NORDESTE

Argentina, 2005, 90 minutes, Colour.
Directed by Juan Solanas.

Life is hard in the northeast regions of Argentina. Workers live in poor conditions. Bosses are bullying and ruthless. Nevertheless, there is a strong sense of community. What is significant, as a nun who takes care of children, explains towards the end of the film, is that it is the world’s capital for child trafficking.

The film opens with two strands. One is the story of Martin, a thirteen year old with strong potential but who is trapped in his poverty, living with his mother, Juanna, about to be evicted from their hovel home. The other story concerns a French businesswoman, Helene, who comes to Argentina to find a baby to adopt. She is played by prominent French actress, Carole Bouquet, in a passionate performance, both loving for the baby and imperiously angry when crossed.

The film creates the atmosphere of the town. The audience feels as if they have lived there and come to know the people, the routine of their daily lives and their problems. The film also reveals the double dealing of criminals who exploit the children as well as the social injustice which is connived in by the local police.

You can see where this is all leading, but the film finally leaves us with a seemingly inconclusive scene where we can speculate and hope about what will happen.

1. An Argentinian story, Latin America, universal? Social issues?

2. The title, the region of Argentina, its poverty, the towns, the people, lack of opportunity, way of life?

3. The child-trafficking capital of the world? The nun’s explanation of what happened in this area? Exploitation of children?

4. The introduction to Martin, to Helene, the different worlds, the contrast, their eventually coming together?

5. Martin, his age, the slaughter of the ox, the gift of meat from Alberto to Martin’s mother, their relationship, the sexual relationship, her pregnancy, the pills and her abortion, Alberto’s reaction? Martin, his age and life, at school, friends, the bullies, his pet crocodile and feeding him, the gun?

6. Helene and her job, the poised businesswoman, going to Argentina, Buenos Aires and her confrontation with the baby marketers, the failure, her anger and going to the north-east? The contact with Gustavo, the woman at the hospital, the discussions about the baby, the opportunities, the costs and the extra money? Her staying, meeting people, the driver, the encounter with Juanna? Her waiting, the call that the baby was ready, her tenderness with the baby, at home, the cot, the clothes, sleeping? Going to the doctor for the check-up, the information, the baby dying, her anger and inability to accept the decision? The visit from Aurora, the request that she adopt the baby? Going to visit the nun, the explanations? The fire at the house and its destruction, her taking Juanna to the hospital, waiting with Martin – a future together?

7. Juanna and her life, poverty, her love for Martin, the relationship with Alberto, her being evicted from her house, Enrique and his clashes with her, bullying? Her pregnancy, the pills and the abortion? Friendly with Helene? In the town, her work, social? The gun, the fire and her injuries? Her future?

8. Enrique, the boss, the bully, the bulldozer and the threats, the dance and his keeping things going, killing the boy, the police coming and his justifying himself? The gun, the fire?

9. The baby traffickers, the woman at the hospital, Gustavo, the nurse? The doctor and his authority? The well-dressed people in Buenos Aires, the provincial types – criminals and exploitation?

10. Human life, values? The town itself, the spirit, the social and the dance? The poverty, development? The role of religion – church and ritual?

11. The hope of the ending, the message about human beings, relationships, life?

ZIM AND CO

France, 2005, 90minutes, Colour.
Adrian Jolivet.
Directed by Pierre Jolivet.

This is a very lively film. There are no long, meditative takes. This is all quick-paced editing, plenty of get up and go.

It is a film about twenty year olds, struggling with life, jobs, family limitations and tensions, police and racist harassment, life in modern day French provincial towns. The difference between Zim and Co and so many films about the problems of youth is that the characters are interesting and, despite their faults and mistakes, likeable. This is a film that combines realism and stark problems but is quietly and sensibly optimistic about human nature.

Zim is Polish/French. His friend Arthur comes from an African family where the father transfers his patriarchal notions to being more French than the French. The other member of the Co is Cheb who is from North Africa, but his family are genial and welcoming. There is also their waitress friend, Safia, who is Arab.

Zim gets into all kinds of trouble, sometimes his own fault, especially an initial road accident which leads to a judge demanding he get a responsible job to avoid a jail sentence. He is swindled by a man purportedly selling a car and that is not his fault. Arthur is the butt of racist jibes by the factory foreman. Cheb is busy trying to invent things.

By the end of the film, the audience is not in a state of depression about the world of youth today, as so often happens when we watch films that are grim slices of life. Zim and Co have a friendship and solidarity that means they could really make a good fist of their lives if they could.

Adrien Jolivet, son of the director, plays Zim persuasively. He also co-wrote the musical score.

1. A youth film? Issues of employment, family, the future? Society, the law? Opportunities?

2. The French urban setting, the town and the detail of its streets, factories and garages, police stations, apartments, restaurants?

3. The musical score, contemporary? The tone and the beat?

4. The camera work, pace, editing and vitality?

5. Themes of hopelessness, hope, opportunities, victims, society, lucky breaks, effort and responsibilities?

6. The opening with Zim and Co playing, the deaf and their enjoying the music? The bonds between the group? Their families, friendship?

7. Zim, smoking the cannabis, riding the bike, hitting the car, the old man and his vindictiveness, the witness against Zim, the police interrogations, severe, finding his record, his excuses and explanations, the night in prison, the judge, the discussion, the opportunity to save a prison sentence?

8. Zim, his age, character, his relationship with his mother, his father absent in Canada? Her boyfriends and his coming home? Going out, her upset about his not telling her of the police charges?

9. The character of Arthur, the traineeship in bodywork, the racist taunts of the manager? His father, the African background, pride in being French? More French than the French? The family sequences, the meals, the severe discipline of his father? His being fired from his job for being late? His father arranging the new job, the factory line, its monotony? His leaving? His father’s anger, disowning him? Arthur with his friends, the bonds between them, ordinary, strengths and weaknesses, helping Zim out in the end?

