PANAMÁ IFF—THE LINE-UP: Films From the Isthmus & International Showcase

When Thomas Elsaesser and I conversed about the rationale behind film festivals programming sidebars of national cinemas, he advised: "Now, that's where—on one hand—they need the festival to be a national showcase, as in Rotterdam. Rotterdam is the most important festival for Dutch filmmakers, not because they're shown in competition but because the festival always programs a sidebar to showcase Dutch films, as indeed in Toronto it's very important to bring together the Canadian films—the English-speaking and the French-speaking; it's the only time they get together—to show their work, their films, to the international critics and hopefully distributors as well. So the festivals always had—at least recently—this double function: it's a showcase for the national but it's also there to bring constituents or, if you like, actors that are both part of the international film industry and filmmaking, and not part of it."

Indeed, Henk Van der Kolk—the co-founder of the Toronto International Film Festival (TIFF)—confirmed in his comments to Screen Daily that in 1976 Canada was considered part of the American domestic market with most Canadians accustomed to American film. "In '76," Van der Kolk remembered, "our press had no interest in us as Canadian filmmakers. So we held a film festival to bring the world to us." All these years later, TIFF successfully boasts three annual programmes that focus specifically on Canadian output: Canada First, which introduces the work of first-time Canadian filmmakers; Short Cuts Canada, which showcases short documentary, animated or narrative films from emerging and established filmmakers across Canada; and Canada Open Vault, which offers special presentations of recently restored, iconic, Canadian films.

The Dutch-born Canadian Van der Kolk has now retired to the Republic of Panamá—though in his case retirement is a relative term—and along with his son-in-law Canadian businessman Rob Brown, Van der Kolk has applied his creative energies to co-founding the Panamá International Film Festival (Panamá IFF) with somewhat the same incentive that inspired him back in 1976 to establish a forum for Canadian film, only now he and his programming team have turned the spotlight on films from the Isthmus, with an attentive eye towards foreign investment in local production.

As stated at the festival's website: "The Panamanian section of IFF Panamá will show samples of interesting works that reflect an emerging cinematic movement from Panamá, that yearns to be seen and heard. From iconic figures of the Panamanian popular culture to the poetry of the pristine culture of San Blas islands, these productions will show that there is an authentic local voice in this medium that is just getting started." But true to Elsaesser's comment above that an international film festival serves a "double function", Panamá IFF has enhanced the spectacular dimension of its line-up with some of the best transnational work currently or recently circulating on the international film festival circuit. The following program capsules are adapted from Panamá IFF's website.

FILMS FROM THE ISTHMUS

Chance, dir. Abner Benaim (Panamá / Colombia, 2009)—What happens when the maids of a wealthy household stand their ground against what they see as exploitation? Well, you have material for a great comedy, especially if your story takes place in Latin America, where values get pressure from the need to keep appearances and feign your status. Director Abner Benaim keeps his approach light enough to make room for the natural flow of the characters, who navigate complex relationships and power structures that seem unchangeable but where there's always moments of irony, relief, sarcasm and hilarity. Toña y Paquita (Rosa Lorenzo and Aida Morales), the two main maids of the story are thoroughly believable and deal with their frustrations, dreams and daily work in a way that clearly elicits some traits of our Latin culture. Official site. IMDb. Facebook.

At Variety, Ronnie Scheib writes: "There's no dearth of films about maids who turn on their masters, from the bluntly titled Murderous Maids to Claude Chabrol's La Ceremonie, but rarely is this particular form of class warfare staged as outright farce. Abner Benaim's first fiction feature, Chance, concerning two disgruntled domestics who hold their employers hostage, proves the exception. Pic's satirical strokes often play too broadly, but when one of the captors hauls off the lady of the house to help hawk heirlooms, the shifting femme-on-femme interaction raises the comic stakes exponentially." At Culture Catch, Brandon Judell contextualizes the film's farcical narrative with some sober observations: "The richest 20 percent of Panamanians control 50% of the country's wealth. 48% percent of the country lives in poverty, and 9.8% percent cope with extreme poverty. Additionally, according to the Encyclopedia of the Nations, "regulations on the minimum wage, social security provisions, and working conditions are rarely enforced by the government which means that many workers are unable to earn even the minimum wage." Judell praises Chance as a "hard-hitting, anti-bourgeois comedy" that remains "consistently entertaining" and proves "a thoughtful, intelligent demonstration that a political allegory can be extremely funny."

Curundú, dir. Ana Endara Milsov (Panamá, 2007)—Kenneth is a lively inhabitant of the Curundú neighborhood in Panama City. Describing himself as "an almost retired lowlife", he is more of a photographer for his neighbors and a versatile storyteller, who gladly takes on the role of guide for this documentary. Through his lens and the open participation of the residents, the audience gains unrestricted access to one of the most notorious red zones of the capital, where all the signs of prolonged abandonment by the state are found. But beyond poverty, prejudice and the continuous feeling of uncertainty, the locals prove how hope is always stronger than adversity and how a real-life community grows even against the deepest indifference from the rest of society. Curundú takes its name from the river that runs through it, a former border to separate the Panamanian State from the Canal Zone, administered by the United States until 1980. The testimonies offered by Kenneth's family, friends and neighbors were collected by director Ana Endara Mislov over a year of shooting, and show how the lack of opportunities pushes the community into further isolation, giving space for violence, low scholarship and illicit activities, among other problems to become the norm. Official site.

Hora menos / Hour Less, dir. Frank Spano (Spain / Venezuela, 2011)—Hour Less is the moving story of two women who traveled from Venezuela to Spain after the tragic events of Vargas in 1999. Considered one of the worst catastrophes in Venezuelan history, after heavy rains a mud avalanche buried 15,000 people in the town of La Guaira. Isabel, a 49-year-old nurse and Yudeixi, who is 16 years old, travel together to Canarias as refugees after the avalanche. Fate forces them to share their circumstances and their new reality. Alfredo is in the middle of that relationship making things even more complicated. This emotional drama is the cinematographic debut of Panamanian / Venezuelan actor and director Frank Spano, and was twice awarded at Madrid Imagen in 2011. The film has important musical assets like the Venezuelan Aquiles Baez, guitar player and composer, and the Panamanian Roberto Blades, who sings the original track of the film. IMDb. Facebook.

