À toute vitesse (1996)
Directed by Gaël Morel
Can homosexuality be successfully articulated in society? According to some, homosexuals are doomed to be secluded and restricted to marginalized worlds. As filmmaker, Gaël Morel has often chosen to portray such worlds, enquiring deeply below the surface of what actually means to be an outcast.
In "Le Clan", for example, Morel digs into the lives of outcast youngsters, which share an obvious resemblance to some of the protagonists of "À toute vitesse". There is, however, a much subtler approach of such topics in this film, perhaps as part of André Téchiné's influence (who appears listed in the credits).
Spivak's book "Can the Subaltern Speak?" explains that authority is built upon a specific loci of enunciation. In this film, traditional society has already attributed a certain loci or place to those who dare to defy the heterosexual normative.
Nonetheless, Morel goes much deeper than that. Handsome and talented Quentin is a young writer that has just won an award and is on his way to success. He does have quite an ambivalent position about marginalization. For example, he accuses the French bourgeois of misunderstanding his novel, as he has no intentions of depicting outcasts because for him they are normal people; he affirms that it is the bourgeois who constantly ostracize and discriminate others. Clearly, some of that is truth, as the mesocratic class tends to judge harshly those who do not fit into the symbolic order.
As the film goes on, Quentin starts spending time with Samir, an Algerian boy that is still grieving the loss of his boyfriend; Quentin's tantalizing physic presence serves as cannon fodder for Samir's masturbatory urges as can be explicitly seen in one scene. Will the two boys consummate their passion or is only one of them interested in such consummation? Quentin apparently defends the rights of the Algerians as he publicly accuses acts of racism and violence, but at the same time he despises Samir just as much as he spurns Julie, his girlfriend or Jimmy, his best friend (interpreted by Stéphane Rideau, an actor extremely familiarized with gay productions). Over and over again, Quentin is seen as someone who takes advantage of social unfairness in order to gain publicity for himself, and certainly once he starts making his way in the publishing world he decides to move to Paris, quickly discarding friends and love interests.
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| Dare Dovidjenko |
Jimmy is a jobless guy, with no real prospects of a 'decent' future. And Samir is a boy who barely has enough money to pay the rent. Except for Julie, all other characters are on the edge of poverty or delinquency. They are, however, strong and coherent. Julie trusts in the possibility to have a good relationship whether with Quentin or someone else, Samir decides to defend himself against French fascists that brutally assault him while Jimmy bravely defends Samir even if that means risking his physical integrity. Quentin, on the contrary, is unable to find coherence, his loci of enunciation becomes so firmly inserted in the symbolic order that he loses all true authority. That's how we can understand the lack of commitment in his acts: he has a relationship with Julie but seems willing to let her go as he sees fit; he starts a sentimental relationship with Samir only until he completes enough research for his next book; he supports gays or Algerians only as a marketing strategy, but he is never there when his friends need him. Despise all that, Morel manages to create a fascinating, talented, smart young man that carries the traits of a hero although none of the true virtues.
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| Dare Dovidjenko |
El miércoles de esta semana, en la Galería Lucía de la Puente, se inauguró la muestra “Interrogantes” de Dare Dovidjenko Bozanik, artista croata de amplia trayectoria en el escenario nacional.
Dare Dovidjenko eligió el Perú quizás en su época más convulsa, en los años del terrorismo y la súper inflación; en ese entonces, sus innovadores y curiosos dibujos eran publicados en el suplemento “No”, de la revista “Sí”; a menudo colaboró con cómics de temática experimental, en donde la narrativa visual prevalecía por encima de lo convencional.
Han pasado ya varias décadas desde aquellas épocas, pero Dare continúa experimentando. Su búsqueda, sus interrogantes, ya no se limitan a la expresión plástica ni a la técnica del pincel, sino al mensaje oculto, al contenido de las imágenes que comparte con nosotros.
De manera sutil pero no por ello menos reveladora, los cuadros de Dare nos interrogan también a nosotros, los espectadores, y nos obligan a detenernos, a tomarnos una pausa, y a reflexionar. Con trazos depurados, precisos y de gran realismo, Dare delinea para nosotros el símbolo de pregunta.
A mí particularmente me han encantado la imagen surrealista del caballo reflejado sobre el charco de agua, en un pueblo de la serranía peruana, la bolsa de pan que luce tan amenazante como un cráneo, y el extraordinario juego entre luces y sombras entre dos cuadros que, vistos por separado, parecieran no tener nada en común, pero que juntos sorprenden por su fuerza y cohesión.