10. Cheb, North African background, the family, the genial mother, the friendly father, the sister and her concealing her piercings by the veil, relationship with his brother? The meals, Zim and Arthur coming? Cheb and his inventing things, the hinges for the door and the accidents, the whistle on the mobile phone? His being accident-prone? The forged diploma and his opportunities? The man in the shop cheating him about his invention, offering him the job of shop assistant, his sexual interpretation of the advance? The job?

11. Zim and Co and their work together – especially the painting of the room, watching the video of the owner, the family returning home?

12. Zim and the range of interviews, his being desperate, preparing, failing, telling lies to advance his case? The issue of the car, all his efforts to get a car, the advertisement, the man stealing his money and driving off? His stealing the car, being held up by the police – and the lucky break of his being let go? The licence, the test, the prejudices of the test supervisor? His going to work, discovering that the boss had embezzled the money, his lies?

13. Going to the judge, his explanations, her knowing the truth – and his decision to tell the whole truth? The effect and his freedom?

14. The group, their different racial backgrounds, the racist attitudes in France?

15. Their future, going to Paris – the positive outlook?

RAY

US, 2004, 146 minutes, Colour.
Jamie Foxx, Regina King.
Directed by Taylor Hackford.

In a year of biopics (Howard Hughes, The Aviator; Kinsey, J. M. Barrie, Finding Neverland), Taylor Hackford has made a biography of and tribute to blind musician and activist, Ray Charles.

The framework of the film is chronological (naming dates and places), from 1948 when Ray was 18 and leaving home to play in Seattle to the mid-1960s when he went into drug rehabilitation and turned around his life. There is a postscript set in 1979 when the ban on his appearing in concert in the state of Georgia (in 1961 when he refused to play to segregated audiences) was revoked and he received a tribute and a welcome.

However, there are numerous flashbacks to his childhood punctuating the narrative and giving visual insight into the lyrics of some of his most popular songs. We are given glimpses of his childhood poverty and his strong washerwoman mother, his being paralysed during the drowning of his younger brother, his gradually going blind as a child and his mother's ways of training him to fend for himself.

The Ray Charles story is not all that different from stories of other black entertainers like Billie Holiday or the Turners. He has to fend for himself despite his blindness. He is introduced to heroin early and refuses to acknowledge his dependency. While he marries his sweetheart and loves her and his children, he is a womaniser, and has a long relationship with one of his back-up singers. This is a sympathetic portrait, but it is also warts and warts, especially in the 1960s when he is a success and he becomes more ruthless in his business dealings.

But what Ray Charles loved more than anything else was his music. Capable of imitating any style, he aped Nat King Cole and other singers until he was urged to find his own voice. He moved through jazz, gospel, rhythm and blues to his own style of communicating and his versions of classics. He is seen as a pioneer in the development of American music in the middle of the 20th century. There is a wide selection of his songs, from his records, during the film.

One of the main reasons for the success of Ray is the uncanny performance and impersonation by Jamie Foxx. Winner of many awards (in a year which saw his strong performance in Collateral), he is a convincing Ray Charles in all his facets, good and bad, weak and strong.

1. The acclaim for the film, performances? awards? Audience knowledge of Ray Charles?

2. Ray Charles, his career, his personality, music, the finale and his contribution to good causes?

3. The period, the 1940s to the 1970s? The re-creation of each decade, its look? The worlds of each decade? Florida and the young Ray, the black town? Seattle and the 1940s? Los Angeles and the 1950s? The 1960s and 1970s and Ray Charles on tour? His growing affluence?

4. The music, Charles and the piano and style, the records? Insertion of songs in the screenplay?

5. The title, the focus on Ray, Ray Robinson becoming Ray Charles? The explanation for his blindness? His reliance on sounds? His being on his own – the strong force of his mother? The opening, the bus driver, the racist attitudes, Normandy and his accepting him?

6. The inserts about his childhood, his mother and her washing, the two boys, learning to read, the mother’s anger with her harsh treatment? The brothers and their playing, the tub, George and his going into the tub, drowning? Ray stunned and not doing anything?

7. Ray’s memories, especially of water, the hand in the suitcase of water, treading on water, his fears and panic? His own going blind, the gradual process, his mother explaining it to him, her supporting him? Her not helping him – his having to rely on himself? The drops, rubbing his eyes, his mother’s talk, taking steps by himself, self-supporting? Her telling him that he had lost his sight but was not stupid? Relying on memory? The importance of music, the church, the funeral?

8. Ray’s memories of music, the different styles over the decades, his own changes, the exuberant gospel, the employing of the Raylettes, jazz?

9. Florida and his leaving, his story to the bus driver, arriving in Seattle, the encounter with the young Quincy Jones (and later meeting him)? The club, Marlene giving him a chance, the audience dancing? Orlando and his introduction, helping him about the money fraud? The sexual dependence on Marlene? Performances, their swindling the money? Jack Lauderdale and the offer for records, better money, his splitting with Marlene?

10. The 1950s, the singers, the early records? The blues, the tours, buses, life and travel, the countryside, the accompanist? The continued issue of money, his being blind and swindled again? The food stops? The bathroom, the men taking drugs, Ray beginning his drug-taking?

11. The success of his career, the records, clubs and audiences appreciating him, the black audiences? Harlem 1952? The buying of contracts, five cents a record? Their continued money motivation? Ahmet and the deals, Jerry and his partnership? Their not wanting another Nat ‘King’ Cole? Ahmet playing ‘The Mess Around’ – and its continued success, radio interviews?

12. Meeting Beah, in the choir, having the coffee with her, the bird and his helping her to hear it? Her challenge about his music, walking with her, confiding about his life in her, the issue of gospel singing, her wariness, his asking the audience whether they approved – and they do? The marriage?