Marimbas del infierno / Marimbas From Hell, dir. Julio Hernández Cordón (Guatemala / Mexico / France, 2010)—Don Alfonso is a marimba player who must abandon his family and music group in order to protect the instrument that has accompanied him for over 20 years. Gang members have extorted him and threatened to destroy his daily bread-earning tool, but he is determined to give life to his marimba in a city surrounded by danger. It is this path that leads our main character to embark on a project that mixes heavy metal with the unique folkloric and traditional sound of his instrument. Marimbas from Hell is the second feature film by Guatemalan director Julio Hernández Cordón (Gasolina, 2006). The film is outstanding for its frenetic rhythm and its absurd and disconcerting performances, which are at the same time incredibly fun and charismatic. Winner of Best Picture at the Morelia Film Festival. Panamá IFF has likewise programmed Marimbas into its Experimental Corner. IMDb. Facebook.

Although Robert Koehler at Variety dismisses the film as "an elaborate doodle", Danny Kasman at MUBI characterizes Marimbas From Hell as a "slight and friendly mixture of drollness, real life melancholy, art-house minimalism and third-world doc interest."

Ruta de la luna / Route of the Moon, dir. Juan Sebastian Jacome (Panamá / Ecuador, 2012)—See write-up here.

Los colores de la montaña / The Colors of the Mountain, dir. César Arbelaez (Colombia / Panamá, 2011)—See write-up here.

Los puños de una nación / The Fists Of A Nation, dir. Pituka Ortega Heilbron (Panamá, 2006)—The first feature documentary by Pituka Heilbron explores issues of identity and collective memory by intertwining the life-story of Panamá's most remembered box champion, Roberto aka "Hands of Stone" Durán and the lengthy process that led to the restitution of the Canal to the country by the United States. By the mid 1970s Durán was on the rise, a street kid from the populous Chorrillo neighborhood who was determined to make it all the way to the top so that he could get his family out of poverty. The negotiation of the treaties that would give the control of the Canal back to Panamá was also getting steam and General Omar Torrijos (then head of state) reinforced widespread support of his lead by channeling the sport icon's struggle towards the public mind. Durán's fights stopped the country, and the epic narrative that unites the hopes of millions reaches its peak with the momentous challenge of the United States's own Sugar Ray Leonard for the welterweight world title. Durán was made a Latin American hero that boosted the region's self-esteem, in times of the gross incursions of the Reagan administration. Official site. IMDb.

Burwa dii Ewo / The Wind and the Water, dir. Vero Bollow & The Igar Yala Collective (Panamá, 2008)—Young Machi came to Panama City from Guna Yala, where he was born and raised, hearing about the secrets of the Sahilas, the wise men of his indigenous community. During his journey he feels the shock of urban life, but also meets Rosy, a girl from the same island who lives with her parents in the capital and—by virtue of her more assimilated upbringing—has mixed feelings regarding her identity. Celebrating her fifteen birthday and the memory of a recently decreased member of her family, Rosy travels back to the motherland. The young couple's encounter deepens but so do the challenges of finding love and themselves in an ever-changing environment. With this simple but powerful coming of age story the local production collective Igar Yala gives voice to the troubles of often forgotten and alienated minorities, and renews love and respect of the earth as the center of culture, diversity and memory. The Wind and the Water premiered at the Sundance Film Festival and has become the most internationally acclaimed Panamanian film in history.

At Variety, Robert Koehler assesses: "Part of a trend in collectively made Latin American films, The Wind and the Water is an unusual work hatched by young Panamanians inside and outside the country's indigenous Kuna tribe. Crudely made political romance pitting young heartthrobs against the big, bad corporation plays like a wan workshop pic, but could be the basis for future prospects in a Central American country with little previous moviemaking activity."

INTERNATIONAL SHOWCASE

A Dangerous Method, dir. David Cronenberg (Canada / Germany, 2011)—A carefully executed period piece that explores, in Cronenberg's signature tense and chilling way, the peculiar relationship between Carl Jung (Michael Fassbender), Sigmund Freud (Viggo Mortensen) and a hysterical patient (Keira Knightley). The film focuses on how these relationships challenged and defined modern psychoanalysis. Official site. IMDb. Wikipedia. Facebook.

Jodaeiye Nader az Simin / A Separation, dir. Asghar Farhadi (Iran, 2011)—Simin and Nader, a middle-aged couple struggling with their relationship, contemplate the idea of emigrating from their native Iran to hopefully give their young daughter better life opportunities. Things come to a halt when Nader decides to stay to look after his ailing father, and Simin moves to her mother's home and starts putting distance between them while suing for divorce. Nader then hires Razieh, a married, religious woman from a poorer background whose strong beliefs put her at odds with the tasking demands of the older, Alzheimer's disease-ridden patient. The subsequent fallout between Nader and Razieh affects all the characters and questions their ideas on loyalty, truth and commitment. This bold and complex piece has been widely acclaimed since its Tehran premiere last year and won the first Iranian Oscar® ever for Best Foreign Film. Focusing on the intricate social divides that exist inside contemporary Iran, it has impeccable performances and a remarkable formal unity that makes it a timeless, essential tale. Official site. IMDb. Wikipedia. Facebook.

Hearat Shulayim / Footnote, dir. Joseph Cedar (Israel, 2011)—Rivalry between father and son in the midst of a Talmudic research is the story behind Footnote, an extraordinary Israeli film that challenges filial loyalty through study of the text that comprises the oral tradition of the Hebrew Law. In Joseph Cedar's film, the father—a purist who has dedicated his life to his work—crosses academic paths with his son, a very successful university professor, recognized for his intelligence and kindness. Father and son are both authentic in their determination to achieve particular research methods and their competition is cruel in their quest for excellence. The film's well-balanced humor and thorough description of Hebrew culture were recognized during the 64th Cannes Film Festival, where Footnote was awarded Best Screenplay. Official site. IMDb. Wikipedia. Facebook.

