lies) - Spain 2009, Alfonso Albacete - superficially, this is sex and drugs and techno all the way through, so don't be surprised at the knee-jerk reaction from some quarters and the 18 certificate on the DVD. If you can look beyond that, however, there are interesting subtleties (the lies are in the title for a reason), characters likeable with all their flaws, and a cautionary tale about the dangers of drugs and falling in love.
UPDATE December 2023: rewatched this after realising that it features a young Ana de Armas (who since then moved on to Hollywood and played Marilyn Monroe). Hadn't remembered much after 14 years, so I had great pleasure in rediscovering it.

Happy Few - France 2010, Antony Cordier - starring Elodie Bouchez - I missed La vie rêvée des anges when it came out, and generally hadn't seen a movie with Bouchez since Les roseaux sauvages (1994), so I made a note regarding this one when I heard about it in France. Needless to say, it didn't get a UK release (not even as DVD) so I imported the DVD from Germany. One might question whether the news that two couples have merged into a foursome is material enough to fill two hours, but I really liked the general feel and atmosphere of it.

L'âge de raison - France 2010, Yann Samuell - starring Sophie Marceau - what happens if the letters a clever 7-year-old girl writes to her future, 40-year-old self actually get delivered? Good question, slightly muddled in the answer but still interesting and moving to a degree. Further proof that de-frenching French films by bringing in a bit of English dialogue and leaving out all nipples doesn't guarantee cinematic release in the English-speaking world. Neither does the presence of a huge star like Marceau ... It was shown in cinemas in Germany, where a DVD is available under the title Vergissmichnicht.

Balada triste de trompeta - Spain 2010, Alex de la Iglesia - shown at Edinburgh Film Festival only.
A complex and difficult movie on the trauma caused by the Spanish civil war, read my review here

Vénus noire - France 2010, Abdellatif Kechiche - epic and profound biopic of an African woman shown around as "Hottentot Venus" in European cities in the 19th century. See my review here

Mes chères études - France 2010, Emmanuelle Bercot - now this alternative approach to student finance might have caused scandal around here, so better not show it.

678 / Les femmes du bus 678 - Egypt 2010, Mohamed Diab, starring Nahed El Sebai, Boushra, Nelly Karim - very timely and relevant film on the everyday harassment of women, see my review here.

still from "Habitación en Roma": official site.

Habitación en Roma (Room in Rome) - Spain 2010, Julio Medem - read my review here.

I love Périgord - France 2011, Charles Nemes – it’s a cliché-laden comedy about an Anglo-French culture clash and I wouldn’t normally make a fuss about it, but given the topic, a no-show in UK cinemas might of course be read as censoring the opinion of the other side in this age-old cultural conflict.

Q - France 2011, Laurent Bouhnik – What if relationships between people were driven by rampant female desire, what might this alternative to the testosterone-soaked world we live in look like? The (male) writer/director seems to think that it would be a better world, as the desire of the female protagonist, although a bit disconcerting at first, ends up being a force for good, fixing troubled relationships and strengthening the community. Sadly, censors and marketing people are unable to ignore the bare chests for long enough to work out what a film is actually about, so we have another interesting film that didn’t get a UK release and went straight to DVD with a blurb that essentially tries to sell it as posh porn. When will they ever learn?

Memoria de mis putas tristes - Mexico/Denmark 2011, Henning Carlsen - lovely adaptation of Gabriel Garcia Marquez' eponymous short novel from 2004. Review to follow.

Camille redouble (Camille rewinds) - France 2012, Noémie Lvovsky - Charming if slightly illogical time travel story featuring the director in the lead role. It was - released in around a dozen countries but no UK date in sight.

La fille de nulle part - France 2012, Jean-Claude Brisseau - this low-budget ghost story looks like poor old Brisseau is now reduced to filming in his own flat and playing the lead himself, but it is still interesting.

Mapa para conversar (A map for love) - Chile 2012, Constanza Fernandez, starring Andrea Moro, Mariana Prat, Francisca Bernardi - three women in a cute little chamber piece mostly set on a small boat. Restrictions clear the mind, as one of the characters says. Available on DVD from the lovely peccadillo pictures.

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PS: I am, of course, a bit biased in favour of Spanish and French cinema, but I'm sure there are similarly neglected films from other European countries, and indeed from around the world as well. I'll also acknowledge bias towards vaguely intelligent films, which excludes some German comedies that were extremely successful on the domestic market but didn't get exported.

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"Endangered List" of films that may or may not end up on the list above (as I haven't seen them yet, and/or they may still turn up):


Flores raras (Reaching for the Moon) - Brazil 2013, Bruno Barreto
Landes - France 2013, François-Xavier Vives, starring Marie Gillain
Ayer no termina nunca (Yesterday never ends) - Spain 2013, Isabel Coixet - shown at the Berlin International Film Festival 2013, and at the London Spanish Film Festival 2013

Una pistola en cada mano - Spain 2012, Cesc Gay - Shown in Germany (Ein Freitag in Barcelona), and at the London Spanish Film Festival 2013.

