Beauty and the Dogs is one traumatic roller coaster ride. There’s no respite from the very first cut and once you’ve strapped in you have to watch until the end of the ride.
From: Tunisia, AfricaContinue reading “Beauty and the Dogs (Tunisia) – One Victim Against the Police”
Watch: Trailer, Amazon Buy
Next: Irreversible, The Insult, Dogville
In the late 2000s a group of black boys aged 12-14 robbed other children’s phones on around 70 occasions in Gothenberg. This film tracks one of their robbery scams to see how they did it whilst cleverly making the victims (and the audience) look (and feel) helpless. Watch it here (Amazon).
Play starts with a still shot of the centre of a shopping mall. Two 10 year old white boys enter the middle of the frame talking about what they need to buy next. Then, the camera slowly pans to the left, settling on a group of 5 black kids. They’ve spotted the two white kids and play rock, paper, scissors to decide who is going to go rob them.
Turns out, their trick is a lot longer than you might expect. One of the black boys asks one of the white boys for the time. Then when the white kid pulls out his phone, the black kid tells him that his phone looks just like the one that was robbed from his little brother. Cue a tour around town to find his ‘little brother’ to verify if the phone is the one that was robbed from him.
The race and class separation between the two groups is obvious. One group, with two white kids and one Asian kid, is obviously more well off than the group of black kids that rob them. They are in the mall shopping for new clothes and video games. In contrast, the black kids are just messing around. They’re not there to spend money, they’re there because they have nothing else to do. Robbing the richer kids is their entertainment. It gives them something to do and gets them enough funds to afford dinner.
For more on the identity dynamics, I recommend reading IndieWire’s review of Play here.
First of all, the bystanders in this film are pretty useless. Every time they see the group of kids in trouble, they refuse to help and just carry on with their own lives instead. The static frames make the bystanders look even more useless. Instead of cutting between close-up shots of the victims and antagonists, the static frame shows us their surroundings. You can see bystanders sitting or standing at the edge of the screen, pretending to be oblivious to the action. Their cowardice makes us question ourselves: would we be like them and just ignore kids being bullied near us?
The static frames also convey the victims helplessness. Once the victims enter the frame they’re stuck. They can leave the screen, but they will always return to it. Similarly, the audience is forced to watch the victims being bullied and robbed. There are short breaks from the main narrative, such as a group of Native Americans singing in the street, but our focus will always be diverted back to the kids being bullied. It’s as if the director wants us to feel helpless whilst trying to show us enough bullying to encourage us to help the helpless.
Play is brilliantly daring. It’s controversial and clever – it highlights cowardice and staunch social boundaries (class and race) and provokes debate. However, one word of advice, just like a lot of other controversial art (gangsta rap) you’ve got to look deeper than the surface.
For a funnier but even more awkward film from Ruben Ostlund, I strongly recommend Academy Award Nominee, Force Majeure (Amazon).
I’d also strongly recommend watching both Girlhood and La Haine. They’re two more films that focus on underprivileged kids looking for their way in life in societies where they’re marginalised.
Or, if you’re looking for more Swedish film, you must check out anything by Ingmar Bergman. Start with Wild Stawberries or The Seventh Seal (Amazon).
Quick cutting and camera movement introduce us to a police inspector walking along a black fence. The camera follows his movement and his eyes as he looks up to a lady in an apartment window. They obviously know each other, as their faces are match cut looking at each other. He opens the gate, walks up the stairs, and enters her apartment. “How are you going to kill me this time?” she asks him playfully. “I’m going to slit your throat” he replies sincerely. And sure enough, after brief foreplay and sex, he slits her throat.
The murderer methodically arranges his own crime scene, takes two bottles of champagne, and drives off. He calmly drives to the police station, jumps out of the car and starts to celebrate his promotion. He walks into the office, orders someone to get glasses and sits down at his new desk with a big map of the city behind him. It is obvious that he is in a position of huge power. That he is in a position that is above suspicion.
The director, Elio Petri, shows us how power is divided in Italy. The powerful hold control of the media, the public, and the police. The police inspector holds power over all three of these. Each one refuses to follow the clues he gives them. Instead they all follow him blindly, or, in the case of the public, represented by the tin-smith, they renounce their testimony out of fear, as if the inspector is a king, and they are worried of being accused of treason by incriminating him. The film is a parable of the corrupt police force that victimised students and labourers, and put themselves above the law.