13. Atlanta, 1954, his becoming a star, Beah’s pregnancy? The new band?

14. Mary Anne as the singer, the audition, her strong personality, the beginning of the affair? The audition for the Raylettes, the back-up group, Marge and her attraction to him, mutual? The singing, Marge making the bargain about payment, the jealousies within the group?

15. Ray and his continuing to take heroin, Beah and her reaction, the birth of the child, joy, the child being able to see? The photos? The various tours, his coming back home, the birthday party and other celebrations?

16. Marge, her pushing herself on Ray, relating to him, affirming him? Mary Anne and the smashing of the windscreen? Marge singing more? Ahmet and the company, the warning about drugs?

17. 1959, the white audiences listening to him? The wealthy house in Los Angeles, Christmas and presents? Marge coming to Los Angeles? On the road, her seeing herself as Mrs Charles on the road, feelings of rejection, her drinking?

18. The new agent, ABC Paramount, the discussion of contracts, for Ray to produce his own records, the increasing amount of money? His cutting Ahmet and Jerry loose? Wanting his own master tapes? Sam Clark and the interviews with ABC? ‘Georgia On My Mind’? Newport 1961?

19. The range of characters working with Ray, his assistants, Jeff and the others? The issue of money deals?

20. His growing fame and wealth, Marge’s overdose, her baby, Beah knowing all about it, offering to send money, Ray weeping?

21. The new manager, his control over Ray, over the employees, their turning up late, the fines, Jeff and the issue of the past, their being sacked? The crisis?

22. Montreal 1965, the return to Boston, the Customs officers, searching the plane, finding the drugs? His hiding away? Beah and her telling him the truth, especially when he didn't come to his son’s game, the son’s trophy? The confrontation about the drugs?

23. Going into the clinic, the fluids, the nightmare images, his brother, his mother reappearing, his brother? The probation period, the doctor and the confrontation, his sense of failure, the water? His mother’s appearing and telling him that he still became a cripple? Hugging George, making the promise to his mother?

24. The epilogue to the film, Georgia and the state ban, segregated audiences and his refusal, 1979 and the freedom of the state, ‘Georgia On My Mind’ as the state’s song? The explanation of the next forty years, his career, without drugs, his charities, children and grandchildren? His saying to Beah that his mother was still there? The final collage of photos and music?

A COOL DRY PLACE

US, 1999, 97 minutes, Colour.
Vince Vaughn, Monica Potter, Joey Lauren Adams, Bobby Moat, Devon Sawa.
Directed by John N. Smith.

A Cool Dry Place is a little-known film. It is reminiscent of Kramer vs Kramer from twenty years earlier: a woman walks out on her family, leaving her young son to be looked after by his father; she later returns to claim the son. It is the kind of film where audiences’ emotions are torn between the role of the father and the role of the mother and who should care for the son and who does it best.

Vince Vaughn is at his best in the role of the lawyer become single father. He had appeared in Swingers and had made such a success of his character that he was employed in The Lost World, and in the remake of Psycho. Later he was to appear in more comic roles, Be Cool and, especially effective, in Mr & Mrs Smith as well as Dodge Ball.

Monica Potter plays the mother and Joey Lauren Adams a vet who befriends the lawyer. The small boy, Bobby Moat, is especially effective as the son. He is quite unlike most of the children in popular American films, not so cute and sentimental (even though many will still find him cute). Devon Sawa (Final Destination) plays Adams’ brother, a spoilt basketball high school student.

The film was directed by John N. Smith who was famous for directing the films about sexual abuse in Canada, The Boys of St Vincent.

This is quiet an effective and affecting film, helpful for discussions about the role of single parents and, especially, the role of fathers looking after young sons and the repercussions for their careers and personal choices.

1. A humane film, strong? Modest in scope? Emotional? The focus on family and relationships?

2. The Kramer vs Kramer tradition, audiences and their sympathies, for father, child, mother? Changing sympathies or not? The possibility for the absentee parent and reconciliation and rehabilitation?

3. The country town, homes, school, the workplace for the vet, lawyers’ offices, diners? The contrast with Dallas? Musical score?

4. The title, Kate’s explanation at the end, Russell keeping Calvin safe – wrapped and in the refrigerator, a cool dry place?

5. Vince Vaughn and his career, his ability to carry this film, seriously and emotionally? The audience empathy for the young boy?

6. Russell, his life story, married, Kate saying she never really loved him, becoming a father, his hopes, the law? His love for Calvin? Kate going and not returning, the phone calls, his attitudes towards her, his care for Calvin? His being fired, taking the lower job? Finding life hard, settling into the town? Coaching the basketball team, Noah and the confrontation? Beth, the accident on the car, beginning again, the relationship? Kate and her return, his having to deal with this, falling in love with Beth? Decisions about the new job, the phone calls, going to Dallas? His plans, the phone call to his father, arrangements for Calvin, his return home, Kate abducting Calvin, his driving all night, with Calvin again, the final sequences and the decision that he makes about his life, his future? His confession that he resented Calvin for stopping him having his career?

7. Russell and Calvin, Calvin at five years, the details of daily life, domestic, coping, taking him to work, accidents, at home, his toys, the pillow, the gift of the man-o’-war, its stink, putting the deodorant in, Russell flushing it down the toilet, Calvin getting his arm stuck? Frightened by Beth, befriending her, her good manner with him, the horse-riding? His calling the man-o’-war Mum? Kate’s return, his hesitance, joy, sharing, her gifts, playing in the water? His hurt? His friendship with the little girl (and the ‘show me yours’ sequence)? His being taken away by Kate, the phone call, wanting his pillow, the return?

