I haven’t read Journey to the West and I’m completely unfamiliar with the story line, so I can’t vouch for the accuracy of this adaptation of the Chinese Classic. However, if you’re looking for pure cinematic mayhem, Chinese Odyssey Part One and Part Two are as good as you get.
From: Hong Kong, AsiaRead The Full Review
Watch: Trailer, Tubi, Vudu, Buy on Amazon
Next: Life of Brian, Star Wars, Kung Fu Hustle
From: Madagascar, Africa Watch: Trailer, Vimeo, Kanopy, IMDb Next: Zerzura, Kirikou and the Sorceress, Sleepwalking Land
Kapila is born during a solar eclipse in the opening of When the Stars Meet the Sea. According to traditional Madagascan beliefs this gives him destructive powers, so his father secretly leaves him in a cattle pen to be trampled. He’s permanently crippled, but before the cows kill him, he’s saved by Raivo, who takes him to the city to raise as her own child. However, even though he’s brought up by a loving adoptive mother, he’s never able to fit into the community because of his crippled leg and growing supernatural powers. So he starts to question his roots, and with the help of a mystical blind woman he starts a journey into his past.
When the Stars Meet the Sea feels a bit like a modest Madagascan version of Hercules. In both, a child with supernatural powers is left to die but is saved by a humble villager that raises him as their own. Similarly, they both grow up with supernatural powers and realize that their humble families are not their own. So they go on a quest to find their true identity. However, whilst Hercules is destined for greatness, Kapila is cursed to use his powers for destruction.
Kapila’s journey therefore becomes his battle with destiny. Society believes he’s evil because of his birth date, and the glimpses of his destructive supernatural power justify their fears. It appears in his weakest moments: when’s he’s bullied or grieving. In order to allay his power, he has to quell his desires for vengeance against those who cross him, and replace those desires with love. In this way, his journey resembles that of Siddhartha: he can achieve peace and happiness if he tunes out his anger and desires for vengeance. It’s a journey of purification and finding peace with oneself.
When the Stars Meet the Sea infuses the landscape into the story. As Kapila walks through the Madagascan landscape on his way home he passes through the desert, woodland, mountains, and the savannah. The variety of scenery may look like an advertisement for the beautiful landscapes of Madagascar, but it’s also representative of the diversity of our own lives. In traditional Madagascan beliefs, the sky (where Kapila draws his supernatural powers) and the sea (where he journeys towards) represent birth and death. The earth represents the life in between. His journeys through the different Madagascan landscapes therefore represent the diversity of life and its challenges whilst his journey towards the sea represents life’s ultimate journey in this world: from birth to death.
If you’re looking for more African films in which the main character embarks on a magical quest, check out Zerzura from Niger. It features a psychedelic journey into the desert to fight the Djinn. You could also watch the brilliantly animated Kirikou and the Sorceress which features a magical baby that takes on an evil sorceress that demands human tributes from his village or Sleepwalking Land which features a post-apocalyptic Mozambique.
Otherwise if you’re looking for more films with a bit of magic and family secrets, go watch Eve’s Bayou, an American film set in rural Louisiana.
If you’re looking for a disorientating journey into the Sahara desert inspired by Touareg folk-tales, you’ve come to the right place. Zerzura looks and feels like a budget film, so don’t expect high production quality. However, you can expect a lot of magic, dreams, visions and djinn, as one nomad goes in search of his lost brother.
From: Niger, AfricaContinue reading “Zerzura – A Psychedelic Journey into the Sahara”
Watch: Trailer
Next: Sleepwalking Land, Under the Shadow, Enter the Void
Le Pupille brings you into a Catholic Orphanage during Christmas in the height of the Second World War. Despite the frugal times and strict Mother Superior, the girls find joy in a few magical scenes reminiscent of the wonder of early cinema.
