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Clouds (1998)
10/10
Chilling prophecy of what was really in store for Argentina
28 June 2004
This 1998 film is (or not) an allegory of the failure of the Argentinian nation, as told by the demise, and struggle to survive by a theater company. What makes the film a chilling prophecy of what was really in store for Argentina is its timing.

Released in 1998, when the country was still then the world darling and shining "successful" example of successful neo-liberalist economy policy (??!!), Argentina was entering recession. But it was NOWHERE close to the total debacle of January 2002, its effects still being felt in a country transformed by forever broken dreams, failure, and total bankruptcy. So, when filmed and released, whether this film's plot was or not a real allegory of the country's fate, was in the air. As it turned out, the messages in the film are almost 100% correct.

So the film today is actually more relevant than ever, and faithful to the real stories of those who lost everything, particularly the senior citizens. It's almost unbelievable how this film predicted, like a crystal ball, the events, the trials and tribulations of pensioners (retirees) since 2001 (still mostly unpaid or underpaid - as of June 2004. The dialogues of this film's characters of how they lose everything, or almost everything (clinging to one thing at least - in this film's case - a theater, and a 25 year old theater group), are almost verbatim quotes of Argentinians complaints right now, in the present time. You'll often hear them in the current President's speeches as he insists that his country, "raped by foreign investors," will at most pay a mere 25% of the country's debt to foreign debtors.

Yes, Argentinians have always been a melancholic, depressive, negative lot; singing the sad lyrics of the tango over loss of love, their European homelands, treason, treachery, the general rotten nature of the human race, suicide, and so on. This melancholic art form actually peaked during times when Argentina was one of the world's most developed, richest countries - the world's No. 2 for many years in several periods in the late 19th and early to mid 20th centuries.

It was (is) the only ethnically European country, and the only one with a middle class in the Americas, besides the US and Canada, but more ethnically homogeneous than either the US or Canada. Maybe even with better income distribution, as there was never a slave past (with Africans or Asians in any case) to speak of in Argentina, and most people are of pure European heritage. An African (black) person, or an Oriental is still a rarity in the country, a factor which aided in uniting the country for many years.

Remember the expression "as rich as an Argentine?" But they still whined when they were on top of the world; even after winning two World Cups, producing Nobel Prize Winners, and sport champions from tennis to car racing to rugby and cricket.

I think the reason this movie has a low rating is that at the time it was released, viewers thought it was one more "artsy" negative manifestation of the eternally "whiny" Argentines. How could something so gloomy and defeatist come out of a country which was still living a boom in the mid 90s? That's what I believe the earlier (and vast majority of) voters thought, when they evaluated this movie.

But see it now, and WITNESS just how true everything in the film turned out to be. It is really prophetic. And the movie itself, though too long, too "artsy" and pretentious (other attributes generally attributed to Argentinians), it is STILL worth seeing. Especially now, as one hears Argentinians legitimate complains since 2002 a full four years earlier, in 1998. The film presents an uncanny prophecy, and a great allegory of a country's decline and eventual nearly total economic and moral bankruptcy.
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10/10
The devastating effects of the Argentine crisis
11 November 2003
This is an excellent film in many ways. The lead actress is superb in her portrayal as Ana. One really feels that one is observing her life, like in a reality show. This is something new and young Argentine directors have been doing for some years, embedding their films with uncommon (though often slow to most viewers) realism, reminiscent of Iranian films.

The downward spiral in Ana's life, and the search for her past, now that the capital Buenos Aires is no longer the land of opportunity, is a perfect mirror of what is happening to Argentina's "educated" youth and "former" middle class as a whole. After all, the country's middle class (70% of the population in the 1980s) now represents less than 30% of the population. And this film and its characters convey this decadence without preaching, assigning blame, playing politics, or stereotypical characters.

Nor does the film resort to the excesses and shock value of similarly themed European films about the plight of young Eastern Europeans, as seen in British, French, German, Swedish and Polish movies these past few years.

Yes, the film is of particular interest here in South America. There were great crises in the 90s, but few people recognize and document the Argentinian one, arguably the most drastic and dramatic one of them all. Russia, Indonesia, Turkey and Mexico made big news. But none of these countries was ever among the world's richest per capita during the last century, nor did any of them ever have a huge, predominant capitalist middle class, where young people always had good expectations for their future.

Anyway, people in Europe or Asia may think the situation presented in this film is a splice of life from their own countries. But that's not really the case. This film shows these differences. There are no refugees here. It's the native born people like ANA who previously were the vast majority of the population who have a very uncertain future.

A good companion movie to this one is HOY Y MAÑANA (TODAY AND TOMORROW), a more hard core and brutal account of what a young college student becomes in today's Buenos Aires. If you enjoy ANA Y LOS OTROS, I definitely recommend HOY Y MAÑANA. They sometimes play in the same film festival together. Here, one played in Rio and the other in S. Paulo.

