No Film Difficulty Ranking: 3

No is probably the best film about the fall of a modern dictator (Pinochet in Chile).

Why Watch No?
  • To see what life was like in a country where police brutality was not just normal, but expected: Pinochet’s Chile
  • If you work in advertising and want to see how you could change the world
  • Because it’s got Gael Garcia Bernal in the lead role, that guy in Motorcycle Diaries, Amores Perros, Desierto, and many more
  • It’s another great film from Pablo Larrain; for more check out Neruda, Jackie, and Tony Manero
The Breakdown

It’s 1988 in Chile, and Chile is still being lorded over by Pinochet, one of the world’s most repressive dictators. After 16 years in power, growing international pressure has forced Pinochet and the Chilean government to hold a vote where the public can vote ‘No’ for a democracy or ‘Yes’ for another 8 years of Pinochet. Gael Garcia Bernal plays Rene, one of Chile’s top advertising professionals who has been given the opportunity to lead the ‘No’ campaign to end the Pinochet dictatorship.

You’ll see that the team behind the ‘Yes’ and ‘No’ campaigns use completely different advertising tactics. Whilst the ‘Yes’ campaign goes for very obvious propaganda messages depicting Pinochet as a national hero, the ‘No’ campaign message simply tries to depict ‘freedom’ (kind of like your typical Coke or Pepsi ad). If you don’t know anything about advertising, this film is worth watching just to see how people use adverts to influence people.

You’ll also notice that this film looks different from most. To film it, Pablo Larrain used 3/4 inch Sony U-matic magnetic tape, which some might recognise from old TV news shows. It’s grainy look gives the film’s storyline more credibility as it makes it appear more like a documentary film. It made me believe that Rene was an actual person, and that this whole film was based on truth. In reality, it’s only based on a true story.

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Conclusion

No is shot well, has a great story line, and you’ll learn something about Chilean history. It was also nominated for an Academy Award so I’m not wrong.

This Is Not a Burial, It’s a Resurrection is not your typical film. It’s pretty slow paced and full of carefully crafted shots, reminiscent of director Lemohang Jeremiah Mosese’s debut, Mother I Am Suffocating. This is My Last Film About You. However, unlike his debut documentary feature, This Is Not a Burial, Its a Resurrection is Mosese’s first fictional feature film. But don’t expect an easy to follow narrative, as like a Lav Diaz film (see From What is Before), it requires a lot of interpretation. If you put in the effort, you’ll be rewarded with a beautiful constructed film touching on a wide range of themes covering death, community, progress, and the environment.

This Is Not a Burial, Its a Resurrection starts chaotically with a slow motion shot of a group of horses being attacked by tribesmen. This opening shot doesn’t appear to serve any contextual purpose, as the horses or tribesmen never reappear later in the film, but it does create a sense of uneasiness which prevents us from settling into the film. This feeling continues into the next scene in which a camera slowly pans around a dark empty bar with the eerie sounds of a lesiba instrument playing in the background. The cameras stops on a uniquely dressed man who starts giving us clues about what we are about to see. He doesn’t reveal much, as he uses a lot of legends and proverbs which don’t mean much to us at this point, but his speech indicates that we’ll have to be an active viewer and search for deeper meaning in the rest of the film.

We finally meet our main protagonist Mantoa in the next scene. She’s an eighty-something woman living alone in remote valley in Lesotho, which is a days trip from the nearest town. Her last son has passed away, so she’s now the last one left in her family. As a result, all she craves now is her own death, so she sets about planning her own funeral. Until her time comes, she carries on with the futility of her life, attending local community meetings and covering cracks in her mud floor. However, her patience is disrupted by news that the local government are planning to flood the area with the construction of a big dam. Not only does the dam disrupt the plans for her own burial, but it will also force the relocation of her buried family. As the main figure leading the resistance against the dam, she becomes more and more distanced from her community and religion. Her death isn’t a physical one, but a death from her community and cultural roots as the country ruthlessly pushes forward in the name of progress.

The narrative is sparse, but the look and feel of the film is incredibly rich. One way Mosese adds a unique richness is through his use of a taller 1:33:1 aspect ratio which gives the picture slightly more height. The extra vertical space allows the sky to dominate every image by taking up almost half of the screen for each landscape shot. In contrast, the people in the community are largely confined to the bottom third of each landscape shot. This framing adds power to the sky and nature, and diminishes the significance of the people below. Their lives and the things they do, such as building dams, are impermanent compared to the eternal nature of the sky (and heaven?). The taller aspect ratio therefore enforces the futility of not just Mantoa, but the futility of humanity as a whole.

