machismo - FilmRoot

The Clash – Spain/Latin American Competition – SBIFF

Roberto, an 18 year old boy, joins his father in Montreal to escape the violence in Peru. His father, now Bob Montoya, fled Peru a few years earlier and now lives with his Canadian wife and daughter. The Clash shows both the culture clash for Roberto and the macho clash with his now Canadian father. It plays out a bit like a Martin Rejtman film in which the oddball humour has been switched out for a tense underlying machismo.

The arrival of Roberto is a challenge to Bob’s male pride. We don’t know how much of a success Bob was in Peru, but he’s desperate to present himself as a success story in Canada. Roberto obviously knows where he came from in Peru so Bob wants to show him how far he’s come. Roberto is the medium for Bob to prove himself to people back in Peru.

In order to maintain his image, he tries to sell how great Canada is to his son. He keeps telling him it’s a place where you can be anything, a place where you can make lots of money. He portrays himself as a businessman that is one step away from the next big deal with a nice house and a nice car. However, the house, the car, and his suit are all for show. The nice house and car that he ‘owns’ are really his wife’s and his suit is just a image that covers up the debts he’s incurring.

Like Uncle Rico in Napoleon Dynamite, Bob Montoya resorts to machismo to present himself as a big man. Whilst he’s grateful to have his son with him – as it’s a chance to prove to someone he’s achieved the American dream – he also sees him as a challenge to his masculinity. He’s a new male figure in the house that takes some of his wife’s and mistress’ attention away from him.

Their relationship fits Freud’s Oedipus complex theory. Bob is the father figure that dominates the household. Roberto is the son that reluctantly lives within the rules his father sets. They rarely talk beyond a few awkward words as Roberto lives in silence. Bob asserts his male dominance over Roberto by kissing his wife and his mistress in front of his son. In contrast, Roberto has fantasies of hooking up with his father’s mistress. In a final awkward party, Roberto battles his father for a dance with his mistress. It’s only in the club when he’s drunk that he can overcome his ‘castration anxiety‘. However, his father never allows her to dance with him in order to preserve his position as the alpha male.

The Clash is a brilliantly awkward film about a father and his son battling to prove their masculinity in a place foreign to the both of them.

The Project of the Century – The Death of Cuba’s Bright Future

The Project of the Century Film Difficulty Ranking: 4

Why Watch The Project of the Century?

For an inter-generational family rivalry
Witness the effects of a country falling from the world’s attention
To visit a living failed nuclear project

From: Cuba, North America
Watch: Trailer, Vimeo, Tubi
Next: The Clash, Kings of Nowhere, I Am Cuba

The Breakdown

The Project of the Century opens like an old science fiction movie with green font on a black screen. Obviously this looks dated to modern eyes, and that is exactly the directors intention. For in this film, Carlos Machado Quintela conveys the failed hope of a nation. A Cuba that had so much hope for a prosperous future but was doomed to failure. It’s presented in the incomplete Cuban Nuclear plant where a father and son have come together with their macho grandfather for a strange time of bonding and reminiscing.

After a few stock images of nuclear power plants and white women on beaches signifying the promise of the science Cuban was invested in, the colors switch to a black and white present day (2012) to signify the dead hope. Instead of the vivid colors and vibrant life portrayed in the old tourist agency style videos, the actual location now looks more like a dystopia you might recognize from High Rise or Ion de Sosa’s off-season Benindorm based sci-fi Androids Dream. There’s just a cluster of high rise flats without any signs of life besides the three men, surrounded by abandoned construction sites. It’s meant to be a place meant to be brimming with people, but instead of rockets being launched, there’s just the smoke of fumigators patrolling the block.

The three generations of the film (grandfather, father, son) represent the dying hope across the three generations of Cuba. The grandfather, having grown up during the revolution, still dreams of the brilliant promise of Cuba’s early days under Castro. He’s boisterous and stubborn, and refuses to listen to the despair of the younger generations. His son, now in his middle age, studied abroad in the USSR and Germany with some of the world’s top scientists. He was assigned with working on the ‘Project of the Century’ – the building of Cuba’s nuclear power plants, supposed to provide power to the country. However, after investing years of his life in the country and project, the USSR collapsed, leaving Cuba without allies and the resources needed to finish the great project. As a result, his life’s work was for nothing, and the excitement for a prosperous Cuban future was vanquished. His son, a man in his mid-20s is a symbol of the lack of hope and pride in present day Cuba. He’s jobless, has no direction, and disappoints his older relatives.

Having grown up in different eras, having been apart for some time, and being men, they argue and fight. Without jobs, hope for the future, and direction, fighting is just something to pass the time until the eldest dies and they can finally move on from Cuba’s brilliant history and pride.

What to Watch Next

Firstly, it’s worth watching I Am Cuba to feel the optimism that filled Cuba following the revolution that has died in The Project of the Century. It’s vibrant and full of energy to contrast with the darkness of this film.

