Play With Babies And You Will End Up Washing Diapers: Y Tu Mamá También (2001)

I have found myself quite aware of Alfonso Cuaron as a director, perhaps most accidentally from an early morning viewing of moments from Harry Potter and the Prisoner of Azkaban, yet this was ages ago and I certainly did not know the directors of films, or really watch a whole lot of films for that matter.  Of course, he is probably most well-known on a global scale for his directing of the dystopic masterpiece Children of Men, a film that as I find myself revisiting it quite often, can say with some sincerity that it is standing the test of time.  Film critics hail Cuaron's offering to the Potter franchise as its best, and it is rather difficult to find people who outright dislike Children of Men, yet as I go on about both of these films, it is Y Tu Mamá También, Cuarons' breakthrough film that proves to be his most well-received and generally loved film.  I am almost certain that I have never heard a bad word spoken in relation to this film, in fact, when people do discuss the film it is with an unprecedented fondness and genuine adoration for the film, noting its innovative use of the camera to capture a story with layers and complexities, one of which is class struggles on a national level.  Others seem to be caught up in Cuaron's clever breaking of the narrative structure by dropping the sound out in order for the narrator to interject explanations that, often times, undermine everything the characters are discussing, much in the same vein as Stanley Kubrick's Barry Lyndon.  As bold a cinematic statement as one can imagine, Y Tu Mamá También starts off with a pace and vision all its own and never once seems to stop and allow the viewer to adjust to its unusual execution.  Sure the narrative's trajectory can be pinpointed rather quickly and it is not the most redemptive or uplifting of films ever realized, but to call Y Tu Mamá También anything short of visionary is to clearly be disconnected from the film on a problematic level.  As the person I viewed the film with suggested, it is certainly the On The Road of Mexican film, but somehow it manages to obtain a degree of hope, amidst a Kerouac style malaise and misogynist ethos.   The men of this film are their own much more redemptive versions of Sal and Dean, coming down from their spirit quest in real and tangible ways, much to the woe of those afforded the pleasure to watch this magnificent piece of cinema.

Y Tu Mamá También places its focus on the unusually intimate relationship of two high school pals the first being Julio (Gael-Garcia Bernal) whose family has ties to leftist political movements and has always been of a slightly lower class and Tenoch (Diego Luna) the son of a high-ranking political officer.  While the two boys' friendship is rooted in school they also have the shared benefit of maturing together, particularly in their respective sexual awakenings.  This element of sexuality, aside from constant pot-smoking seems to be the major connection the two share, making for a rather unusual moment when, at a cousin of Tenoch's wedding, the two fall for an older Spanish woman named Luisa (Maribel Verdú) whose self-involved and condescending husband becomes a point of mocking for the two.  Foolishly attempting to win over Luisa the two suggest that she travel with them to a secret beach locale, which they fictitiously title "Heaven's Mouth," although Luisa is quick to discredit their invite considering her age and their foolishness.  However, when Luisa realizes that her husband has been cheating on her, she takes the boys up on their offer and travels with them to Heaven's Mouth.  It is during this trip that Julio and Tenoch's relationship is question, both for its frantic sexual nature, as well as their respective lies about sleeping with one another's girlfriends.  The tension is only heightened when Tenoch actually has sex with Luisa during their stay in a village after their car breaks down.  This jealousy fuels Julio to discredit Tenoch's sexual prowess, however, when Luisa gladly has sex with Julio the dynamics change, and the tension arises between the two young men, leading to a tequila-fueled threesome between the travelling companions, upon arrival to a beach that by pure coincidence is known to the locals as Heaven's Mouth.  This awkward sexual encounter proves to be the breaking point and Julio and Tenoch return home while Luisa stays and decides to explore the coves of the area. The closing scene of the film shows Julio and Tenoch engaging in a meeting for coffee, where their forced distance and awkwardness manifests itself fully, and as the narration suggests this cup of coffee would prove to be their final encounter.