So, you can see them both, and get two different angles of the troubles Argentina's youth are facing, while also seeing two excellent films from a country which has been producing a great deal of quality cinema in the last 6 years or so, in spite of the terrible economic crisis. Check these films out. They're worthwhile, fresh, and different.
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Pleasant Days (2002)
10/10
Is this the real young, lower middle-class Hungarian scene?
11 November 2003
It may well be. Especially if you compare the characters in this film, their actions and aspirations, with other film from the soon to be new "E.U." countries, and even with current European Union countries.

The novelty, of course, is that the film and its subject are Hungarian, not exactly the flavor nationality of the decade, unlike the Ukranians, Romanians, Poles, Czechs and former Yugoslavians, whose suffering and desperate situations are more common in art house or festival movies like this one.

It is definitely a rough film to watch. But if you've been to a few film festivals the last decade, and seen a couple of movies about the former "Eastern Europe", you won't freak out. The film makers obviously did try to up the "shock" ante a bit with this film, since few things, if any at all, surprise audiences anymore. And the sex and violence may be scandalous to the still fairly recently censor-free Hungarians.

But I wonder whether films such as this one are viewed in their own countries. How many people have seen or will see "Elephant" in the US, or saw "Czesc Teresa" in Poland? These films are mainly for export to festivals, and ultimately "artsy" cable TV film channels like Arte and Canal +. In any case, an interesting film with (pardon the cliché but it does really apply here) a "universal" theme.

Not too long, or too "foreign" - as the current lead comment reads. Whoever wrote this last comment anyway-"A good foreign film" - is implying anything not American is foreign. Little does she know that Americans (and I am an expatriated one) regard Canadians as foreign, and American films are by definition "foreign" in Canada.

So, what does this contradictory, though strangely NOT really unusual naive comment mean? Well, it confirms what I said. This is a good film which even some high school sophomore seeing one of her first "foreign" films in Toronto liked. This, in spite, as she added that it "even had subtitles."

Given the film's unusual origins and uncommon milieu, if it can please a "normal North American" viewer, with little or no "foreign film" exposure, and it also pleases more discerning audiences with greater understanding of the film's milieu and social conditions, then it is probably a film worth seeing.
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Rot und Blau (2003)
10/10
Outstanding Female Ensemble Cast
10 November 2003
RED AND BLUE is very much a woman's story; a film about the female universe in Germany. This universe is well represented in ethnicity (a Turkish and a Jewish woman are among the principals), in generations, and socio-economic levels.

The film may not play well to "typical" male audiences, but most women, particularly urban German women will connect with the film in a very positive way. Artistically, the film features an ensemble female cast unsurpassed in recent German cinema. A must see for lovers of this genre.
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8/10
Lost landscapes of East Germany
27 May 2002
This poetic, slow paced 1992 film was among the first to depict the drastic differences in human and physical landscapes between Eastern and Western Germany after reunification in 1990.

It surprises me that it has been seen by so few people. No doubt, the film is not for mass audiences. Its theme has also been overly used in the 12 years or so since German reunification.

Nevertheless, it is still shown at German film retrospective showings, where it does attract some interest. I recently saw it at such an event in Sao Paulo, Brazil.

The central character Elias, born in East Germany, is a successful politician in Western Germany. When informed of the death of his parents, he returns to his native home town, a small surreal place, seemingly in a time warp. As his visit unfolds, we learn about his rather unusual parents and childhood. We understand what led him to flee to the West as a young teenager.

The entire film is full of metaphors, maybe too full of them. At least looking at it now, ten years after it was made. Still, it is a good film when wanting to reflect, and think of events passed. A bit long for its purpose...but hey, it's a German art film!
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9/10
Must-viewing for any LES MIZ FAN!
8 February 2001
This 1988 video is a fascinating and unique view of the development of the musical LES MIZ. Overshadowed in popularity by the video release LES MISERABLES IN CONCERT, this video reveals the behind the scenes intricacies of producing this now classic musical, AND it features numbers from foreign productions as varied as the Norwegian, Hungarian, and Austrian versions. The interviews with producer Cameron MacIntosh and co-writers Schonberg and Boublil are particularly insightful.
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9/10
Love Story-cum-international crime thriller
5 February 2001
This otherwise mediocre film (feels like a TV movie) has some campy and unusual features nonetheless. Set in Rio de Janeiro, it features now famous star Patricia Pillar (of Oscar nominee O QUATRILHO). She's the film's lead character, an international flight attendant involved not only in a dangerous love relationship, but a risky criminal smuggling rink as well. The film also features Rogeria, Brazil's most famous Drag Queen for the last thirty years, as a female killer. Love, crime, natural beauty, murder, mafia wars are all prominent in this story. It suggests to confirm a Brazilian damnation: "The Sampaku Curse, or Maldition." This, of course is the film's title. Worth a look if it's on late at night.
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