8. Beth, pleasant, the angry introduction, her work as a vet, the horse-riding, her relationship and charm with Calvin, the relationship with Russell, the story of her marriage and divorce? The phone call from Kate, her moving out, her strong decision, talking Frankly to Russell about the gift of Calvin and his being a happy child? A future?

9. Kate, audience lack of sympathy for her, the phone call, her return, with Calvin, playing, the gifts, her story about her being away? Her looking after Calvin, the possibility of reconciliation – and Russell’s hesitation, talking about not loving him? Her taking Calvin, her final admitting that she was unable to be a mother to him?

10. Russell, jobs, the initial interview, the work in the town, the later interview in Dallas, the apartment? His ringing his father? The talk with Beth, her telling him the truth about his success as a father? Driving all night to find Calvin?

11. The background characters, the lawyers, the difficult case, the questions at the diner, the woman crashing her car into the diner, the irony of her husband and his being in love with the waitress, the lawyer and his affair in the office with the woman? The possibility for Russell giving up the job?

12. The Noah story, at basketball practice, being late, emotional difficulties, his being told off, Beth making him apologise, Russell seeing him with his girlfriend, keeping it confidential, the match, his drinking, the crash with the girl, Russell getting him and taking him home?

13. A human story, credible – and the message about single parents?

MATCH POINT

US, 2005, 124 minutes, Colour.
Jonathan Rhys Myers, Scarlett Johansen, Emily Mortimer, Matthew Goode, Bryan Cox, Penelope Wilton, Ewan Bremner, James Nesbitt, Rupert Penry- Jones.
Directed by Woody Allen.

London has given Woody Allen a new lease of life. He obviously loves London – with more than enough sights of well-known and unknown locations. He also communicates differently from his New York stories despite similarities in characters and themes through a principally British cast, their different accents, vocabulary and voice inflections. At times, Match Point is more British than British.

We enter the upper class Hewett family with Irish tennis coach, Chris Wilton (a surprisingly effective Jonathan Rhys Myers). While we finds them pompous, he finds them fascinating and soon throws in his lot with them, friendships, opera and the arts, business positions, marriage. Early on we catch him reading Dostoievski, so Allen is giving us the lead for the further plot developments. It is Crime and Punishment and Crimes and Misdemeanours revisited, English-style. Some of his cast have suggested that it is a British kind of Chekhov family and society.

There is an opening light reflection on luck when a tennis ball served balances on the net and could fall either way, win or lose. Allen uses this image with relish in the closing section of the film. He reflects on luck, planning and working. In the meantime, Chris has married Chloe Hewett (Emily Mortimer) and continued an affair with aspiring American actress Nola (Scarlett Johansson).

Matters end badly or well, depending on who won the match point. Allen highlights the patronising banality of the upper classes and the selfish banality of Chris, leaving the audience to provide its own moral anchor for judgments.

1. Woody Allen in Britain? A new world for him? His creation of atmosphere? His British cast? Using the landscapes and importance locations of London? The reconstruction of interiors of the Tait Modern, Covent Garden? A comic-serious work?

2. London as a character, the sights, class, authentic atmosphere? The musical score, the opera excerpts, Donizetti, Bizet and, especially, Verdi?

3. The film as operatic? A film of passion?

4. The Russian influences: Dostoyevsky and the book, the plot of Crime and Punishment, the parallels, the crime? The Chekhov atmosphere with the presentation of the family? A successful combination of the two influences?

5. The opening, the tennis match, the set point, the match point, the ball on the net, the issue of luck and the quotations about luck, control? Working hard? The final use of the image of the net – and the jewel balancing on the edge whether to land or to go into the Thames?

6. The moral perspective of the film? Amoral characters? Audiences’ moral judgments?

7. The re-creation of the British upper class, wealth, hard work? Taking life for granted? Business? Luck, hard work, control? Upper class expectations of their children? An innate snobbery? Yet using wealth for the benefit of the children, the promotion of the arts?

8. The world of the arts, opera, music, film (though Chris and Chloe talked during the film)? Theatre and musical theatre, Lloyd Weber’s The Woman in White?

9. The tennis background, Chris and his career, not having the killer instinct – the irony of this? His talk about going on the circuit? His later meeting Henry and talking about it? His wanting to coach, introduction into a fashionable world at the club, his acceptance?

10. The structure of the film: the point about match point and luck? The audience entering this British upper class world with Chris, his relationships, business success, marriage, passion, the affair, crime, investigation – and no punishment?

11. Chris as the focus, his Irish background, tennis career, his weaknesses of character, ambitions, enjoying the high life? The meeting with the Hewitts and this satisfying him, wanting to be part of the scene, his visits to the home, meals, opera with Tom? At the opera, Chloe’s infatuation, her showing him around the city? Falling in love with him, his weak response? His seeing Nola, passionate with her, the table tennis incident, learning she was Tom’s fiancee? His having a moral compass or not?

12. The Hewitts, their wealth, new aristocrats, success in the business world and the glimpses of how the business world worked, ruthless sackings, protégés? Their support of the arts? Expectations for their children’s marriages? The father, gentle, generous, courteous? Eleanor as blunt, drinking, disapproving of Nola – though upset at her death? Tom, tennis, his friendship with Chris, sharing things? The engagement to Nola – and the story of his sweeping her off her feet? The later information that he had made her have an abortion? His marrying, her pregnancy? The opera, social life? His love for Chloe?

13. Chloe, nice, her devotion to her parents, love for Tom, seeing Chris at the opera, falling in love with him, the guided tour? The hopes for marriage, the ultimate proposal? Happy, the lavish home given by her father? Her work in the art world? Her friends, galleries? Her love for musical theatre? The plans for having a child, her insistence, pressurising Chris? Ultimately being pregnant, the announcement? Her having doubts about Chris, his ability to reassure her? The birth of the baby, the time of the announcement? The happy ending for her – ultimately or not?