In his portrayal of the police inspector, Petri exposes the corruption in the Italian police force. He shows the authoritarian position that the police inspector has and shows that they control everything. The media publish what the police give them, the public are too scared to stand up to the police, and his colleagues are too ‘stupid’ to follow the clues he leaves.
The tension in the film doesn’t come from us asking when he is going to get caught, but how far other people go to vindicate him.
If you’re looking for a fun, fast-paced crime-thriller from South America, Ratas, Ratones, y Rateros is the film to watch. You’ll try and evade the law with crazy ex-con Angel and his amateur thief cousin Salvador, accompanied by his teenage friends. It’s probably the closest you’ll get to the style of Trainspotting or Run Lola Run from South America. Plus it’s available to watch with subtitles below (thanks to Vimeo).
The film starts with a close up of a Angel’s face upside-down. He opens one eye and the camera zooms out to show him lying upside down, hanging off a bed, lying beside a woman. The camera starts fast-cutting between Angel, as he starts rolling a cigarette, and the bedroom door, which he keeps looking at.
It’s obvious he’s uneasy. The woman tries to reassure him that “no one saw him coming in”.
All of a sudden the door busts open and two armed men run in. Angel manages to escape the room and jump across a few tin roofed houses as the two men chase after him. The grimy rock music kicks in at this point as if to cheer on Angel vs. the chasers.
The chasers lose him in a large cemetery until Angel ambushes them and knocks dead one of the men chasing him to end a adrenaline-filled opening scene. (As words can’t accurately capture the feeling of the opening, I recommend checking out the opening here or in the embedded video above).
Quite a lot. We meet Salvador and his friends back in Quito. Salvador is Angel’s cousin, and he’s excited to hear that his cousin will be returning to the capital to see him. Salvador and his friends are all amateur thieves of their own, but when Angel arrives, he’s looking to take them to the next level.
Without giving too much away, he has some enemies in the capital, and Salvador also has some rich friends.
All action or crime thriller fans will enjoy this film. It looks and feels like a great Hollywood indie film so it will be familiar to all Hollywood film fans. Check it out here on Vimeo.
If you’re after something similar (another stylised action thriller) I strongly recommend checking out the German thriller Run Lola Run. You could also check out Kung Fu Hustle or Layer Cake, two more films full of style that will keep you entertained throughout.
Otherwise for more South American thrillers, check out The Secret in their Eyes (just make sure it’s the Argentinian original). It’s one of the best foreign language films to start your world cinema journey with.
With her mother dead and her father in prison, Nevia and her little sister live with her grandmother in a container park on the outskirts of Naples. It’s not the best place for her to grow up. Her grandmother rents out her rooms to prostitutes and runs odd chores for the local crime boss to try and repay the debts Nevia’s father owes. Nevia despises her grandmother for bringing men into their home.
Nevia’s other problem is that Salvatore, the 30 year old son of the crime boss, is infatuated with her. Even though she’s only 17 (and looks younger), he’s already asking her grandmother for her hand in marriage. The prostitution to many men or prostitution to Salvatore is what Nevia fears is her fate.
To escape, she finds work with the local circus. They provide her independence and a more complete family then the one she has at home. It allows her to wean herself away from her grandmother and Salvatore. But when she finds the circus leader has his own problems, she’s redirected to the fate she tried to escape.
Nevia looks a lot like the recent Neapolitan films of Matteo Garrone (Gomorrah, Dogman). It contains the same grimy urban landscape of rubbish strewn across roads, battered apartment blocks, and lots of concrete and tarmac. It’s a hopeless forgotten Italy in which opportunity doesn’t exist. The only people who succeed are involved in crime, and those that don’t are inevitably linked to them whether they want to or not.
Like Dogman’s main character, Nevia is linked to the criminal underworld by means outside her control. She comes into contact with the criminal bosses because of her father and grandmother. She’s doomed to Salvatore just for living where she grew up. It’s not a problem with her but a condition of the hopeless environment she grows up in.
The welcome difference of Nevia is that it’s led by Nevia, a young female protagonist growing up with her female relatives. It therefore provides a female perspective of life in the hopeless outskirts of urban Italy. The environment for them is much more restrictive than the criminal freedom it afford the men.
