The Malaysian Insider :: Opinion
The Malaysian Insider :: Opinion |
| Portugal – the next cinematic hotspot? Posted: 22 Mar 2013 04:28 PM PDT MARCH 23 — In the mid to late '90s, it was Iran. In the 2000s it was Romania. And for the past few years it looks like South America (with Argentina leading the way) that's going to take over as the new hotbed of cinema. But like all previous hotbeds, the high level of interest in the anointed country's film-making output will inevitably cool down after a number of years, usually five years and 10 at most. It's a game that cinephiles and film geeks the world over have played for decades now. So which country's next? While I'm sure most casual film fans can associate Iran with Children Of Heaven (which became a worldwide hit, probably not on the same financial level as Cinema Paradiso but definitely on the same emotional level), it is directors like Abbas Kiarostami, Mokhsen Makhmalbaf and Jafar Panahi who made people sit up and take notice with their formally challenging yet playful films. The same formally challenging yet playful style can be found in breakthrough Romanian films of the 2000s as well, especially The Death Of Mr Lazarescu and 12:08 East Of Bucharest. So in trying to pinpoint the next cinematic hotbed, it's probably not a bad idea to look for these qualities as well. Some observers have pinpointed Israel as the next hotspot, but this is one blind spot that I'm unlikely to overcome because even one of that country's recent higher profile films — Nadav Lapid's Locarno prizewinner Policeman — failed to secure American or European distribution (and this even after playing at the prestigious New York Film Festival). So the only way to see these new films from Israel is to order a DVD from there (assuming that it's got English subtitles) and to also hope that the package won't get confiscated once it arrives here in Malaysia, considering our non-existent diplomatic relationship with Israel. Most everything else from other countries I've seen so, Israel aside, I think I can confidently say that after slowly building up its reputation over the last 10 or so years with works by masters like Pedro Costa and Manoel De Oliveira, it seems like the time has come for Portugal to take over that mantle. In 2012 alone, there were at least two new Portuguese films that inspired rapturous critical swooning — Joao Pedro Rodriguez and Joao Rui Guerra Da Mata's docu-fiction hybrid The Last Time I Saw Macao and Berlin Film Festival darling (it won two awards) Tabu by Miguel Gomes. And this doesn't take into account De Oliveira's new film Gebo and the Shadow, which premiered at Venice and another docu-fiction hybrid called Arraianos by Eloy Enciso Chachafeiro. Rodriguez has been making a name for himself with his last few films, especially the quite extraordinary To Die Like A Man and his debut O Fantasma. But every hotspot needs a poster boy (like Kiarostami for Iran and Cristi Puiu for Romania) and in Gomes I think Portugal has one who will stand the test of time. Unlike most heralded new directors who blow their load with a glorious debut film, only to fizzle out as they make more and more films, Gomes' progression is one of constantly upping the ante on his previous films (when the previous films are already spectacular in themselves). Gomes' under-seen debut The Face Of Another (I had to order the DVD from Portugal) already displayed his facility for playing with film form in ways that are not boring and doesn't call attention to itself, and anyone who loves Jacques Rivette will be transfixed by the film. But I don't think that striking debut even comes close to preparing viewers for his follow-up, the effortlessly brilliant Our Beloved Month of August, which playfully blends documentary and fiction in quite a daring way, and would normally have no right to be as enjoyable and entertaining as it is. But his new film Tabu is even more astonishing, and I'm not exaggerating. Arthouse or festival films are not exactly well known for being audience friendly or easy to digest. But Tabu, despite being a black-and-white film in the boxed full screen Academy ratio of old films and having a bifurcated narrative structure (not to mention being more or less a silent film, supported only by voiceover throughout its second half), is quite simply a film that is really hard to resist. A meditation on memory and Portuguese colonialism in Africa, framed as a story of forbidden and lost love in those colonial times, the film is impossibly lovely, impossibly moving and will make you swoon. It is by no means a commercial film, despite the romance and African adventure. It's not even one of those easier to digest European mainstream arthouse films (i.e. arthouse films for people who don't normally like arthouse films) that the French are good at producing. It's still very much an adventurous and daring film that some people will describe as "difficult", but made more accessible by Gomes' very rare facility for presenting difficult things in an enjoyably playful way. If this film had been sent to Cannes last year, I've no doubt that it would've been a sensation and would've won the Palme D'Or, no matter how good anyone may think Amour is. But no matter, for Gomes has well and truly arrived, and with a poster boy this damn good (and this much loved), the future looks bright indeed for Portugal. * This is the personal opinion of the columnist. | |