14. The contrast with Nola, from Boulder, Colorado, her parents, father leaving, drinking mother, her beautiful sister? Her getting out of Boulder, wanting to act, coming to London? Meeting Tom, falling in love? His gifts? The abortion? Engaged, the ping-pong game with Chris, attracted towards Chris? His following her into the field, the sexual encounter? The audition and his meeting her, meeting her afterwards, the drinking, her talking? Her wanting to break off the affair? The breaking of her engagement after Chris was married? Seeing her at the gallery, his making excuses, Chloe and her friend meeting her? His being able to use this with the police later? The beginning of the affair, its effect on him, his work, its effect on Nola? His making a mess of things? Her pregnancy, the phone calls, his pretending to go overseas, her finding out the truth? The confrontations, his weakness, always saying that he would tell Chloe? His never intending to leave Chloe? His waking up, the plan for Nola’s death? Her coming home from work, her pleasant talk with the boarder, the confrontation and her death? The significance of her ghostly presence? Condemning Chris?

15. The cumulative effect on Chris of the affair, trying to keep business going, his generally successful lifestyle, the effect of marriage, wanting both worlds, the passionate affair, his lies, especially about the trip? Nola’s pregnancy, the dream, his decision? The irony of having met the boarder on his visit? The set-up, killing the old woman, destroying the apartment, taking her jewels? The interrogation by the police, his plea to them? His taking the gun, being able to put it back? His alibi at the Lloyd Weber performance? His being able to explain this to the police?

16. The woman across the hall, allowing Chris in, taking her pills, her death? The neighbour, knocking on her door, Chris in hiding, talking to Nola as he went out? His testimony to the police?

17. The picture of the police, the questions, the nature of the investigation, Chris’s visit, his seeming reasonable, his plea? The inspector and his dream – and the irony of his solving everything, being right? It seeming improbable? Chris and the throwing away of the jewellery, the irony of the drug addict finding it, being shot in the area? Case closed?

18. The Russian influences, Dostoyevsky and Chekhov? Dreams, luck, Chris’s future – assured or not? Another example of crimes and misdemeanours?

HIDDEN (CACHE)

France, 2005, 115 minutes, Colour.
Daniel Auteuil, Juliette Binoche.
Directed by Michael Haneke.

Cache is so good that Michael Haneke can be called a master-filmmaker. His insights into violence and the media came powerfully through in Benny’s Video and Funny Games. Deeper themes were intriguingly presented in Code Inconnu and The Piano Teacher. He took a different road in the apocalyptic Time of the Wolf. Now he is back in suburban France with a middle class family and urban terror – and more.

The opening requires a little patience. This is rewarded as the plot unfolds, literally a plot of menace by surveillance video tape, childishly brutal drawings and anonymous calls. The target is a TV celebrity interviewer. As the threats increase, he and we delve into his past. The likeable victim, Georges Laurent, becomes more and more unpleasant a character, more paranoid and increasingly less worthy of our sympathy. Daniel Auteuil, star of so many French films, is extraordinarily versatile; versatile in the sense that he always looks the same in drama, comedy or period piece, yet he is always different. He creates his characters from within. This performance is faultless. He is beautifully supported by Juliet Binoche as his puzzled wife.

While the cumulative effect of the paranoia on Laurent, his wife, son and affluent friends is powerful and thought-provoking – it includes France’s treatment of Algerians in the 1960s – there are some wonderfully staged set scenes: George’s bedside conversation with his mother (Annie Girardot), George’s apartment encounter with Majid and the mother’s questioning of her son. There is also one of the most startling and shocking violent moments which Haneke can create so well that brings home the deadly reality of what we are watching. At the end there is suggestion and speculation rather than clarity and closure – but we need to continue pondering this film long after it ends.

Winner of the Ecumenical award in Cannes 2005, the FIPRESCI award as well as the Festival’s Best Director.

1. Impact of the film, quality drama, cinematic style, political and personal themes?

2. The work of Michael Haneke? Style, content, themes?

3. The Paris setting, the street and the house and our gazing at it for a long time during the video cassettes? The interiors, the television studio, the offices, restaurants? The contrast with Majid’s apartment? Georges’ country house? France and the Austrian perceptions of French themes? The range of the musical score and its moods?

4. The role of the media, media and communication, influence, video, surveillance? Players? The television, interviews – a forum for views? Mobile phones and communication?

5. The opening, audiences watching with the video camera? The long takes? The effect? The later tapes, the house, Georges’ mother’s house, the discussion with Majid? The anonymous sender, the drawings, the phone calls? The going to the police, no effect?

6. Georges Laurent, Daniel Auteuil and his performance? The focus? At home, with Anne, with Pierrot? The friends at home? His career, interviews, the intelligentsia? His relationship with his mother, phone calls, the visit, the long discussion, the memories of the past? Georges as victim, his worries, dreams especially of himself as a child with Majid, the killing of the chicken, Majid’s threatening him? The blood? His suspicions of Majid, not having seen him since he was six? His not trusting Anne and informing her of what happened? His being caught out with the tape of his meeting with Majid?

7. The story of his past, the six-year-old, jealous of his parents, Majid, 1961 and the massacre of Algerians in Paris, Majid’s parents dead? The Welfare coming for him, taking him away, the possibility of his parents adopting Majid and his lying? The killing of the chicken, the blood – and its later appearing in the drawings? His saying Majid was ill and using the blood as a witness to this? The consequences of his action? His ability to forfeit responsibility and forget?

8. Georges and his life, prosperous? Taking his son in the car and explaining the situation to him? He and Anne and their upset when the son was missing, suspicions, immediately blaming Majid, meeting his son, going to the apartment? The irony of the son being at a friend’s? The video of his mother’s house, of the street, his going to Majid’s apartment, talking with him, Majid as gentle – and the audience seeing him in the aftermath and his weeping? The effect of Georges’ watching the tape, growing harder in attitude, not believing? Becoming paranoid? Shouting and threats?