Le Havre, dir. Aki Kaurismäki (Finland / France / Germany, 2011)—A famous bohemian writer, voluntarily exiled at the port of Le Havre in France, fights against the State to disallow the police from taking an immigrant boy who accidentally entered his life. Meanwhile, his wife, with whom he humbly lives, grows ill. His neighbors' solidarity and his determination will be key factors in achieving his goal. This is a film with intelligent humor, characteristic of the geniality of Aki Kaurismäki. Warm and reflective, with outstanding performances, Le Havre communicates a slight utopist optimism that is lived throughout the story. Between comedy and modern drama, the film gives a clear picture of immigration in Europe. The film was nominated for three César awards, and received the FIPRESCI prize in the last edition of the Cannes Film Festival. Official site. IMDb. Wikipedia. Facebook.

LUV, dir. Sheldon Candis (United States, 2011)—In an attempt to redeem himself, an ex-convict seeks getting closer to his 11-year-old nephew by taking him on a business trip. Without realizing it, both are swept into the dark past of the ex-convict. For the boy, the encounter with his uncle entails discovering an unpleasant reality while spending an intense day on the streets of Baltimore. This film debut for director Sheldon Candis turned into one of the most acclaimed movies in the last edition of the Sundance Film Festival because of its honest, daring, and true portrait of the social problems facing many cities of the world today. The cast of LUV, a fable about the difficult life of gangsters, includes United States rapper Common and veteran actors Danny Glover, Charles Dutton, and Dennis Haysbert. Candis' story is composed of struggle, pain, and suffering; yet, is able to capture the public with 11-year-old Michael Rainey, Jr.'s firm and sensitive portrayal of the young boy. LUV is one of Panamá IFF's Red Carpet galas. IMDb.

Monsieur Lazhar / Mr. Lazhar, dir. Philippe Falardeau (Canada / Germany / United Kingdom / Switzerland, 2011)—Director Philippe Falardeau looks into the education system from the perspective of a mature Algerian substitute teacher, immigrant in a North American city. While sharing with his students the main lessons of life and death, of being here and now, this adult and his young students will learn together that pain can hit with all its might, but sooner or later one can heal the wounds and move forward. This story, which is set in Montreal, Canada, is also the encounter between two worlds, East and West, demonstrating that education and communication allow human beings to break the chains of prejudice. Monsieur Lazhar received an Oscar® nomination for Best Foreign Film. It was also applauded at the Toronto, Locarno and Valladolid film festivals. Official site. IMDb. Wikipedia. Facebook.

Pina, dir. Wim Wenders (Germany / France / United Kingdom, 2010)—Wim Wenders, a major figure in world filmmaking for over 30 years, describes attending a show by Pina Bausch's Tanztheatre Wuppertal with a girlfriend and going from mild apathy to enthralled excitement in a matter of minutes. Even though he was young and already obsessed with cinema, he was almost brought to tears with the immediacy and visceral qualities of contemporary dance. He approached Pina and suggested they collaborate on a film about her. She said yes with a condition: no interviews. Time and life and projects got inbetween them and his dream of capturing the sheer intensity of Pina's work. He waited until he had the proper means to achieve his goal but then—right when they started shooting—the mythic choreographer passed away. The rest is the splendid film IFF Panamá is proud to present: dancers of different generations in the company perform for the camera what they feel they learned from Pina, in Wuppertal settings as well as in the theater where they usually showcase their work. It is hard to imagine a better, more heart-rending homage to the visionary woman who teaches us silent ways to deal with our deepest, strongest feelings and emotions. My interview with Wim Wenders has been previously published at MUBI. Official site. IMDb. Wikipedia. Facebook.

Poetry, dir. Lee Chang Dong (South Korea, 2010)—Mija is a very peculiar old woman who takes care of her 16-year-old grandson and who is very proud of her surroundings in her little Korean town. She decides to realize her old dream of writing a poem so she registers in a poetry course at a community center. The chain of events that impact her life will make her discover bitterness among beauty and will change the course of her life. This jewel of Korean cinema won Best Screenplay at Cannes and was applauded by the audience and the critics for the impeccable performance of Jeon-hie Yung as Mija. The film has also been awarded Best Director at the last edition of the Asia Pacific Screen Awards, the Grand Bells Awards of South Korea, and two mentions from the critics of London, among others. Official site. IMDb. Wikipedia.

Superclásico, dir. Ole Christian Madsen (Denmark, 2011)—Depressed and almost-broke Christian has probably seen better times: his shop is not doing that well and his runaway wife Anna is planning to marry her new lover, a younger Argentinean soccer star on the rise. He is alone with his teenage son Oscar, who sympathizes while keeping a safe distance from his Dad's diminishing spirits. But this will all soon change when Christian decides to face Anna and give their marriage one last chance, which means leaving Denmark and traveling to Buenos Aires for the first time. This self-reflective comedy successfully plays with the clichés with which it is liberally seasoned, but also feels like a sincere love letter to the South American capital, where Oscar falls madly in love with a beautiful tour guide, and Christian goes through an improbable self-discovery after reaching the depths of despair. He does get a bit of help in restoring his manhood from a local maid who can't stand self-pity in a hilarious scene that sets the "anything can happen" tone, but to Christian's credit he reaches out to the city through wine and tango, and even gets to understand the insane Argentine passion for soccer. IMDb. Wikipedia.

Le Gamin au Velo / The Kid With A Bike, dir. Jean-Pierre & Luc Dardenne (Belgium / France / Italy, 2011)—Eleven-year-old Cyril can hardly conceal his anger after he reluctantly learns his parents have abandoned him. He believed his young father when he said he would come back for him. Instead, his deadbeat dad leaves him in a state-run boys' home, without even leaving an address where Cyril might locate him. This kid is determined to find him, however, and he receives unexpected help from Samantha, a local hairdresser who he meets by chance. Her kindness gives Cyril (and the audience) an opportunity to believe that there are possibilities for everybody who's willing to heal, even in the direst adversities. Jean Pierre and Luc Dardenne are Belgium's most acclaimed filmmakers from the last few years, known for an unflinching, almost documentary-style realism that deals with urban, detached settings that push their stories and characters to the limits of human flaws and conflicts, but also of forgiveness and commitment. The ethical quandaries in their narratives point to timeless moral dilemmas, with a keen eye for the fears and qualities that ultimately make us what we are. Official site. IMDb. Wikipedia. Facebook.