I mention the tensions of sexuality in this film, it was a factor I was made aware of well before ever seeing the film, however, to be told about this did not prepare me for the way in which it would erupt off the screen.  I have talked before about the homosocial bond in film and have certainly focused on gay cinema at least once, however, the world in which Y Tu Mamá También exists manages to bring the social issues of this sexual identity to its absolute boiling point.  In contrast to the equally excellent Pedro Almodovar, Alfonso Cuaron relies on the reality of moments, as opposed to a simulacrum of reality that is highly stylized to deal with the issues of repressed homosexual desires bursting at the seems.  Tenoch and Julio are clearly infatuated with one another and their respective sexualities, both physically and mentally, we are shown images of them starring at one another's penis for extended amounts of times, considering the attractiveness of each of their male organs.  Similarly, they engage in competitive masturbation, for a lack of better, words laying parallel to one another as they outwardly express their sexual fantasies, even being so in synch as to seemingly reach orgasm simultaneously.  It is not until they are forced to acknowledge one another existing in a heterosexual state that things become problematic, something Luisa call to their attention when she says that they are no longer allowed to have sex with her, but are more than welcome to do so with one another.  One could also consider their confessions  of sleeping with their respective girlfriends as a way of affirming their own desire to engage in intercourse with one another even if in the most indirect of manners.  This makes the eventual three way sexual encounter problematic, because it has a layer of their repressed homosexuality emerging, but Luisa must tragically work as a sacrificial in-between to assure its consummation.  Whatever the result then becomes, it is certain that it greatly damage the relationship between Tenoch and Julio.  Perhaps they are indeed straight and their desires were misguided, or the existence of Luisa only betrayed their ability to unleash their repressed desires, it is impossible to say because Cuaron purposefully leaves it vague, and it seems to be the ideal choice, because after all is not sexuality the most malleable and indecisive of things.

Key Scene:  Leaves, pools and sexual awakenings.  If you have seen the film you will know what I am talking about, if not, you will understand upon viewing.

This is a must own film.  The dilemma, however, is that Criterion has apparently had this film in their "to be released" canon for nearly three years now.  I am hoping that this is the year it happens, as such I suggest holding off a purchase and renting in the meanwhile.

One Chimpanzee, Two Chimpanzee...: The Loneliest Planet (2012)

The mood film is an incredibly tricky style to navigate, where if a viewer is offered too little it can prove underwhelming and lacking considerably, where as if it i s too grand and distancing it is easy for it to become deemed pretentious and result in the dismissal of the work by critics, and, subsequently, moviegoers who often foolishly assume that if a critic cannot grasp the movie then it is certainly not for them.  Yet, when a mood piece is able to find the middle ground between serene simplicity and grandiose existentialisms the result can be profound, and, almost always, quite watchable, at least this proves to be the case for Julia Loktev's The Loneliest Planet, one of the early releases from last year that seems to have become lost in the hype of Big Hollywood films and the liveliness of Oscar Buzz, which is a bit of a tragedy because like so many low budget films this year it is something both mesmerizing and polarizing and considers the neo-couple in a less than comforting light.  In fact, I would closely compare it with Take This Waltz, only this film specifically finds itself set in the mountains of Georgia(the country), as opposed to the urban landscape of Toronto.  Both films consider with equal weight the woes and aftermath of one misstep in a assumedly perfect relationship, while carefully plotting all parties involved, never taking sides in the matter, often still careful to remind viewers that no party involved is truly free of blame.  I am also usually hesitant to praise a film where the landscape completely consumes its characters, for one this is a tool often used to detract from narrative formation and plot gaps, at least this was certainly the case in something like The English Patient.  I will make an exception with The Loneliest Planet, because the narrative is driven by a couples decision to venture forth into a foreign land far from their familiarity inundated with threats both natural and human, invariably crowding in on their inner emotions and ability to engage with one another.  Finally, with the exception of a couple of students the film contains only three main characters, an ever risky endeavor that pays off magnificently in this film.