Die Vermessung der Welt (Measuring the world) Germany 2012, Detlev Buck.
Klip (Clip) - Serbia 2012, Maja Milos
Weil ich schöner bin - Germany 2012, Frieder Schlaich
El amigo aleman (The German friend) - Germany, Argentina 2012, Jeanine Meerapfel
3 - Uruguay, Argentina, Germany 2012 - Pablo Stoll - oops, there are too many movies called 3, I was looking for this one and first found the one below, and got all confused.
Tres - Ecuador, Argentina, Germany 2012
3 Zimmer/Küche/Bad (Move) - Germany 2012
Baad el Mawkeaa (After the Battle) - France / Egypt 2012
Después de Lucía - Mexico / France 2012
A perdre la raison - Belgium 2012, Joachim Lafosse, starring Emilie Dequenne
Buscando a Eimish - Spain 2012, Ana Rodríguez Rosell, starring Manuela Vellés, Emma Suárez - shown at the London Spanish Film Festival 2012
Joven y alocada - Chile 2012, Marialy Rivas

Lo mejor de Eva - Spain 2011, Mariano Barroso - starring Leonor Watling, Adriana Ugarte
Un été brûlant - France 2011, Philippe Garrel - starring Monica Bellucci
Violeta se fue a los cielos (Violeta went to heaven) - Chile 2011, Andrés Wood - a biopic of the Chilean folk singer, song writer Violeta Parra
Graba - Argentina 2011
Lo contrario al amor - Spain 2011 - shown at the London Spanish Film Festival 2012
Verbo - Spain 2011 - shown at the London Spanish Film Festival 2012
Karen llora en un bus - Colombia 2011
Abrir puertas y ventanas (Back to stay) - Argentina 2011, Milagros Mumenthaler
La chispa de la vida (As luck would have it) - Spain 2011, Alex de la Iglesia
Poulet aux prunes (Chicken with plums) - France 2011, Marjane Satrapi
3 - Germany 2011, Tom Tykwer
I phone you - Germany 2011, Dan Tang
Almanya - Willkommen in Deutschland - Germany 2011, Nesrin Samdereli, Yasemin Samdereli

Amador - Spain 2010, Fernando Leon Aranoa, starring Magaly Solier
Le sentiment de la chair - France 2010 - (slightly scared of this, plot summary sounds like it may be taking "anatomical detail" a little bit too literally?)
Marieke, Marieke - Belgium 2010, Sophie Schoukens
Die Fremde (When we leave) - Germany 2010, Feo Aladag - starring Sibel Kekilli
Le nom des gens - France 2010, Michel Leclerc
Flamenco, flamenco - Spain 2010, Carlos Saura -
Un homme qui crie - France/Belgium/Chad 2010, Mahamat-Saleh Haroun -
Joseph et la fille - France 2010, Xavier de Choudens - starring Hafsia Herzi, Jacques Dutronc


La fille du RER (The girl on the train) - France 2009, André Téchiné, starring Emilie Dequenne
Eloise - Spain 2009, Jesús Garay
Io, Don Giovanni - Spain / Italy 2009, Carlos Saura
Anonymes (Buried secrets) - France 2009, Raja Amari - starring Hafsia Herzi
El último verano de la Boyita - Argentina 2009, Julia Solomonoff - shown at the Viva Festival, Manchester only.
La Yuma - Nicaragua 2009, Florence Jaugey -

El juego del ahorcado - Spain 2008, Manuel Gómez Pereira - starring Adriana Ugarte
La journeé de la jupe (Skirt day) - France 2008, Jean-Paul Lilienfeld - starring Isabelle Adjani, who won a César for this role
L'aube du monde (Dawn of the world) - Iraq, France, Germany 2008, Abbas Fahdel - starring Hafsia Herzi
Le premier venu (Just anybody) - France 2008, Jacques Doillon -
Arráncame la vida (Tear this heart out) - Mexico 2008, Roberto Sneider - Adaptation of Angeles Mastretta's novel, shown at the Viva Festival, Manchester only.