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PANAMÁ IFF—THE LINE-UP: First Time Directors and IberoAmerican Panorama

The first public announcement of the lineup for the Panama International Film Festival (Panamá IFF) was held March 8, 2012 at Casco Viejo's National Theater and included a rich program of films grouped into nine wide-ranging sidebars. The following program capsules are adapted from Panama IFF's website.

FIRST TIME DIRECTORS

Distancia / Distance, dir. Sergio Ramírez (Guatemala, 2010)—With over 150,000 killed, 45,000 disappeared, and a million people internally displaced over 30 years of ruthless war, the statistics of horror are even more harrowing when put in the context of a small country such as Guatemala, which didn't surpass 10 million inhabitants during the time of these events. A delicate and moving fiction portrait with an almost documentary precision and aching honesty, Distance tells the story of Tomás Choc, an older man who learns that his three-year-old daughter—who was taken from him during a military incursion on their K'iche' community—is still alive. Tomás decides to take a long trip to finally meet her after 20 years of separation.

Fecha de caducidad / Expiration Date, dir. Kenya Márquez (Mexico, 2011)—Ramona is a widow whose whole world changed when her only child disappeared. The only clue she has to find him is a minor cut she caused him when clipping his toenails. While looking for her son in desperation she meets the enigmatic Mariana, and at the morgue, the pathetic good-for-nothing Genaro. Expiration Date won the Grand Jury Prize at the 2012 Miami International Film Festival. IMDb. Facebook.

Las Acacias, dir. Pablo Giorgelli (Argentina, 2011)—Rubén drives his truck from Asunción, Paraguay to Buenos Aires, Argentina. In this journey of 1,500 kilometers, he must take Jacinta and her five-month-old daughter, Anahí. The result of this trip turns out to be a triumph of the heart. It's clear to me why, at this point, Argentine filmmaker Pablo Giorgelli's debut feature Las Acacias has won 20+ awards on the festival circuit, including the Camera D'Or at the Cannes Film Festival. Las Acacias tells a spare but resonant story, hewing away all excess to reveal perfect sentiment. A film about fathers and loneliness and transformation; it is everything I love about Latin American cinema. Most audiences watching Las Acacias will presume it was easily made with a handheld camera, a couple of actors and a truck; but, this is the elegance of Pablo Giorgelli's artistry: he is a master at complicated simplicity. IMDb. Facebook. Wikipedia.

 Octubre / October, dir. Diego Vega & Daniel Vega (Peru, 2010)—This award-winning film centers on Clemente, a middle aged loner who has made a living for years as a moneylender, a job that suits his almost neurotic, selfish way of seeing life. A master in taking advantage of people going through rough patches, Clemente is about to face a challenge for which he is clearly unprepared when he is entrusted with a baby girl. Enter Sofía, a devoted neighbor who can't help but care. As she becomes involved in Clemente's life, she will open a window for him to see beyond his own immediate needs, and maybe even start sharing other people's hopes and small joys. My interview with Diego Vega at October's North American premiere at the 2010 Toronto International Film Festival (TIFF) was published earlier on The Evening Class. IMDb. Facebook. Wikipedia.

Rompecabezas / Puzzle, dir. Natalia Smirnoff (Argentina, 2010)—Puzzle tells the story of María del Carmen (María Onetto), a woman whose main purpose in life is taking care of her husband and children. Her routine has a drastic change when she receives a puzzle as a present on her 50th birthday. She's as surprised as everybody in her home with the natural talent she shows at solving puzzles, and begins to work towards winning an important national tournament. Puzzle won Best First Film at the 2011 Argentinean Film Critics Association Awards and Best Screenplay at the 2011 Cartagena Film Festival. IMDb. Wikipedia.

At Variety, Jay Weissberg described "this femme-skewed chamber piece [as] a low-key charmer for auds open to its honest subtleties, boosted in no small part by María Onetto's beautifully modulated performance." At The Flickering Wall, Jorge Mourinha concurred that Puzzle is a "sensible, charming character study that effortlessly overcomes its slight narrative through attentive performances and handling." At Slant, Nick Schager concluded that "the film ultimately recognizes that liberating escape—or others' acceptance of new social-order dynamics—is usually the stuff of daydreams, and that the best subjugated individuals can often hope for is simply an opportunity to carve out a small, personal nook for themselves."

Ruta de la luna / Route of the Moon, dir. Juan Sebastian Jacome (Panama / Ecuador, 2012)—Tito, an introverted bowling champion must, suddenly and against his will, travel from his native Panama to San José in Costa Rica to take care of Cesar, his father who has fallen ill. They have a disaffected relationship. Cesar and Tito barely know each other. Tito's only wish is to go back to Panama as soon as possible to be able to participate in a Bowling Tournament, but Cesar has different plans for him. Route of the Moon boasts its world premiere at Panama IFF. Official site. IMDb. Facebook.

Las malas intenciones / The Bad Intentions, dir. Rosario García Montero (Peru / Germany, 2011)—Only Cayetana knows what is going on inside her head. It's not just anger at her absent father or her pretentious high-class stepfather and mom, for whom she seems almost invisible. There is also her obsession with painful death, with the gruesome battles, the heroes of the independence wars, and the experiments with physical suffering and furtive stealing, that have consequences she doesn't seem willing to understand. In her loneliness, the intelligent and gloomy 8-year-old decides her life will end as soon as her little brother is born. As this happens, her family also remains oblivious to the change that's breeding in the mountains, where guerrilla forces prepare to take on the establishment for its disregard of the poor. A trip to the beach might be the beginning of a true journey for Cayetana. This offbeat drama tackles the tumultuous Peru of the early '80s through the point of view of a kid in need of a real connection and a new outlook on the life that surrounds her. It won amongst others the best Latin American Feature Film Award at the Mar del Plata Film Festival. Official site [Spanish]. IMDb. Facebook. Wikipedia.