9. Anne and her life, her love for her son, her husband? Watching the videos, concern, the contact with the police and not getting satisfaction? Georges not trusting her, her reaction, with Pierrot, his absence, her trying to talk with him, the nature of the talk, his suspicions, his harsh attitude towards her? The surly approach? Her relationship with friends, their support? The editor and her weeping in the restaurant?

10. Majid, his life, deprivation? Institutions, lack of education? The contrast with his son, gentle of manner? Calling Georges to the apartment – and the dramatic shock of his slitting his throat? His son wanting to see Georges’ reaction, the man responsible for the death of another?

11. Majid’s son, the arrest, in prison? The visit to the office, the tension in the lift? His quiet manner, contrasting himself with his father, wanting to see Georges’ reaction?

12. The effect of these events on Georges, the harshness of his personality emerging, paranoid and intolerant? On Anne, on Pierrot?

13. The portrait of the friends, intelligentsia, affluent, visits to Corsica? Their continued support of Anne?

14. The long take of the ending, the school steps, the irony of seeing the two sons talking together and speculating on what they had planned and executed?

15. Audience reflection of the aftermath, the issues, the role of the past, children and malice, responsibilities, guilt or not, recompense, apologies, the context of Algeria – and the television screen showing contemporary footage of Iraq and Palestine? The personal and social issues in the context of 21st century world issues?

THE KING

US, 2005, 104 minutes, Colour.
Gael Garcia Bernal, Laura Harring, Paul Dano, Pell James, William Hurt.
Directed by James Marsh.

The central character’s name is Elvis but his behaviour is not that of a king. Rather, this is a Texan reworking of a genre popular in the 1960s and 1970s where a seemingly angelic stranger ingratiates himself into the life of a family and then proceeds to change them one by one, sometimes redemptively, otherwise malevolently. Pasolini’s Teorema is the cinema classic of the genre. There is also Harold Prince’s Something for Everyone, with Michael York, and Joe Orton’s Entertaining Mr Sloane. Another striking (diabolical) example is Dennis Potter’s Brimstone and Treacle.

The audience gets to know the dark secret almost immediately so the suspense is in watching what the stranger will do and when the family will discover what is happening to them. The context is that of a born again pastor in a rather fundamentalist church (the son is campaigning for the high school to re-introduce creationism to counter evolution). At first it is hard to believe that this nice young man is so malevolent though we know he has reason to be. We are charmed by appearances and manners.

This is a first film by director James Marsh. It is accomplished rather than outstanding. Part of the interest in seeing the film is Gael Garcia Bernal (Amores Peros, Fr Amaro, Motorcycle Diaries) in the central role, well mannered but deadly. William Hurt is very effective as the pastor. Clearly, the context means that this is also a film about God, faith, testing of faith and loss of faith.

1. A drama of good and evil, testing of faith?

2. The Texas settings, the landscapes, the town, the church, atmosphere?

3. The score, the secular songs, the religious hymns?

4. The genre of the stranger who comes into a town, into a family and transforms it?

5. The title, Elvis, the King – but not in behaviour, a despot? Presumption that he should come into his inheritance?

6. The opening with Elvis, shaving, getting out of the navy, saying he was going home, the stop to have sex? Buying the car?

7. The church, David Sandow, his preaching? His style? His relationship with Paul, Paul singing and leading the group, his about to go to college? His mother in the congregation? Malerie and her looking after the babies, Elvis talking to her, not going into the church? The parade of babies, the babies as the new members of the congregation?

8. Elvis following the family, David getting out to talk to him, the meeting, its effect? David saying he was born again, acknowledging Elvis’s mother? His forbidding the others to talk to Elvis?

9. Elvis getting the jobs, at work, his room in the motel, the car? His going to meet Malerie, after school, going out, the diners? Into the countryside, across the water? The effect on Malerie? The quiet seduction? His urging her not to obey her father? His gentleness with her, her attitude? The sexual affair, the effect on her? Her motivation? Elvis visiting her at home, in the house? His being seen by Paul? Her testing herself for pregnancy, telling Elvis, his silence and appreciation?

10. Elvis and his motives, charming surface, meeting Malerie at school, in the house, his going out to the scene where he would later put Paul’s body? The visit to the house, Paul confronting him in the motel, the sudden outburst of anger and his killing him? The burial, washing the curtain, burning the clothes, going back to normal? David and his reconciliation, inviting Elvis to move into the house, training him to shoot the arrows? Inviting him to the meal, his being accepted in the household? The family still expecting Paul to return?

11. Elvis in the church, David and his decision to tell the truth, its effect, people disapproving and walking out, the others applauding Elvis? The effect on Malerie, at the café afterwards, her having to cope?

12. Paul, his character, the school, graduation, his speech about his thesis, the plea for teaching evolution in the school? His angry following Elvis? The mother, her quiet, her grief, knowing who Elvis was, her loss of faith, in the church, wandering the freeway and Elvis saving her?

13. Elvis seeing Malerie and her mother talking, his putting them on the bed, smothering Malerie, the murders?

14. David going to his office, his talking about being right with God, his constant praying during the crisis, Elvis coming to his office and wanting to be right with God – and God’s failure as regards David and his family?

15. The effect of this kind of drama, the diabolical-seeming angel, benevolence and malevolence?

YOU AND YOUR STUPID MATE

Australia, 2005 85 minutes, Colour.
Angus Sampson, Nathan Phillips, Madeleine West, Rock Hampton, Rachel Hunter, William Mc Innes.
Directed by Marc Gracie.