| Posted: 22 Mar 2013 04:17 PM PDT
MARCH 23 — Apparently, academics have known for a while that there's a strong link between music and sport. I've just googled the subject and unearthed a wide range of articles which suggest the beats and rhythms of music can significantly improve performance levels. That doesn't surprise me. The subject came into my mind yesterday while I was playing basketball in a local park near my apartment in Barcelona. At first, I was playing terribly. The ball wasn't "coming out" of my hands properly when I attempted to shoot or pass, and when I dribbled I was mishandling with frustrating regularity. Then a group of youths turned up on the other side of the park, playing their stereo loudly. A few minutes later, I realised that my basketball had significantly improved. I became aware that my body was responding to the beat of their hip-hop music. As I ran with the ball or threw it, I was unintentionally moving in time with the music. For the remainder of the game I deliberately attempted to "tune myself into" the music, to let myself be carried away with it, almost as though it was playing through me. And the result was that I played better than I have in a long time. I've noticed this kind of thing before. Cricket is normally played — in England at least — against the serene and genteel backdrop of a quiet village green. On one occasion, though, I played an away game directly next to a children's funfair which was pumping out loud pop music. When we arrived, our players were appalled by such an unexpected intrusion, complaining that they would never be able to concentrate with such a racket on the boundary's edge. At first I agreed, but then it was my turn to bowl and I noticed something very similar to my experience with yesterday's basketball. I found myself running up to bowl in time with the rhythm of the music, and even felt I could use the beat to help achieve fluidity in my bowling action as I released the ball. It was the best I'd bowled in a long time — the music made me feel relaxed and confident, somehow more co-ordinated and athletic. Simply put, it made me feel like a better bowler. Later on that day I had the same experience when I was batting. Rather than being distracted by the noise, I could easily use it to my advantage. I was comfortable with the bat in my hand and, whether playing attacking or defensive shots, I was able to do so with confident commitment. Similar again are my experiences on the ski slopes. I'm no better than an average skier, which means that in order to navigate the more challenging steep or bumpy slopes I have to really concentrate. I have repeatedly found I can do this much more easily if I "play" a song in my head and force myself to turn the skis in time with the music. Obviously my experiences are far from unique, and a quick Internet search reveals reams of scientific research which shows how the brain responds to music and allows us to perform athletic tasks more efficiently. This is hardly a stunning revelation. Gyms commonly play loud high-tempo music in the assumption that it will help people on the treadmills and the exercise bikes, while most amateur and professional runners don't feel anywhere near as comfortable or motivated without their iPod and headphones. I expect the phenomenon extends beyond the sporting arena as well, and that music helps us perform any physical task more effectively. In my youth, for example, I worked in a number of restaurant kitchens, which had one feature in common: music was always being played. This was partly diversionary to provide some respite from the tedium of washing dishes and chopping onions, but with hindsight I wouldn't be surprised if kitchens with music operate more efficiently than those without. Music, of course, is already known to possess many powers: we listen to calm classical music when we want to relax; if we want to psych ourselves up, we'll play something more up-tempo. And musical language has found its way into the sporting lexicon. Football reporters — I do so myself — regularly talk about the "rhythm of the game" or a team playing "with tempo." Everyone seems to understand exactly what that means, even though — to my knowledge — it's never been specifically analysed and defined exactly how a football match can "have rhythm." Perhaps the next step will be an extension of the musical entertainment already provided in sporting venues. Rather than football stadia, for example, simply playing music at half-time or when goals are scored, perhaps they should start spinning some tunes actually during the game... would it make the players perform better and therefore provide a better spectacle for the spectators? Scientific research seems to suggest it would. As the most modern, progressive and digitally tuned-in sporting organisation I know, Manchester City would be the perfect candidates. And with Oasis among their fanbase, they've got the ideal raw materials. A "live" Noel Gallagher gig during the next Manchester derby? Why not! * This is the personal opinion of the columnist. |
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