At Variety, Alissa Simon describes The Bad Intentions as "atmospheric" and "death-haunted" but claims the film offers more to admire than engage, bearing seemingly stylistic leanings towards Argentine auteur Lucrecia Martel "with realist, claustrophobic slice-of-life visuals that offer viewers only sparse background information and few emotional hooks." At The House Next Door / Slant, Oscar Moralde praises Montero's "nuanced portrait of childhood, clear-eyed yet sympathetic" that uses the terrible violence of The Shining Path as "the backdrop for a darkly comic portrait of Cayetana's morbid childhood." At Smells Like Screen Spirit, Don Simpson writes: "Garcia-Montero's film functions as an absurd allegory for bourgeois feelings of ambivalence towards an uncertain future."

Los colores de la montaña / The Colors of the Mountain, dir. Carlos César Arbeláez (Colombia / Panama, 2011)—Manuel is a nine-year-old boy who dreams of becoming a great goalkeeper. Ernesto, his father, gets him a new ball for his birthday; but the ball falls in a mined field that same day. Manuel convinces his two best friends, Julián and Poca Luz, to help him recover the ball: an adventure for these kids that live amidst the armed conflict in Colombia. Arbeláez was given the New Director's award at the 2010 San Sebastian Film Festival. The Colors of the Mountain also won Best Colombian Feature at the 2011 Bogota Film Festival and Best Screenplay at the 2011 Los Angeles Latino International Film Festival. IMDb. Facebook. Wikipedia.

At Eye For Film, Amber Wilkinson writes: "Shot almost entirely from the children's perspective, Arbeláez tackles universal themes of conflict and its impact on ordinary people without getting mired in specific politics. He deftly shows how quickly normality can disintegrate when conflict appears on the horizon. And despite having serious subject matter, he has a lightness of touch, an avoidance of outright displays of violence and an eye for the comedic that means older children could enjoy this as much as adults." At Film Lounge, Neil Young praises the "outstandingly fresh child-performance in the central role by pint-sized newcomer Hernán Mauricio Ocampo (a real find)" and claims that Ocampo's work was as good as anything he saw from an adult actor at the San Sebastian Film Festival. At Slant, Chuck Bowen describes The Colors of the Mountain as "a poetic and striking experience" and praises Arbeláez's understanding of "the succinct power of images."

El Estudiante / The Student, dir. Santiago Mitre (Argentina, 2011)—Upon arriving in Buenos Aires from a small Argentinean town to attend university, Roque Espinosa soon gets involved in the political moves that are quietly shaking his faculty. He proves himself worthy of the trust but will face further ethical questions surrounding his militancy. My TIFF 2011 interview with Santiago Mitre was previously published at MUBI. IMDb. Facebook.

IBEROAMERICAN PANORAMA

Sangue do meu Sangue / Blood of My Blood, dir. João Canijo (Portugal, 2011)—This is a story of passion, adultery, incest and drugs from the reknown Portuguese director João Canijo. In Blood of my Blood, Marcia is a single mother of two, who works as a cook and shares her house with her sister Ivette. Claudia, Marcia's daughter falls in love with a married man, many years her senior; an affair that leads to disaster. Winner of the FIPRESCI prize at the 2011 San Sebastián International Film Festival. IMDb. Facebook. Wikipedia.

As Diana Sanchez synopsized for TIFF 2011: "Magnificently acted and orchestrated, João Canijo's family saga, Blood of my Blood, depicts the harshness of life in inner city Lisbon and the sacrifices that two women are willing to make for their family. Marcia is determined to end the cycle of poverty for her family and when she discovers that her daughter is dating an older professor, she will stop at nothing to end this unwelcome relationship." At Variety, Robert Koehler concedes the acting is "gifted" but, otherwise, finds Blood of My Blood to be "an overlong portrait of a family living in one of Lisbon's rougher districts" whose "actual material consists of little more than the customary tropes found in many urban melodramas." His final impression is that Blood of My Blood "is, fundamentally, a high-class telenovela." At The Flickering Wall, Jorge Mourinha counters: "Contemporary Portuguese cinema finds another potential breakout film in João Canijo's eighth theatrical feature—a remarkable dive into a struggling working-class family that extends the director's fascination with the structure of classical tragedy into what is possibly his masterpiece. Undoubtedly, some will look at the convoluted comings and goings of this family drama as high-end soap-opera miserablism with a side order of voyeurism; but that doesn't take into account both Mr. Canijo's poised handling of the scenes (mostly captured in long takes unfolding before a discreetly moving camera), and the astoundingly naturalistic performances of the ensemble cast, who had a hand in structuring and developing the shooting script through a series of workshopped improvisations à la Mike Leigh."

After watching the U.S. premiere of Blood of My Blood at the 2012 Palm Springs International Film Festival (PSIFF), film companion Frako Loden turned to me and quipped, "What's a mother to do?" I responded by quoting Eleanor of Aquitane in The Lion In Winter: "Ah well, what family doesn't have its ups and downs?" As prurient as a telenovela, Canijo's sprawling overblown family narrative is redeemed by an effectively claustrophobic sound score and visual stylistics that overlap frames as near approximations of split screen, creating a tense soap opera dense with texture. With so much going on—drug crimes, sibling rivalries, incest, teenage pregnancy, you name it—the family unit becomes a site of exposure and suppression. There's no privacy to be had within this family.

Bonsái, dir. Cristián Jiménez (Chile / France / Argentina / Portugal, 2011)—Julio’s story might not be that common. Out of his fear of sharing with his partner Blanca the fact that he didn't get the job he was counting on as a typist for a famous author's new manuscript, he starts writing his own novel, in which he recounts the relationship he had with Emilia, a fellow literature student eight years before. His memories set off a soul-searching process, as Julio realizes that he might just still have to find that woman he hasn’t heard of in ages. Director Cristián Jiménez treats the original novel by Alejandro Zambra in a careful manner, visible in the detailed cinematography and thoughtful use of literary devices for pacing. Going from adult, present-time Julio who is probably facing disenchantment, while taking care of the title's delicate plant, to the intense feelings and the awkwardness of youthful romance, the story builds on the apparent need for petty white lies to be part of growing old. The solid performances from the three leads anchor a well-executed drama that will surely gain notoriety for Jiménez, after the film premiered in Cannes and won Best Ibero-American Feature at the Miami Film Festival, 2012. IMDb. Wikipedia.