Les filles du botaniste - France / Canada (2006) but dialogue in Mandarin
Short order (Life is a buffet) - Ireland, Germany, UK 2005 - starring Emma de Caunes

Perder es cuestión de método - Colombia 2004, Sergio Cabrera - an adaptation of Santiago Gamboa's eponymous novel

Petite Lili - France 2003 - starring Ludivine Sagnier; an adaptation of Chekhov's The Seagull, apparently

Solino Germany 2002, Fatih Akin

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Finally, films from the watch list that did get a UK release after all, hooray:

Alceste a bicyclette (Bicycling with Moliere) - France 2013, Philippe Le Guay - Note the predictable replacement of the name of Alceste (the lead character in Le misanthrope) with the author's name in the international title. UK release on July 6th, 2014.
El artista y la modelo - Spain 2012, Fernando Trueba, starring Claudia Cardinale - one-off showing at the London Spanish Film Festival's Spring Weekend, April 2013, then release of around a dozen copies in September 2013, details here
La vie d'Adèle (Blue is the warmest colour) - France 2013, Abdellatif Kechiche - winner of the Palme d'Or at Cannes 2013, and I was still worried it might not get a release here. That's how bad things have become. It was released in November 2013.

Paris-Manhattan - France 2012, Sophie Lellouche - French reflections on Woodie Allen - UK release 5.7.2013, apparently, although it hasn't shown up in our local cinemas. Got DVD via Germany and really liked it.
Les femmes du 6ème étage (The women on the 6th floor) - France 2010 - UK release in July 2012
Elle s'appellait Sarah - France 2010, Gilles Paquet-Brenner - starring Kristin Scott-Thomas
UK release 5.8.2011 as "Sarah's Key"

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Further reading:

1. An interesting piece from a movie professional who had a few fights with the UK censors appeared in the Guardian film section on 1.10.2010.
2. 100 years of film censorship (slash classification): Kira Cochrane in the Guardian on the BBFC's anniversary, 27.7.2012.
3. BFI statistical yearbook 2013: According to the country of origin stats on page 17, 151 (23%) of the movies released in the UK in 2012 came from other European countries. Also see the chapter 5, "Specialised Films", which includes stats on foreign language films. Apparently, 230 films in 32 foreign languages were released in 2012, accounting for 35.5% of all releases but taking only 2% of the box-office. I'll prepare a separate blog entry on these stats.

Julio Medem's room in Rome

UPDATE 24.10.2010 Just posted my review of the movie here.

UPDATE 9.9.2010 Amazon.co.uk lists room in rome DVD with a release date of Oct. 18, at a reasonable price of 11.99. Pre-order now before they change their mind.
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I’ve started reading a little book about my favourite film maker, Julio Medem, which just appeared this spring (by the gloriously basque-named author Zigor Etxebeste Gómez, Ediciones Cátedra 2010). I found out that he has a new film out in Spain, called Habitación en Roma (Room in Rome), which had its premiere at the Málaga Film Festival in April, and full release in May.

I’ve checked the IMDB entry and found out that there isn’t a release date for the UK (or any other country) at this point. Reading what Etxebeste writes about the new film, however, I am getting extremely worried that it may not get a UK release at all. It appears that it is a love story between two women who are undressed most of the time, and the DP uses lots of macro lenses to show the physical geography of each woman as the other would see it from very close up. Now something is telling me that the UK censors will not be looking very kindly at this approach. (Yes, I know that the C in BBFC stands for classification these days, but it still amounts to censorship, as it stops people from getting to see the films.)

So, I guess I’ll have to chase around Barcelona when I get there in October for some little backyard cinema that still shows films months after their release. Watch out for the resounding silence with which the British press will meet this film, even if it gets a UK release. Medem’s previous film, Caótica Ana, didn’t get released here (in that case it’s more likely due to the political aspects of the movie) and I don’t think it ever got mentioned anywhere, which is good for me, in a way, because my blog entry about the film emerges as the highest ranking google result in English.

Meanwhile, I looked on YouTube and found a completely marvellous “musical trailer” which is essentially a music video for the wonderful song “Loving Strangers” by Madrid folk singer song-writer Russian Red (aka Lourdes Hernández) furnished with scenes from the movie:



There is also a proper trailer, but that one is really too hot to handle for the English-speaking parts of the world.

PS One intriguing detail that I didn’t know about Medem is that his paternal grandfather, and thus the palindromic name which inspired the structures of some of his movies, came from a German family. The family history of the Medems, going back to Caspar von Medem (* 1560) is here. Note the frequency of the palindromic names Otto and Ana, which Medem used in Los amantes del circulo polar.

obscure search terms will find ... me!

My blog enjoys a reasonably good ranking in Google’s PageRank system, which decides which sources appear at the top of a list of search results. This means that from time to time, Google does actually send people my way. Naively, I might have thought that those googlonauts who touch down on my site would have started their voyage with search terms relating to the big issues that I write about, such as nanotechnology, genomics, autism, bioethics, etc. On second thoughts, however, one realises that such topics are also well-represented on sites that are still a few rungs higher up on the ranking ladder, including those of the BBC and major newspapers. The traffic that’s left for me is looking rather different and possibly more interesting.