You and Your Stupid Mate is a low-budget popular Australian comedy. On paper, it is one of those popular affairs that makes critics and those who aspire to discrimination cringe badly. However, once the film starts and a few of the slapstick jokes ensue, audiences start to giggle (especially if they are in a group) and this continues right throughout the whole film. Obviously, some audiences will not find it funny. It depends on your funnybone – and probably the film will not travel beyond Australian shores.

The film is a star vehicle for Nathan Philips and Angus Sampson. It is an Australian variation on the Dumb and Dumber theme – and our two nondescript heroes get into all kinds of really stupid scrapes. Nathan Philips, however, made an impact in Sea Change as well as on screen in Wolf Creek and soon appeared with Samuel L. Jackson on Flight 61.

The film was directed by Mark Gracie who wrote, produced and directed for television, including the Full Frontal series as well as some of Jimeoin’s programs. He began directing films in the late 80s with Blowing Hot and Cold and A Kink in the Picasso. He also directed Jigsaw, Crime Time and Takeaway.

1. A genial comedy? Australian Dumb and Dumber?

2. Melbourne settings, the suburbs, the trailer park, Jobs 4 U, the workplaces, the highway, the television filming, the cemetery, the beach, the clubs? Realistic atmosphere for this suburban comedy?

3. The odd couple, the glimpses of them as children, people calling them “you and your stupid mate”, their pranks?

4. Geoff and Philip, their appearance, in themselves, friends, the Australian emphasis, the decorations on the trailer, the inside of the trailer, their lifestyle, spaghetti and baked bean meals? Working in the trailer park – a little? The mother, her five children, her glamour, everybody watching her pass through? Watching Sons and Surf, the impact of soaps, audiences following all the details, no matter how far-fetched? Geoff and his unofficial website?

5. The jobs, their being called in, the interview with Peter, his taking a particular interest, the range of jobs that he got them – and their failures? Collecting the road kill, Mitzi and her death, underneath the sheep, recovered – and appearing later? The rude drawings? The old man and the kerosene in the bath…?

6. Peter, his character, fastidious, his attempts to get them jobs, growing exasperation, his not liking scouts, going to the beach for the finale, his collapse, being given first aid by the scouts?

7. Sons and Surf, the jokes about soap opera, the parodying of the sequences? Emma as heroine? The jokes and the deadpan? The cancellation? The effect on Geoff, his website? The cemetery, meeting the director, the autograph from the star, going to the party, the other star and his swearing at them, yet friendliness? The dancing and Philip being a success, the contrast with Geoff? Knowing that the shoot would be at the beach, the information on the Internet and only two turning up, wanting to rescue Emma, the scouts arriving and the success? The new soap opera, the parallels with Sons and Surf? Life in the trailer park? With Philip and Geoff and their friends? The planned highway not going through? The trailer park becoming the Ned Kelly theme park with all the various personnel involved?

8. Geoff, an oaf, the website, awkwardness with girls, photographed for the television by the helicopter? Awkward, the plan to sabotage the Logies, taking over from Eddie Mc Guire? In jail? Falling out with Philip? His being upset, the party, the plan for rescuing Emma, the Internet, the two fans, the final rescue?

9. Philip, his style, work, scouts, ability at dancing, especially at the party? The rehearsals and the slapstick? His performance as Ned Kelly? Getting the scouts to come to the rescue of Emma?

10. The glamorous girl in the park, five children, her playing her harp in her trailer, dispensing wisdom and encouragement?

11. Emma, nice, her enjoying the rescue? Todd and his being smug? The actor whom everybody imitated – and his irritation? The director and his frustrations?

12. The taxi driver from Somalia, issue of migrants in Australia, nice, his jokes, driving the taxi? The irony of people in Somalia taking time off to watch Sons and Surf? Driving the train in the theme park at the end?

13. A happy ending for all – and more of the same?

14. Verbal humour, visual humour, genial Australian humour?

FALSCHER BEKENNER (LOW PROFILE)

Germany, 2005, 95 minutes, Colour.
Constantin von Jascheroff, Manfred Zapatka, Victoria Trauttmansdorff, Nora von Waldstatten.
Directed by Christoph Hochhausler.

Suburban alienation again, German style. Armin is 18. He has finished school, not particularly successfully and is applying, on the urging of his high expectation father and doting mother, for one job interview a day. We see several of these and he hasn’t a hope of employment.
Armin lives in a comfortable home and has a supportive family, including two older, successful brothers. But, Armin also lives in a dream world. He becomes fascinated with crimes and sends anonymous letters to the police claiming responsibility. He boasts to a would-be girlfriend. He has lurid sexual fantasies. What will become of him? Will he drift? Or will his guilt claims have repercussions?

A film for German audiences. Audiences from other nations may be interested in making comparisons to understand how their local 18 year olds cope and don’t cope.


1. A film for German audiences? The particular nature of German culture, suburban life? Adolescence? Its impact on a worldwide audience?

2. The picture of the German suburbs, the autobahn, homes, offices? Day and night? The musical score, modern songs, loud? More classical style? The world of an eighteen-year-old?

3. The title, its application to Armin? His low prospects? His anonymity? Living in a dream world? Wanting more notoriety? Yet remaining unknown?

4. Armin and his age, the detailed scan of his room, affluent, his parents and their expectations, love, his successful brothers, family, his going to interviews – one a day? Slow but shrewd in his answers in the interviews? The relationship with Katya? Ulrich?

5. The opening, his wandering of the freeway, coming across the accident, taking the bar, keeping it in his room? The newspaper item about the accident, his taking it? Typing the letter to the police, claiming responsibility? The arson situation and his assuming responsibility?

6. The job interviews, the personalities of those interviewing, their expectations, interactions with Armin, his slowness, vagueness? The interview with everybody wearing masks, his interview with Ulrich and Katya being the common denominator? The supermarket and the interviewer telling him he was not accepted? The job applications, the letters to the police?