In the Catholic Orphanage, objects are a scarcity. Unlike the often stuffy materialism of today’s modern world, the girls in Le Pupille live in large rooms with very few things around them. This partly emphasizes the frugality of the war period, and in turn, distinguishing any warm nostalgia for Italian fascism, but it also sets a blank slate for the rare objects included in the movie to star. The radio and the giant red cake are enhanced by the absence around them, making them seem much more luxurious than they should be.
The frugality in front of the camera is also seen in the film’s production. The director, Alice Rohrwacher, shot Le Pupille completely on film, and therefore all of the special effects are completely VFX free. This gives the film a playful magic that feels like the wonder of the Melies’ silent films. In one scene a baby appears out of thin air (from one shot to the next), whilst a freeze-framed shouting Mother Superior conveys shock from what feels like the kids perspective in another. Unlike the seriousness of modern VFX, that often strives for digital realism, the old school special effects used here add wonder and magic to film. It encourages wonder rather than inhibiting it.
It’s this simplicity both in front of the camera (with the limited objects and distractions) and behind the camera (in the production process) that makes this short Christmas film feel so playful and joyful.
Head to our AFI Fest 2022 Hub for more reviews from AFI Fest 2022.
Clara Sola is one of two Latin American films from 2022 that had a memorably anti-colonialist ending. The other, Bantu Mama, features a French-African tourist turned fugitive in the Dominican Republic that escapes to sanctuary in Africa after feeling a connection to her African roots. Clara Sola follows Clara’s awakening as she frees herself from conservative Christianity to embrace the indigenous roots of her powers.
From: Costa Rica, North America Watch: IMDb, JustWatch Next: Alba, Thelma, Ixcanul
Clara is imprisoned by a purple flag marked boundary around the small house she lives in with her mother and niece in the remote Costa Rican countryside. She’s closely protected by her mother for her miraculous god-given powers, that were apparently bestowed to her by an apparition of the Virgin Mary. Her fame for healing routinely brings people from across the country to her house for her blessings, as well as much needed donations that seem to be the main source of income for the three of them. At the beginning, Clara is content to follow her mother’s lead, staying within the purple flagged boundary marked for her and taking part in the religious ceremonies she’s the main attraction of. However, the arrival of Santiago prompts a sexual awakening that reconnects her to the true nature of her powers.
Colors are present from the start in the purple flags flying on the poles marking Clara’s boundary. In the opening scene, she’s beckoning her white horse named Yuca, to come to her from the other side of the boundary line. The natural white color of Yuca signify freedom, whereas purple signifies Clara’s confinement. It’s notable that the only other time purple appears in the film is after Clara tries to dye her pink dress blue, to match the blue quincenera dress of her niece. She’s trying to break free from the conservative baby pink (and her babying mother) to experience the freedom of the attractive blue dress of her niece, but ends up stuck with the same purple that marks her restricted world. It’s a moment in which she realizes that no matter how much she tries to be like her niece, she’ll never be her. It sets in motion her wish to escape.
Colors also confuse Clara. She’s drawn to both artificial and natural colors, even though both aren’t leading her in the right direction. The artificial colors of her niece’s blue dress draw her to Santiago and a ‘normal life.’ She’s pictured in the dress in her happiest moments with Santiago. However, like the artificial lights illuminating her smile as she’s driven home by Santiago one night, the blue dress symbolizes an unsustainable happiness. She’s only truly free in the moments she’s with nature – with natural colors – whether that be the lights of the fire-flies, the white coat of Yuca, or the greens and blues of the trees and river. The nature accepts her and understands her. They allow her to be free unlike the family and community that imprison her physically and spiritually.
In breaking free from her family and community, Clara breaks free from the conservative Christianity that imprisoned her, the descendant of Spanish Colonialism. In returning to the forest, she’s returning to her indigenous roots.
For more Latin American coming of age films, try Alba and Aurora. The former follow a daughter living with her single dad trying to navigate the awkwardness of puberty and school. The latter follows a pregnant teenager that finds support in a teacher. You can also try Ixcanul, which follow an indigenous woman in Guatemala.
Or for a dark, magical coming of age story in the vein of Black Swan, try Joachim Trier’s Thelma.
You must be logged in to post a comment.