March is now over but I did manage to watch one film every day, which is something that I probably won’t be able to do next month, unless I include more short films. I had the opportunity to watch or re-watch classics such as Hitchcock’s Rear Window (1954), Cat on a Hot Tin Roof (1958) and Victim (1961), a brave production and a most controversial film in a difficult time, tackling an aspect of British law that would condemn homosexuals to be locked behind bars. To read a complete review on the latter please check the following IMDB link: http://www.imdb.com/title/tt0055597/usercomments?start=30
Other movies of interest were The Age of Innocence (1993), The Witches of Eastwick (1987), The Hanging Garden (1997) and Prick up Your Ears (1987) a British production based on the life of playwright Joe Orton and his neurotic relationship with an older man.
Now, in the international front we have interesting short-films such as Serene Hunter (2007) and VGL Hung (2007); and also films like Apo tin akri tis polis (1998), from Greece, that try to define nationality and sexuality. To read a complete review on it please check the following IMDB link http://www.imdb.com/title/tt0181547/usercomments?start=10 however a movie like Skin Gang (1999) was a disappointment.
To choose French films this month I decided to focus on Stéphane Rideau a young actor that has worked with great directors, in several films including Les Roseaux Sauvages (1994), a riveting take on sexuality, war, desire and self-discovery (http://www.imdb.com/title/tt0111019/usercomments?start=10); À toute vitesse (1996), a story of a bisexual writer that seems to profit from gay outcasts (http://www.imdb.com/title/tt0118230/usercomments) ; Presque Rien (2000), a story that analyzes the nature of teenage desire and homosexuality (http://www.imdb.com/title/tt0242795/usercomments?start=20).
Other French films of interest were Comme un frère (2005), which deals with narcissism, sexuality and self-discovery (http://www.imdb.com/title/tt0470715/usercomments) and Juste un peu de réconfort (2004), about how to chase the object of our desire (http://www.imdb.com/title/tt0404165/usercomments).
And to finish with the international section I also watched Sugar (2004), a Canadian production inspired by Bruce La Bruce's short stories about a world of male prostitution, heavy drugs and depravation starred by Andre Noble and Brendan Fehr one of the protagonists of the late 90s series Roswell (http://www.imdb.com/title/tt0374252/usercomments?start=10); 2:37 (2006), an Australian film that deals with teenage suicide clearly influenced by Gus Van Sant; Tan Lines (2007) is also an Australian coming-of-age story, that deals with homosexuality in teenagers but done in such a way that it becomes fascinating from the very beginning. 50 ways of saying fabulous (2005) from New Zealand takes on teenage confusion and gender roles (http://www.imdb.com/title/tt0429482/usercomments).
Getting back to American cinema, we have appealing films such as The Imaginarium of Doctor Parnassus (2009) and Dear John (2010). However, my passion for horror films forces me to emphasize other works such as Jennifer’s Body (2009), with lots of supernatural elements but also extraordinary incursions into humor, recommended if only for fans of Megan Fox and hellish creatures. I spit on your grave (2010) is a remake of a suspense story from the 70s, graphic and violent it sure deserves the attention of gore fans. Nevertheless, the best horror film I’ve seen this month is The Signal (2007), a film divided in three parts, directed by three talented filmmakers, each part has a different tone, black humor and suspense mingle perfectly in this highly recommended production.
Although if I had to choose my favorite films of the month I’d probably go with two: the first one would be Charlie Bartlett (2007), starring Anton Yelchin, a young actor that has succeeded in blockbusters such as Star Trek and Terminator Salvation, but that has also acted in independent films like Alpha Dog or series like HBO’s Taken; and other important works like Hearts in Atlantis with Anthony Hopkins. I highly recommend Charlie Bartlett. Do yourself a favor and watch it. And the second one would be Imaginary Heroes (2004), a remarkable story of a gay kid coming to terms with his own sexuality, interpreted by Emile Hirsch, another young actor with very noticeable and relevant roles in other films, definitely recommended too. Latter Days (2003) also includes one of my favorite young actors: Joseph Gordon-Levitt, subtly but firmly it analyzes the daily life of a Mormon teenager that is forced to deny his true sexuality until he meets a boy that exemplifies most of the clichés associated to gay people.
And at last but not least, Winter’s Bone (2010) is an independent American film that shows the dark side and misery of the US without being too preachy about it. I would say that The Fighter (2010) is in the same line, as it presents the reality of an impoverished American town and the ambitions of a boxer that seems doomed to failure. 127 Hours (2010) may not be my favorite Danny Boyle’s work but it has strong and intense moments, and the magnificent performance of James Franco. Invictus (2009) is a good Eastwood film. Unknown (2011) is quite an entertaining thriller that proves the ability of Catalan director Jaume Collat-Serra.