7. The portrait of Armin’s father, his expectations, in the home, with his older sons? The mother, her doting, correcting him, getting him to do the shopping, helping with the cooking, their going out for a walk as a family? His finding this oppressive?

8. His relationship with Stefan, their discussions, the news of the pregnancy – and his breaking the news at the dinner and Stefan’s anger? Martin as older, trying to give advice?

9. Armin and his growing isolation, the item about peeing in the bath and his doing so? His sexual fantasies, the leather-clad bikies, domination, the homosexual atmosphere? His parents coming home to catch him – part of the fantasy, the loud music?

10. The friendship with Katya, going out with her? Their discussions, in the restaurant, his claims? Ulrich, their discussions – and the wrong Ulrich, the old man in the hospital?

11. His being arrested, running, taken, Katya seeing this? His future – if any?

12. A portrait of contemporary youth alienation?

A HISTORY OF VIOLENCE

Canada, 2005, 97 minutes, Colour.
Vigo Mortensen, Maria Bello, William Hurt, Ed Harris, Stephen Mc Hattie, Ashton Holmes.
Directed by David Cronenberg.

David Cronenberg has been exploring all kinds of themes of violence for more than thirty years. He began with parasites and rabid plagues and broods, segued into more mainstream styles with Videodrome and The Dead Zone, but always veered towards the bizarre from Dead Ringers and Naked Lunch to ExistenZ and Spider.

Which means that some critics are going to scold him for now making a well-crafted American mainstream drama. Initially, one might think that this is going to be a kind of Desperate Hours where thugs besiege a family. It is not. Cronenberg’s film is based on a graphic novel (and some of the violence is graphic also) where drawings are bold and dialogue is sometimes fierce. However, we are first led into lyrical, non-violent, happy times for a family. When the violence breaks out, it is not where we anticipated it.

Viggo Mortensen does a persuasive job as the loving quiet family man who surprises everyone. A good cast includes Maria Bello as his strongminded wife, Ed Harris as a suited gangster and William Hurt as a maniacal organised crime boss.

It is easy to poke fun at picket fence idealised family life in the American Midwest but, given some vicious options in the US gun culture, most of us would feel safer there.

1. This film in David Cronenberg’s career, a focus on violence? The weirder aspects of his films? This film more mainstream?

2. American-style movie, well crafted? Visual style, editing, the musical score and atmosphere?

3. The title and its relevance for American history? Violence in fighting, crime, oppression, society, personal, abuse and response?

4. The title and its place in the American gun culture, the use of guns, threats, murders? Self-defence? Protection of others?

5. The impact of the prologue, the two criminals, their talking, driving the car to the office, the delay, getting the water, the dead bodies and the man ignoring them, the child with her doll, his reassuring her, shooting her? Their going on their journey? The tone for the film?

6. The contrast with Millbrook, Indiana, a nice town, pleasant homes, a good sheriff, the diner and the customers, the workers there, the Mother and Daughter Shop? The school? A pleasing town, the American middle west dream?

7. The character of Tom Stahl, work at the diner, at home with Edie, his children? Picking each other up, working together? Edie taking him – and compensating for their lack of teenage years together? The relationship with Jack, with Sarah? His relationship with the staff at the diner?

8. The criminals, their arrival in Millbrook, the diner, their threats, Tom’s quiet and reasonable reaction, their pulling the gun, his swift movements, killing the criminals, saving the people in the diner? In hospital, coming out, the TV welcome, his unwillingness to be interviewed?

9. Fogarty and his crew arriving, wanting coffee, paying the money, Fogarty calling Tom Joey Cusack, the constant denials? Edie and her puzzle, her antagonism towards Fogarty? The audience knowing Tom’s skills with his fists, legs and gun? Edie ringing the sheriff, his pulling them up on the highway? Not wanting them back because it was a nice town?

10. The aftermath, the visit of the sheriff, Tom’s continued denials?

11. Jack, teenage, at school, playing baseball, the final catch, the bully and his threatening Jack, in the locker room? Jack and his ability to make jokes, the bully backing off? Jack on Saturday night with Judy, their talk, her feeling of depression? The bully and his doing the U-turn – and backing down with the driver of the other car? In the school corridor, taunting Jack again, Jack’s outburst and violence like his father?

12. Tom seeing the car at the diner, ringing Edie, running home to protect them? Fogarty and his going to the mall, with Sarah at the shoe shop, the clash with Edie, his telling her what Joey had done to his face? Edie’s reaction? Threats, restraining order?

13. Tom, his reaction to Jack’s suspension, their clash, his saying hitting was not good, his hitting his son? The tension between father and son?

14. The return of Fogarty to the house, the threats, their taking Jack? Tom and his bargaining, their letting Jack go? Tom turning the tables, killing the aggressors, Fogarty pulling his gun on him – and the irony of Jack shooting him?

15. The reactions, Edie, Tom pursuing her up the staircase, the sexual encounter, his violence with her, her response – and then shunning him, literally locking him out?

16. The phone call, his driving to Philadelphia, meeting with Reuben, the drive to Richie’s house, his comments? The embrace of the two brothers? Richie’s personality, dominant, ambitions in the criminal world? Going to his office, his talking to Joey, explaining what he had cost him? Ordering his death – once again, Tom/Joey turning the tables, the deaths, confronting his brother, shooting him? Washing in the river?

17. His return home, the quiet at the dinner table, Sarah setting the place, Jack passing the meat loaf, Edie looking up, the close-up on Tom’s face – an appropriate ending?

18. Responses to the solution, the realistic response, moral and ethical responses, the nature of Tom’s decisions and his dilemmas?

19. The title, its reference to several characters in the film? The possibility of change, reforming, always having the skills, defending those one loved? Especially for the goal of the idealised mid west American dream?