At Variety, Robert Koehler characterizes Bonsái as "one of the finest accomplishments from the freewheeling new generation of Chilean filmmakers", adding that by turns it is "gentle, deadpan, droll and sarcastic." At The House Next Door / Slant, Oscar Moralde writes that Bonsái "throws out suspense as one of its tools with a flourish that makes it obvious it has far more at its disposal." Finessing the film's title, Moralde adds: "It may come as no surprise that the titular tree is used as a metaphor for Julio's writing; he's told that the goal of bonsai is to 'reproduce the effects of nature on the tree,' a process which aptly describes what the film accomplishes as well." At Eye For Film, Amber Wilkinson considers Jiménez "an imaginative—if occasionally unruly—talent to watch" and states "the film still has considerable humor and charm, particularly in its portrayal of the fumblings, posturings and overexuberance of student love."

Chico & Rita, dir. Fernando Trueba, Javier Mariscal, Toño Errando (Spain / United Kingdom, 2010)—Oscar® winner Fernando Trueba, who put together the now classic music documentary Calle 54 in 2000, has a history with Latin Jazz and its diverse roots. It comes as no surprise that he went all the way with the bold idea of producing an animated feature set mainly in Cuba in the 1940s and '50s. Chico & Rita is one of Panama IFF's Red Carpet galas. It won Spain's Goya Award in 2011 for best animated feature film. Official site. IMDb. Facebook. Wikipedia.

At Variety, Peter DeBruge is troubled by Chico & Rita's "real 'good tunes / bad toons' quandary" and claims its screenplay "would have made a perfectly charming live-action movie", especially without what he considers "lousy" animation. Roger Ebert likewise suggests that the reason for Chico & Rita's 2012 Oscar® nomination for Best Animated Feature "is the story and the music ... not the animation." At Popcorn Reel, by contrast, Omar Moore is uninhibited in his enthusiasm. He describes Chico & Rita as "incredibly rich in detail and teaming with passion and emotion" and "a beautiful, vibrant love story that pulses with energy and wonderful music." As for its animation? Moore describes it as "a gorgeous, eye-popping spectacle of color and sparkle that pays great tribute to Cuban music and artists, to 1940s and 50s Hollywood, Las Vegas and the glamour and electricity of New York City."

Un cuento chino / Chinese Take-Away, dir. Sebastián Borensztein (Argentina / Spain, 2011)—Roberto, the bad-tempered owner of a hardware store, whose life is cold and monotonous, meets Jun, a Chinese citizen who is thrown out of a taxi near the Buenos Aires airport. The man, who only speaks Mandarin, is picked up by the bitter Roberto, and together they live through unimaginable events which characterize the bizarre relationship between these two characters. The absolute lack of communication between the Chinese and the Argentinean in this comedy keeps the audience drawn in, leading it to discover details about the lives of these two characters. It is a universal story that narrates the encounter between two people of different cultures who come together with feelings of solidarity and justice. Sebastián Borenztein brings out the best of the recognized Argentinean actor Ricardo Darín in this film seen by more than 900,000 people in Argentina. It was the winner of the Goya Prize for Best Iberoamerican Picture and the Marco Aurelio Prize for Best Picture at the International Rome Film Festival. It is one of IFF Panama's red carpet galas. Official site [Spanish]. IMDb. Facebook. Wikipedia.

At Variety, Jonathan Holland praises Chinese Take-Away's "warm heart, affecting final act and a gold-plated perf by the reliable Ricardo Darín", despite other noted reservations. At Eye For Film, Jennie Kermode writes: "Beautfully shot and benefitting from sumptuously detailed set design, Chinese Take-Away is a tragicomic tale that mixes traditional narrative with magical realist vignettes. Darín is superb in the leading role, sympathetic even at his most misanthropic. [Darín]'s meanness is often delightful to watch as a dry humor undercuts the most poignant of scenes."

También la lluvia / Even the Rain, dir. Icíar Bollaín (Spain / Bolivia, 2010)—Even the Rain deals with the relationship between a skeptic film director and an idealist filmmaker as they work together on a project about the conquest of the American continent. While shooting in their main locations in Bolivia, they find themselves in the middle of the indigenous struggle known as the Water Wars. My interview with Icíar Bollaín from the 2011 PSIFF was previously published on The Evening Class. Official site. IMDb. Facebook. Wikipedia.

Habana Eva, dir. Fina Torres (Cuba / Venezuela / France, 2010)—Out of necessity, Eva works in an industrial sewing shop even though what she enjoys doing is putting together more creative models instead of assembly line confections. Her dream: to have money for getting married and design models which will make the people who wear them feel good about themselves. Habana Eva has been one of the great surprises of film festivals in the United States and Latin America. IMDb. Facebook. Wikipedia.

Heleno, dir. José Henrique Fonseca (Brazil, 2011)—José Henrique Fonseca crafts an ambitious and long overdue homage to a central icon in Brazil's 20th century history. Reminiscent of film noir classics, the biopic tells the story of soccer player Heleno de Freitas, following the dramatic arc of rise and fall in a fashion that has gamered the film comparisons to cult film Raging Bull. Just as in Jake LaMotta's story, Heleno suffers his own punishing temperament and erratic love life, which will ultimately get him out of the game forever (an untreated syphilis and the abuse of ether make him an old and sick man who ends his days alone). The sumptuous black and white cinematography presents the chic life of Rio de Janeiro, a jewel city in the 1940's that fell under the spell of sports-royalty. Heleno was no doubt one of the most popular players for his bravura in the field leading the Botafogo team to the top. But the player's story is also that of the world at the time, and WWII kept him from playing in the two world cups he should have won for his century. IMDb. Facebook.

Juan de los muertos / Juan of the Dead, dir. Alejandro Brugues (Cuba / Spain, 2011)—On the day of the anniversary of the Cuban Revolution a mysterious plague unleashes on the streets of Havana, with zombies starting to be seen and multiplying exponentially by the minute. The authorities blame imperialistic maneuvers from the North on the vicious takeover, and are soon overwhelmed by the mounting chaos. The apocalypse seems irreversible. But before all hope is lost an unlikely team is formed that can possibly defeat the odds: Juan, a middle-aged man of unspecific occupation and his pal Lázaro are luckily on a fishing excursion at the beginning of the outbreak. The two men quickly realize there is a business opportunity if they stay alive, and start offering their zombie extermination and removal service to the living that can afford it. "Juan of the Dead, we kill your loved ones" is their slogan. Official site. IMDb.