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Terminó el mes de marzo, pero esta vez me las arreglé para ver una película por día. Quizá no logre mantener el ritmo en abril, a menos que incluya más cortometrajes, pero en todo caso en marzo pude ver (o volver a ver) clásicos como Rear Window (1954) de Hitchcock, Cat on a Hot Tin Roof (1958) y Victim (1961) una producción sumamente atrevida para la época, en donde se critica la legislación inglesa que en ese entonces condenaba a los homosexuales a ir a prisión. Para una reseña más detallada lean mi comentario en http://www.imdb.com/title/tt0055597/usercomments?start=30
Otras películas que me llamaron la atención fueron The Age of Innocence (1993), The Witches of Eastwick (1987), The Hanging Garden (1997) y Prick up Your Ears (1987), una adaptación inglesa de la vida del dramaturgo Joe Orton y su neurótica relación con un hombre mayor.
En el frente internacional vi dos buenos cortometrajes Serene Hunter (2007) and VGL Hung (2007); y también películas como Apo tin akri tis polis (1998), de Grecia, en donde la nacionalidad y la sexualidad son redefinidas (http://www.imdb.com/title/tt0181547/usercomments?start=10), lástima que vi también Skin Gang (1999) simplemente decepcionante.
A la hora de elegir películas francesas me concentré en el joven actor Stéphane Rideau que ha trabajado con talentosos directores en películas como Les Roseaux Sauvages (1994), una original interpretación sobre el deseo, la sexualidad y la guerra (http://www.imdb.com/title/tt0111019/usercomments?start=10); À toute vitesse (1996), relata el éxito de un escritor bisexual que aparentemente se aprovecha de gays marginados (http://www.imdb.com/title/tt0118230/usercomments); Presque Rien (2000) indaga sobre el deseo y la homosexualidad en dos adolescentes que se conocen durante el verano (http://www.imdb.com/title/tt0242795/usercomments?start=20).
Otras películas francesas que pude ver fueron Comme un frère (2005) que encuentra una relación entre narcisismo y sexualidad (http://www.imdb.com/title/tt0470715/usercomments) y Juste un peu de réconfort (2004) sobre el significado del objeto de deseo y cómo perseguirlo (http://www.imdb.com/title/tt0404165/usercomments).
Y para acabar con la sección internacional, vi Sugar (2004) una producción canadiense insertada en un mundo de prostitución masculina, drogas duras y deprevación (http://www.imdb.com/title/tt0374252/usercomments?start=10). 2:37 (2006), es una película australiana que aborda el tema del suicidio juvenil, con influencias de Gus Van Sant. Tan Lines (2007), también de Australia, narra la historia de amor entre dos adolescentes homosexuales de una manera tan original y fresca que uno se engancha desde la primera escena. 50 ways of saying fabulous (2005) de Nueva Zelanda es un magnífico trabajo sobre adolescentes confundidos y roles de género invertidos (http://www.imdb.com/title/tt0429482/usercomments).
Regresando a la cinematografía norteamericana vi interesantes películas como The Imaginarium of Doctor Parnassus (2009) y Dear John (2010). Sin embargo, mi pasión por el cine de horror me fuerza a hacer énfasis en Jennifer’s Body (2009) con seres sobrenaturales y Megan Fox en un papel que se adapta muy bien al humor. I spit on your grave (2010) es un remake de una cinta de suspenso de los 70s, ideal para todos los fans del gore. No obstante, la mejor película de terror del mes es The Signal (2007) dirigida por tres cineastas, dividida en tres partes, cada una con un tono particular, suspenso puro, humor negro, etc., realmente recomendable.
Claro que si tuviera que elegir lo mejor del mes ya tengo dos candidatos: Charlie Bartlett (2007) protagonizada por Anton Yelchin, un joven actor que ha tenido éxito en Star Trek o Terminator Salvation, pero que también ha participado en cine independiente (Alpha Dog) o en series de HBO como Taken, así como otros trabajos importantes como Hearts in Atlantis con Anthony Hopkins, si pueden encontrarla, véanla. La otra alternativa sería Imaginary Heroes (2004) con Emile Hirsch, otro joven actor que escoge muy bien sus proyectos, en este caso interpreta a un chico que debe aprender a aceptar su propia sexualidad. Recomendable. Latter Days (2003) incluye a otro de mis actores predilectos Joseph Gordon-Levitt, esta película se enfoca en un joven mormón que se ve obligado a negar su verdadera opción sexual.
Y ya para terminar, también vi Winter’s Bone (2010) un gran ejemplo del cine independiente norteamericano, en la misma vena también se encontraría The Fighter (2010). Otras películas que me gustaron fueron 127 Hours (2010), Invictus (2009) y Unknown (2011).
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