The futility of humanity is enforced by the feeling generated by the films’ soundtrack. Firstly, listen to the trailer for this film without watching it. It sounds like a horror film. There’s the unique muffled bursts of the lesiba combined with a horror 101 mix of piano notes, scratchy strings, and ascending voices. This soundscape plays throughout the film to viscerally convey the confusion, anger, and sadness that Mantoa feels on her quest to join her dead family. But the sounds used in horror films also signifies the presence of the spiritual realm. Just as the taller aspect ratio gives more power to the sky and nature at the expense of the significance of humanity, the soundtrack bolsters the dominance of the spiritual over the physical human bodies. It reminds us that we’re not in control of our own fate.

The unsettling opening, sparse narrative, and rich look and feel of the film make This is Not a Burial, It’s a Resurrection feel enigmatic. By the end, it feels like you’ve just watched a piece of art. You might have understood a bit of the film and felt its power and beauty, but you will finish it feeling that it’s full meaning is unattainable. It’s mystery is the mystery of life.

Umberto D Film Difficulty Ranking: 3

Here’s your chance to introduce yourself to Italian neorealist film. Umberto D. is one of the standout films of the neorealist genre. You’ll meet the elderly Umberto, a man who has been forced into poverty by his government and landlady. It’s a must watch for all film fans.

You can watch the film here on YouTube if your Italian is up to scratch. Otherwise you can rent it here for the price of a coffee.

Why Watch Umberto D?
  • For the perfect introduction to Italian Neorealism
  • To see how bad poverty was in post-war Italy
  • It’s emotional – it’ll get you angry, sentimental, hopeless, and hopeful
  • It’s actually De Sica’s favourite film (above Bicycle Thieves)
The Breakdown

Umberto D starts with a protest in one of Rome’s city squares. An organized group of elderly men are all demanding a raise in their pensions. One of these men is Umberto D. Ferrari, a retired government worker.

Unfortunately for Umberto, life isn’t going too well. Even though he worked all of his life for the government, he can’t afford to live on the pension they’ve given him. As a result, his unsympathetic landlady is kicking him out.

Despite this, Umberto is always well-dressed in a suit, tie, and hat. He manages to keep his smart dress throughout the film. It’s almost a symbol of his dignity. The only time he thinks about begging is when he removes his hat and gives it to his pet dog Flike to beg on behalf of him. It’s the only short moment in which he relinquishes his dignity and asks for help.

Umberto is not the only one that needs help. You’ll notice some beggars asking for money. But there’s also the landlady’s maid, one of the only friends of Umberto. There’s one iconic scene which focuses on her, pretty much the only scene that isn’t focused on Umberto. In the scene she walks from one end of the landlady’s kitchen to the window to watch a cat wandering over the neighbours roofs. Whilst it may not sound that significant, the scene emphasises the maid’s lack of freedom. Whilst the cat can freely roam the roofs of Rome, she is confined to the landlady’s kitchen. She cannot afford to live by herself or go to school and ultimately she will share the same fate as Umberto later in life. It shows that, unless there’s change, poverty will continue to exist.

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Conclusion

De Sica claimed that Umberto D. was his favourite film that he made. In addition, it’s probably one of the best examples of Italian Neo-realism. It’s full of emotion, and quickly gets you to sympathise with Umberto. It’s a must watch if you’re into foreign film.

If you want to get to know more classic Italian films, I’d recommend checking out Divorce: Italian Style for a comedy that inspired Martin Scorsese, and La Dolce Vita from maestro Federico Fellini. For more Neorealist film check out the following:

  • La Terra Trema  (Visconti)
  • Germany Year Zero (Rossellini)
  • Bicycle Thieves (De Sica)
Jamilia's Super 8 footage

Jamilia Film Difficulty Ranking: 3

Jamilia is for all women living in patriarchal societies (therefore pretty much all societies) around the world. You’ll get to hear from a number of Kyrgyz women, young and old, married and single, that are hoping for a freer future.

From: Kyrgyzstan, Asia
Watch: Trailer, Rent on Amazon
Next: Reminiscences of a Journey to Lithuania, Liyana, Freedom Fields
Continue reading “Jamilia – Hear from the Women of Kyrgyzstan”
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Freedom Fields Film Difficulty Ranking: 3

Freedom Fields follows a group of Libyan women trying to start up the women’s Libyan football team. They’ve all grown up watching sports stars like Messi and Ronaldo and want to be just like them. However, in a fiercely patriarchal society, their dreams are under threat from extremist preachers and their conservative followers.

From: Libya, Africa
Watch: Trailer
Next: Wadjda, The Eagle Huntress, Girlhood
Continue reading “Freedom Fields – Meet the Libyan Women’s Football Team”