The film begins with the jarring image of a naked Nica (Hani Furstenberg) jumping up and down attempting to keep warm as she waits for Alex (Gael Garcia Bernal) to fetch a pitcher of warm water to help heat up her manual shower.  It is revealed in this moment that the two are rather expert travelers, engaged to be married, who have decided that their next expedition shall take them through the mountains of Georgia, again that is the country, not the state.  Knowing little of the Georgian language aside from basic bartering skills, the two hire Gato (Bidzina Gudjabidze) a season guide whose decent understanding of English assures their safety to a degree, even if it means paying a bit more than initially planned, mostly because Gato shows open concern for having a woman traveling.  Regardless, the trio makes a decent group and they travel through the rocks, waters and windy valleys of Georgia, all the while Alex and Nica share in their intimacy, only occasionally concerned with Gato's ability to hear their actions.  Unfortunately, Georgia is not a politically stable area and the trio run into some rather angry locals who do not take kindly to foreigners traveling about their land.  An older man in the group goes so far as to hold a gun to Alex's face which leads him to unconsciously place Nica in front of him as a human shield, only to quickly realize his mistake and move back in front.  The man eventually backs down and the trio are allowed to go, Nica packs quickly and moves along clearly infuriated with Alex.  It is during the next few days as Nica deliberately ignores Alex that Gato begins to make moves on Nica, conversing with her and opening up about his own life, yet she eventually realizes that Alex was only acting in a matter of ear and the two rekindle their relationship.  However, before this Gato makes a pass at Nica who is not receptive and runs back to the tent where her and Alex engage in somewhat uncomfortable intercourse.  The final scene of the films shows the three packing up their tents as though it were the first day of the trip, ignoring the very real betrayals and deceptions which have unfolded in the past few days.

As scathing and biting as The Loneliest Planet proves to be towards the idea of marriage, romance and faithfulness, one cannot help but consider the very international appeal of the film, beginning firstly with its setting.  I am admittedly unaware of any other films set in this remote part of the former Soviet Union, but was more than welcoming of the lush landscapes and eerie chilliness of each scene, not to mention the latent tension of its very foreign elements.  It is always rewarding to see filmmakers go out of their way to find locales that are not represented in cinema often enough, let alone in a non-fantasized setting.  Sure lots of people film in New Zealand, but it is rarely in realistic tone.  Even the director Julia Loktev represents a certain amount of internationalism in her Russian-American identity, one that is very much the combination of two opposing ideologies in a historical sense and given Loktev's age I imagine it was a very real experience.  The cast is also multi-national including what appears to be a handful of Georgian actors, one Israeli actor and the well-established Bernal of Mexican heritage who is a staple of Spanish cinema, particularly the films of Pedro Almodovar.  If all of the production were not enough to make this film international, the dialogue is often varied and never subtitled, allowing for yet another level of multi-nationalism, one that in order to fully comprehend demands a proficiency in at least four different languages.  The topics shared by the characters though also expand beyond one nation, Gato speaks about his own past, while also considering the role that China plays in his country, not to mention some rather specific opinions about the Western world, ones that are understandably negative.  All of this muddling together, certainly adds a poignancy to the films closing scene of the separated identities breaking down their thin tents, perhaps spaces of separation, and accepting a connectedness, even if said connection is the result of some rather unfortunate engagements.

Key Scene:  The moment when Alex unknowingly betrays Nica is so simple that it is nearly deceiving and if you do not pay full attention to its occurring may be perplexed as to why it matters.  However, it is a brilliant moment of filming and acting that might be one of the best scenes of last year.

This is a great thing to watch on Netflix, although I recommend doing so when it is dark out, as much of the movie is set against a black backdrop and it can be difficult to judge a frame with any sort of light messing up the screen.

All This Just So Daddy's Little Girl Can Score A Dime Bag: Casa De Mi Padre (2012)