You could also watch Kings of Nowhere or Once Upon a Time in Venezuela – two documentaries featuring towns that have seen better days. The former features a town consumed by a dammed lake, whilst the latter features a town being polluted by sediment.

Or if you’re looking for more macho family antics, check out The Clash. It features a Peruvian teenager going to live with his macho Peruvian dad in Canada.

Zepon (Martinique) – Pan African Film Festival 2022

Viezo and his daughter Victorine have spent happy years on the road, taking their prime fighting cocks and snake oil wares around the island. However, with the best chicken he’s ever had, Viezo wants to try his luck in the big ring one more time, reigniting past rivalries and old problems.

You shouldn’t be surprised to find a well-made film from Martinique. After all, one of the World’s most famous female directors, Euzhan Palcy, made her renowned Sugar Cane Alley on her home island. Whilst Zepon doesn’t follow the same post-colonial themes of Palcy’s most notable films, it is at least very well made, likely helped by the path that Palcy created. If you have a good eye you might even recognize actress Jocelyne Beroard (who plays Titine) from Euzah Palcy’s Siméon.

The plot, whilst colored by Martinican flavor, does stick to one of the classic tropes of World Cinema; the clash of modernity and tradition. Not, in this case, a juxtaposition of the modernity of the city vs. the country the two protagonists have been touring, but of the modern progressive symbolism of Victorine vs. the conservative traditional views of the island. As an independent young single woman, Victorine is progressive in her existence. She runs her own snake-oil style stall to fund her dreams of dancing abroad in America. Meanwhile, her father, and the rest of the island, are all stuck in an old honor code dictated by drunken handshake deals that play out in the cockfighting ring. The battle between Victorine and the island culture is unique to Martinique, but the modernity vs. tradition trope the conflict follows has played out many times before.

The highlight of the film is the cockfighting, which is portrayed brilliantly. From the intimate stands of the cockfighting ring to how the director chose to shoot the cockfight itself. For both fights, the director deliberately cuts away from the fight itself. Instead of showing the chickens fighting, the director firstly cuts to an impressionistic animation that captures the energy of the chickens in the first fight, and secondly, cuts to shots of enthusiastic spectators cheering for their bets. Both create two of the film’s most memorable visual moments and manage to capture the energy of the fighters and the crowd without showing any real violence.

For a well made film from Martinique that gives a sample of Martinican culture Zepon is worth a watch. Whilst it falls into some tired World Cinema tropes, there are some brilliant moments in the film that is supported by a light humor that carries it from start to finish.

Check back to our Pan African Film Festival 2022 page for more reviews coming out of the 30th edition of the festival.

Joyland – AFI Fest 2022

Immerse yourself in the patriarchy embedded in a traditional family in Lahore, Pakistan with Joyland. Don’t let the upbeat title mislead you. Whilst there are some warm moments in Haider’s queer coming of age story, his awakening is framed as a privilege of his gender. The women are all victims of the patriarchy whether they’re within the family house or outside it.

Despite being confined to a wheelchair, the grandfather is still the head of the household consisting of his two sons and their wives, as well as his eldest son’s many children. Haider, the youngest son, holds the focus of the first half of the film as he transitions from a house husband supporting his wife, to a husband seeing other women and turning his wife into a house-wife. The focus on Haider is representative of the patriarchal society he exists within. The audience initially sympathizes with him because he’s looked down on by the men of his family for his assumption of traditionally female role. Because of this set up, his queer coming of age is celebrated as it feels like he’s finally able to come out of his shell. The focus on his budding romance with his boss are some of the happiest moments of the film. However, in the second half of the film, his queer coming of age is framed as his male privilege.

Whilst Haider is out finding himself, his wife, Mumtaz, has been forced by Haider’s family to resign from her dream job and assume the domestic responsibilities expected of a wife. Simultaneously her narrative is overshadowed by Haider’s. Her screen time slowly diminishes as Haider’s grows. Even her star entrepreneurial scene from the start of the movie – in which she uses phone flash-lights to complete her job during a blackout – is hijacked by her husband when he pulls the same trick for his crush later in the film. Mumtaz’s repression by the patriarchy is represented in the empathy and upbeat scenes that are given to her husband, at the expense of hers.

Joyland is a technically faultless film – something you’d expect from a Cannes winner – and captures the dynamics of the patriarchy in Pakistan perfectly. However, whilst its Queer Palm win promises a progressive or unique portrayal of Queerness, Joyland doesn’t really stretch any boundaries here. Haider’s relationship with Biba, the only queer relationship in the film, is sacrificed for a melodramatic finale. Her role, whilst played brilliantly, mostly exists to be the exotic temptress for Haider’s macho-turn.

Head to our AFI Fest 2022 Hub for more reviews from AFI Fest 2022.