When I realised that my visitors had typed in things like “philosophy of greed” or “think logarithmically” rather than biochemistry or nanotechnology, I started a month-long observation of the Google searches leading to my blog, of which I can now reveal the results. The only words I have excluded from the ranking are prose and passion – their presence in the title of my blog means that I get ranked highly in searches involving these words, even though people who look for prose pieces about cancer will not be very happy with the results my blog can offer. (I think the over-representation of “Prose of …” searches actually reveals a real flaw in Google’s algorithms; people setting up such things should realise that the title of a blog may be chosen in a roundabout way and may not literally specify the content of the site.)

So here comes the countdown:

In 6th place, Oxford – typically in combination with more unusual terms, including “Parson’s pleasure” which is the title of this blog entry. One customer’s search for “naked dons parson’s pleasure” led to the same entry, of course.

5th, an eternal favourite, and one that alerted me to the eccentric qualities of the search terms that lead people my way, is “greed philosophy” (or, more rarely, greed combined with other terms, such as “How is greed Neanderthal”). The relevant blog entry doesn’t really answer any deep philosophical questions about greed – it is in fact a short appreciation of a book by Naomi Klein.

4th, Sale el Sol – fair enough, that’s a video of a live appearance by Shakira which I embedded in my blog here. Oh, and there have been reports that this will also be the title of the album to be released later this year, so no wonder there are lots of searches.

3rd, another eccentric favourite, is “shark images” and other shark-related stuff. All I did was to write a blog entry about the Headington shark, an Oxford landmark somewhat off the beaten tourist track.

2nd, various members of the Strada family, including Katharina Strada (mistress of emperor Rudolph II), lumped together under Strada searches, and presented here.

And the unlikely winner is …

the Spanish painter Ana Medem, sister of film director and auteur Julio Medem. Ana died very young, and Julio used her paintings in the film “Caotica Ana,” which I reviewed here.

Obviously, having all these (relatively) popular search terms included in one blog entry will completely confuse the Google bots. So if you arrived at this entry hoping for insights regarding Ana Medem or one of the other five top topics, please follow the links provided.

For the future, what I really need to do to attract a larger audience via Google, is to cultivate more eccentric topics and to flag them up in my titles. Paradoxical but true. I should start a series about obscure composers right now.

favourite films of 09

... looking back at the movies I've seen on the big screen this year, there are a few clear favourites (with links to blog entries):

Sin nombre (a rare case of a movie that I find both deeply depressing and still loveable. Most disturbing is the observation how close the violent gang is to what we call civilised society. We've just delegated the violence bit to the armed forces.)

Fish Tank Not all the movies I watch are in Spanish, you see ...

Broken embraces ... though around half of them are, in fact.

oh, and Vicky Cristina Barcelona was great, too.

shall I dare to list favourites of the noughties as well ? too much trouble to check through systematically, but Almodovar's Volver would certainly feature in the top 10, as well as Medem's Lucia y el sexo. Cedric Klapisch's Auberge Espagnole is one of my all time favourites. Fatih Akin's Gegen die Wand (head-on) springs to mind, as do Good-bye Lenin and Eternal Sunshine of the Spotless Mind, and we mustn't forget Amelie, which I think came out just after the millennium ...

So I guess it's been a good year, and decade, if we leave aside all the politics and wars.

Caotica Ana

Julio Medem's 6th dramatic film is a feminist travelogue in time and space. As the heroine travels away from the cave on an island (features reminiscent of Lucia) where she grew up, she becomes aware of a connection to other women who lived before her and died a violent death.

A review in epd-film this month calls the movie "a dream as described by a mathematician". As usual Medem brings his very own geometry of time and space, with multiple layers of philosophy that one has to peel apart by repeated viewing.

What's new here is the strong presence of art. Ana's paintings in the film are in reality those of the director's sister, Ana Medem, who died in an accident in 2000. Over 50 other artists have contributed work that can be seen in the film.

Another revelation is the lead actress Manuela Velles, with her debut performance. Celebrated by the spanish press as "Medem's new muse", she does have the quiet radiance of a typical Medem heroine and reminded me very much of Emma Suarez who appeared in his first three films.

Links related to the movie can be found in its Wikipedia entry

julio medem

I'm a huge fan of the small but exquisite oeuvre of spanish writer/director Julio Medem, so I was a bit pissed off to find out this week that his latest movie, Caotica Ana, doesn't seem to be getting a UK release. It's been released in Spain in August 07 and in various countries since (Germany due for November), but the IMDB has no release date for the UK. :(

Looks like this country is getting more insular by the minute ... When Le Clezio got the Nobel prize for literature a couple of weeks ago, it emerged that none of his books are in print in the UK at the moment. We've got American TV on 900 channels, what do we need European books and movies for ?