At Twitch, Josh Hurtado writes: "The film is filled with clever dialogue, plenty of solid gore, the blackest of black humor, and geek humor for miles. There are very inventive zombie kills, including one in particular that involves a truck, a wire, and about three hundred of the undead that it really the piece de resistance of Juan of the Dead." Quiet Earth declares "how much fun it is to see the zombie apocalypse in yet another new locale, and the Havana alleyways, rooftops, tenement buildings, and beachfronts are consistently lush and brim with detail and character."

Lope, dir. Andrucha Waddington (Spain / Brazil, 2010)—Lope is a Spanish production that reenacts the life and works of one of the most important authors of the XVI Century, Félix Lope de Vega Carpio. In the film, Lope de Vega (Alberto Ammann, who also starred in the successful Celda 211) arrives in Madrid, looking to set free his art, the written word. This biopic is narrated with the dynamism of a film super production. With a budget of over thirteen million Euros, it is one of the best of the Spanish film industry. Described as a historical adventure, passionate and exciting—as are the texts of Lope de Vega's feverish imagination—the movie presents his constant struggle to satisfy his desires while love crosses his path. And so this writer's life is presented. The film makes the audience a witness of how Lope learns about love, how he is sought out by officials, jailed, threatened by hit men, and how he triumphs, leaving as legacy the most prolific works of the Golden Century in Spanish Literature. Official website [Spanish]. IMDb. Wikipedia.

At Variety, Jonathan Holland writes, "Wisely playing to its limitations, pic is compact and efficient rather than grand and sweeping, with little adventure but many striking setpieces and a clutch of fine perfs." At The Hollywood Reporter, Deborah Young characterizes Lope as "a classy production that rises above the swashbuckling television costumer it could have been."

Nostalgia de la Luz / Nostalgia For the Light, dir. Patricio Guzmán (Chile / Germany / France, 2010)—This documentary by Patricio Guzmán takes place in Chile's Atacama Desert. It makes a parallel comparison between the exploration of the ends of the galaxy by a group of astronomers through the translucent desert sky and the relentless search by a group of women for the remains of their relatives who disappeared during the dictatorship. My 2010 TIFF interview with Patricio Guzmán has been previously published on MUBI. IMDb. Facebook. Wikipedia.

El gato desaparece / The Cat Vanishes, dir. Carlos Sorin (Argentina, 2011)—Luis, a renowned academic, comes back home after spending time in a psychiatric ward due to a psychotic crisis. His wife Beatriz is happy to have him back, but after their cat Donatello fails to recognize the man and goes missing, the question of whether Luis is completely cured will take life-threatening dimensions. IMDb. Facebook. Wikipedia.

At Variety, Rob Nelson writes: "Playing with '40s-era Hitchcock as a cat would toy with a mouse, Argentine writer-director Carlos Sorin's The Cat Vanishes cleverly updates the likes of Spellbound and Suspicion with its slow-burning tale of a Buenos Aires woman (Beatriz Spelzini) whose fear of her psychologically recovering hubby (Luis Luque) gradually drives her as crazy as he was—and maybe still is. Subtly and acerbically funny, Sorin's pic also works as a dead-serious study of marital mistrust and potentially murderous impulses. This Cat might not have nine lives at the international B.O., but fests far and wide will undoubtedly want to pounce." At The House Next Door / Slant, Joseph Jon Lanthier dubbed The Cat Vanishes as the "first great movie" he'd seen at TIFF 2011. "The film's ambiguity eventually and icily topples over into a definitive reference point of danger," Lanthier writes, "but the action is ruthlessly internalized within Beatriz's shadow of a doubt throughout the most nail-biting sequences."

Las razones del corazón / The Reasons of the Heart, dir. Arturo Ripstein (Mexico / Spain, 2011)—Overwhelmed by monotony and the sense of meaninglessness, Emilia retreats steadily further away from her role as a mother and housewife. She regrets the life she has lived, which she finds as a contrived mise-en-scène of a well to do family that keeps them continuously in the red with creditors, and that has estranged their own disaffected daughter. The joy and hope brought to Emilia by her secret lover are fading as well. The scenery to all this couldn't be more telling: she suffocates in a cold, rundown apartment she never liked but is unable to leave (the almost theatrical setting and tension are masterfully rendered by cinematographer Alejandro Cantú in a stark black and white palette). The day comes when Emilia can't take it anymore: her lover leaves her and the bank takes action on the unpaid debts. It is time for a decision she has been considering for a while; one that can put an end to it all. Veteran Mexican author Arturo Ripstein tries his hand with the timeless question posed by French classic Madame Bovary: How much can we take or do for love? IMDb. Facebook.

La voz dormida / The Sleeping Voice, dir. Benito Zambrano (Spain, 2011)—Pepita (María León) is a young girl from Córdoba, Spain, who leaves her town and goes to Madrid in order to be near her pregnant sister Hortensia (Inma Cuesta), who is in jail during the aftermath of the Spanish Civil War. Hortensia is condemned to death, but her sentencing will take place after she gives birth. Therefore, Pepita moves heaven and earth to receive pardoning for her sister's crime, and to get custody of her baby, instead of having it sent to an orphanage or put up for adoption. Adapted from a novel by Dulce Chacón, this Spanish drama recreates the horrors of the Francoist era. Inma Cuesta, the popular actress from Andalucía, heads the cast of The Sleeping Voice, which was awarded three Goyas for Best Leading Actress, Best Upcoming Actress and Best Song. Official site [Spanish]. IMDb. Facebook.

At Variety, Jonathan Holland observes: "A harrowing drama that transforms the sorry plight of female prisoners in post-Civil War Spain into a bleak examination of man's inhumanity to women, The Sleeping Voice magnificently tells a tale that needs to be told and retold. Shrewdly remaining mainstream while plumbing the depths of grief and violence, this engrossing pic is often unbearably intense in its depiction of atrocities, and affecting in its portrayal of its protags' doomed fight against politics and patriarchy." At The Hollywood Reporter, Deborah Young stages complaints about the film, but admits the "vivid performances by attractive leads María León, who won Best Actress kudos at the San Sebastian festival, and the fiery Inma Cuesta do add interest."

