The Dead Stay In Our Heads Because We Loved Them: Monsieur Lazhar (2011)

Simple cinema is seemingly a thing far gone from movie making, wherein a post-digital understanding of the world has resulted in what could aptly be describe as visceral overload.  While works like Fight Club and Inception have cemented themselves as deserved contemporary classics, even if a bit problematic in the narrative department, their reconsideration of the forms of filmmaking have become a thing to recreate, an endeavor which has more or less proven poorly executed.  Simple cinema when set up against the aforementioned films would lead one to assume that my relationship to the movie is one without any degree of profound consideration, simple suggesting mediocrity.  This is absolutely not the case, simplicity is perhaps the most audacious thing a person can aim for in a film and is equally the most difficult to execute with any assured success.  I think of works like Bresson's Au Hasard Balthazar or the surprising restraint of something like Kramer's Guess Who's Coming to Dinner when discussing this idea.  The story is allowed to breath unfold and move to a space of deep introspection for all those who engage with its products, both of these films proving that when purity and perfection are pursued even the simple can become monumental.  I would argue that the same emerges in a work like Monsieur Lazhar, one of the foreign breakout films of 2011 and the wonderful production from the play by Evelyne de la Cheneliere and the direction of Philippe Falardeau.  Dealing with nothing short of one of the deepest, most troubling issues in human existence, the film exudes a certain poetic realism that affords any viewer a constant movement through the range of emotions whether they be unbridled joy or devastating sadness, but after all, this is the human reality and one often shunned by popcorn cinematic escapism.  I know that this film received an unprecedented amount of praise from critics and faired quite well in the indie/art house circuit, which is fine and well, but Monsieur Lazhar possesses such an earnest approach to what troubles both young persons and adults that it becomes required viewing for everyone willing to sit down and read a work involving subtitles.

Monsieur Lazhar is set in the oppressively cold space of Montreal, where a group of students begin their day at school anew and the young Simon (Émilien Néron) being tasked with preparing the milk for his classmates breakfast.  Upon retrieving the necessary amount he approaches the classroom only to discover that his teacher has hung herself leading to chaos emerging in the space of the school despite an attempt to quell the panic by the principal Mme Vaillancourt (Danielle Proulx).  In the midst of trying to find a new teacher one Bachir Lazhar (Mohammed Fellag) emerges, inquiring about the opening.  Though initially dismissive, Vaillancourt hires Lazhar in hopes that the instant presence will help the classroom return to some degree of sanity.  Lazhar immediately takes control of the class in a very professorial manner, establishing high academic expectations for the students, much to their chagrin, excluding one student Alice (Sophie Nélisse) that finds his teaching style engaging, made all the more so by his being from the farm warmer locale of Algeria.  Indeed, it is Lazhar's former life in Algeria that makes for an intriguing narrative twist for it was not him, but his late wife who spent her life as a teacher, become the victim of a terrorist attack after speaking out for the rights of women.   Burned in an apartment fire, along with her children, this death has led to Lazhar moving to Quebec in hopes of attaining refugees asylum.  Regardless of this issue, Lazhar becomes a point of admiration, even if begrudgingly, for the students and one of desire for a fellow teacher Claire (Brigitte Poupart), who repeatedly makes sexual advances towards him, despite his clear disinterest and awareness of her exoticization of all things foreign.   Considerign that the students are only receiving occasional guidance from a school appointed psychologist, the death of their former teach by suicide constantly threatens the camaraderie of the classroom and when confrontation finally does occur, after a few violent outbursts it proves to be a moment of catharsis for not only the students but Lazhar himself who had been suppressing his own loss.  Despite receiving refugee status, the knowledge by the bureaucracy of the school of his non-creditions, leads to Lazhar being forced to step down, but this is not before one final day in which he delivers to his students a fable in hopes of teaching them a final lesson, also learning himself in the process.

I was fortunate to see this at a screening embracing French and francophone cinema here in Columbia, which included the presence of the very gracious and humble Danielle Proulx who advocated for the films message over any sort of pretense regarding her own experiences acting.  I find this a great way to consider this film, particularly since it is so loaded with notions that one's identity is predicated on a paradigm of constantly shifting frames of reference, including but not limited to gender, race, class, nation and age.  As I know I have mentioned on this blog before, intersectionality is the frame of theoretical thought that considers these layers of identity and the ways in which such schemas affect ones privilege or oppression in a society.  While there are far more inquisitive and experimental works considering this issue, I am unaware of one quite as minimalist and simply stated as what occurs in Monsieur Lazhar, again the notion of simplicity not implying a lack of depth or detail.  One only needs to consider the space of the school in the film to see how varied identities are colliding in unusual and often problematic ways.  The most obvious is, of course, the film's title character whose movement from Algeria to Quebec only affords him two points of previous privilege that of masculinity and French language, all other points of privilege are challenged when he must be constantly reminded of his difference, particularly in regards to cultural understandings, never mind the implications that come along with his own refugee status.  Lazhar, however, is not the only person with intersections of identity, take the students for example, reflecting a surprisingly diverse group contingent on gender, race and class, even making specific note of nationality in the student introductions, Lazhar must constantly shift his understanding of the world to appropriate it to each students needs, whether it be one whose single mother often overlooks after school teaching or another whose parents are overly protective and unwilling to allow her shades of rebellion. Furthermore, he must constantly realize that even when his mother tongue is comforting a continual speaking in such language could prove dire to at least one student.  Other issues such as women's employment, exoticization of the other, post-colonial history and global politics emerge in this film, all while also managing to attack the very perplexing issue of suicide.

Key Scene:  The closing fable will move you in a profound way, unless you somehow manage to ignore the entire movie up to that point.  However, even if that were the case the delivery by all the performers involved, paired with perfectly composed dialogue will still deeply resonate with even the most stone-hearted.

While this movie, undoubtedly, benefits from a group screening, it is available on Netflix Watch Instantly and is quite deserved of your time.

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.