When I see Will Ferrell's name attached to anything, I, like most people, assume at the very least that his performance will prove funny, even if the rest of the movie falters and never really manages to find its grounding, this was certainly the case with Old School and a ton of other comedies involving the well-established funny man.  However, I remember seeing passing trailers and hints at the absurdity that was to be an almost all Spanish language film in which Ferrell, a decidedly not Spanish actor would play the lead.  The absolute brilliance of such a film, both conceptually and risky could not be ignored, yet it seems as though the movie came and went with little or no noise whatsoever, probably due entirely to the fact that anybody who were to attend this film would be subjected to reading subtitles, a veritable death sentence to assuring sales, particularly in regards to American comedy.  Yet, Ferrell, as well as the remainder of his cast, many of which are well-established Spanish speaking actors, provide for a thoroughly hilarious film that is as post-modern as they come and almost appears to be in the vein of a Tarantino film, although in the case of this film, it does not have the underlying hipness and relies solely on absurdity...to some degree satirizing the overly aggressive stylized nature of both action films and old school spaghetti westerns.  The film, Casa de mi Padre, directed by long time Saturday Night Live writer Matt Piedmont, provides a complete undermining of what viewers have come to accept as visually consumable comedic film, while also reinforcing some of the traditional tropes and absurdities. Where I found Casa de mi Padre to be somewhat out of the ordinary was within its rather serious considerations of what it was satirizing and the methods by which it was doing so, specifically in its use of humor to consider the troubles of a transnational border trade and the manner with which language barriers affect its success, as well as how failures to communicate challenge its suppression.  Undoubtedly, much of this films assured production must have laid in the hands of one Will Ferrell and its passionate execution, should be, to some degree, credited to its main actor.

Casa de mi Padre focuses on the initially simpleton lifestyle of ranchero Armando Alvarez (Will Ferrell) who desires to make the best of his families land and longs to find companionship with a woman who shares his feelings.  While his father Miguel Ernesto (Pedro Armendariz Jr) seems to dismiss his every action and thought as stupid, due heavily to blaming Armando for his wife's death, Armando nonetheless takes life with strides and lives by his promise to keep his name honorable.  However, with the return of the family's prodigal son Raul (Diego Luna) and his fiance Sonia (Genesis Rodriguez) things in the world of Armando Alvarez quickly become altered, due to a combination of his own burgeoning feelings for the extremely attractive Sonia, as well as a realization that his brother is tied into the drug trade across The United States and is quickly becoming enemies with Onza (Gael Garcia Bernal).  To make matters much worse, Armando and his family become the point of attack by government officials who see them as central figures in the trafficking of drugs, this operation is led by a hyper-patriotic "American" speaking officer named Greg Parker (Nick Offerman).  While Armando pleads with his brother to extract himself from the life of drugs and violence it is not until a violent shootout on the day of Raul and Sonia's wedding which results in Miguel's death that any serious thought is taken on ending the tragic lifestyle, which of course means that they must take down Onza a task which results in a huge shootout and the death of Raul.  This death while, unfortunate, affords Armando the means to create a relationship with Sonia, one that allows him to exact revenge on his mother's attempted racist and take down corrupt American drug agents.  Also at some some point in time a Bengal Tiger plays into the plot, but that is just one of the many extra elements to a heavily packed non-traditional comedy.

So if this is a comedy can one really take anything it is saying about the American-Mexican drug trade with any level of seriousness, perhaps not, yet the level of detail placed on considering the rhetoric of those involved as well as the misunderstandings of the lesser persons involved in such a world cannot be overlooked.  Agent Greg Parker beautifully represents the trouble of illogically conservative individuals blaming Mexico for their drug problems, as opposed to considering the social breakdown in America leading to young children desiring to get high, it is a classic example of wrongfully placed blame, in this case by Americans onto Mexicans for their inability to end drug use.  Similalry, we are provided a dueling vision of The United States via brothers Armando and Raul, one seeing it as a glorious place of golden paved streets and endless dreams, while the other deems it a filthy place full of terrible persons that act like children, of course, neither is completely right or wrong in their claims, yet they both fail to consider how their own country has its share of problems, many of which are eerily similar.  This is where language seems to emerge as a point of criticism, the assumptions shared by both groups seem to be based on their inability to explain certain ideas or notions, outside of their cultural context and it is not until Armando shares a conversation with another agent at the end of the film that both sides realize that much of their disdain and contempt for the other side is grounded in stereotypes and lies promoted by higher forces.  There is also a considerable amount of the narrative focused on honor and sacrifice, and a suggestion that both values are necessary to assure safety and civility in one of the most tenuous yet seemingly crossable borders in the world.

Key Scene:  There is a moment where Will Ferrell literally shows his ass multiple times and it proves to be a laugh out loud moment during a generally funny film.

This is yet another reward from the Watch Instantly category as I attempt to wrap up some of the missed films of the year.  It is great and certainly worth checking out and I am ashamed it did not receive more hype upon release.