Violeta se fue a los cielos / Violeta Went to Heaven, dir. Andrés Wood (Chile, 2011)—This ambitious portrait of a complex and central figure in last century's Chilean and Latin American popular song and culture threads different timelines and aspects of the multifaceted artist's life, without a linear structure but like the lively quilts (arpilleras) she so loved and got to show to the world. Based on the biography written by her son Angel, the mesmerizing narrative covers Violeta Parra's modest upbringing and the trips she made to the heart of Chile's countryside to research and preserve autochthonous songs that were vanishing from the memory of elder peasants. It follows her on the tour as part of a small circus troupe that performed for miners, the time she spent in communist Poland, her residence in France, and her return home to build the tent where she devoted herself to showcasing and fostering the folkloric arts and national identity. Her contradictions and shortcomings, her romantic life, fears and dreams are all fundamental to complete a poignant and passionate life-story. Winner of the Grand Jury Prize for World Cinema at the Sundance Film Festival, 2012. Official site. IMDb. Facebook. Wikipedia.

At Variety, Jonathan Holland writes: "The intense, remarkable life of the Chilean singer-songwriter Violeta Parra is explored with sensitivity and exquisite lightness of touch in Andrés Wood's Violeta Went to Heaven. Featuring a searching central perf from Francisca Gavilan, this beautifully lensed portrait moves elegantly back and forth in time to limn the life of a woman who perpetually struggled to find her place."

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PANAMÁ IFF—The Founding Of A Film Festival

Recent articles in Forbes and The New York Times have spotlighted Panama City as an up and coming travel destination, kickstarted—no doubt—by the $5.25 billion Panama Canal expansion that's underway and scheduled for completion in 2014, the canal's centenary anniversary. The Republic of Panama regained control of the historic canal situated at the slender waist of the Americas some 12 years ago and the expansion project will not only widen and deepen the existing canal but add two locks, doubling the canal's cargo capacity, and allowing a greater volume and size of ships to pass through the 50-mile long waterway. As underscored by The Times, "those who want to see the waterway as it was originally designed, now is the time."

A further boost to accelerated growth in the region came last October with the passage of the United States-Panama free trade agreement. As noted by The Times: "Other high-profile projects include the construction of three firsts: The Panamera, the first Waldorf Astoria hotel in Latin America (set to open in June 2012); the Trump Ocean Club, the region's tallest building, which opened last summer; and Frank Gehry's first Latin American design, the BioMuseo, a natural history museum scheduled to open in early 2013. Even Panama City's famously dilapidated historic quarter, Casco Viejo, has been transformed. The neighborhood, a tangle of narrow streets, centuries-old houses and neo-colonial government buildings, was designated a Unesco World Heritage site in 1997 and is now a trendy arts district with galleries, coffeehouses, street musicians and some of the city's most stylish restaurants and boutique hotels."

The role of film festivals in advancing and influencing the tourist initiatives of civic and national governments is a vein of film festival studies richly mined by such scholars as Thomas Elsaesser, Marikje de Valck, Dina Iordanova and Regan Rhyne who see the study of film festivals to be "central to understanding the socio-cultural dynamics of global cinema and international cultural exchanges at large" (Iordanova & Rhyne, 2009, Film Festival Yearbook 1: The Festival Circuit, "Introduction", p. 1) and "city marketing" as an essential activity for cities that want to compete in the global arena, with the construction of a positive image becoming one of the key elements in promotional strategies for attracting investment and tourism (de Valck, 2007, Film Festivals: From European Geopolitics to Global Cinephilia, p. 75).

The inaugural Panama International Film Festival (Panamá IFF) [Facebook] will take place in the Capital City from April 26 through May 2, 2012. The event is sponsored by the Ministry of Commerce and Industry of Panama, Tourism Authority of Panama, Panama Film Commission, and private companies. During its week-long run, Panamá IFF will screen more than 50 award-winning films gleaned from prestige festivals around the world, including Cannes, Toronto, Sundance, and San Sebastian, with many of the films' directors converging at the festival to engage audiences in Q&A sessions intent on promoting dialogue and understanding between cultures.

Co-founded by Canadian businessman Rob Brown and his father-in-law Henk Van der Kolk, Panamá IFF seeks to support the promotion of culture in the country, foster the development of local industries, and promote film education. One of its long-range objectives is to build a Festival Center to house both the Festival and an international film school. Such hefty ambitions are not unfamiliar to Van der Kolk who co-founded the Toronto International Film Festival 38 years ago and watched it grow into one of the world's most prestigious film events, bringing millions of dollars into the local economy. Van der Kolk serves as Panamá IFF's Executive Director and has chosen Diana Sanchez as the festival's Artistic Director.

As reported to Screen Daily, the Dutch-born, Panama-based Canadian Van der Kolk "hopes to attract 'culture travelers', a new breed of international festival-goers who have the capital to travel the world enjoying the seventh art, amongst others." Van der Kolk recalled that Canada in 1976 was considered part of the American domestic market with most Canadians accustomed to American film. "In '76," Van der Kolk remembered, "our press had no interest in us as Canadian filmmakers. So we held a film festival to bring the world to us." Currrently, the Panamanian market is composed of 97% American pictures; but, Panamá IFF seeks to spotlight and advance regional filmmaking, not only through local voices but foreign investment. Panama has long held a reputation as a fine place to shoot films, with the The Tailor of Panama (2001) and Quantum of Solace (2008) being two recent films shot on location in Panama's historic Casco Viejo. Hollywood producer Raffaella De Laurentiis, daughter of Dino De Laurentiis, concurs that Panama is an ideal venue for filmmaking, which she believes is destined to become a cultural junction in the region and a platform for new offerings to the world of cinema.

Panamá IFF consists of a number of board members—including De Laurentiis—and creative advisors including Panamanian filmmakers and local entertainment industry representatives, among them Pituka Ortega Heilbron (who has been appointed Co-Director of the festival), Abner Benaim, Luis Pacheco and actor / songwriter Rubén Blades.

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Panamá IFF,

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