DVD Clubs

Small Town Gay Bar

Small Town Gay Bar (Director: Malcolm Ingram, USA, 2006): This film was part of the June 2007 release from Ironweed Film Club, and fea­tures two short films as well that I haven’t yet watched. I missed this when it played ori­gin­ally at this year’s Inside Out fest­ival, so was glad to see it on DVD so soon.

While my own exper­i­ence with gay bars has been pretty lim­ited, I under­stand that they serve a vital social func­tion within the com­munity, serving as sanc­tu­aries from a world that is very often hos­tile to gay people. The situ­ation is even more dire in the rural South, where pre­ju­dice has been tol­er­ated and even encour­aged for a long time. This small film keeps its focus tightly on a very spe­cific area, north­eastern Mississippi, and on the pat­rons of a bar called Rumors, loc­ated in tiny Shannon, pop­u­la­tion 1,726. In rural com­munities where everyone knows everyone else, it’s not unusual for gay people to stay “in the closet” and so the bar becomes the only place where they can actu­ally be them­selves. However, since Mississippi is in the middle of the “Bible Belt,” the bars are often tar­getted by con­ser­vative church groups and forced out of busi­ness. Part of the film covers the his­tory of gay bars in this part of the state, and Crossroads, once loc­ated in larger Meridian (pop. 39,000), seemed to be just the sort of place that con­ser­vat­ives would want to close. As one former patron put it, the sense of des­per­a­tion was so strong that it became a sort of circus, a place where “any­thing went” and so local law enforce­ment found a way to close it. Happily, this same former patron bought the prop­erty and reopened it as a much more con­genial place, recog­nizing that people were being forced to drive sev­eral hours to Memphis for lack of a local place to go. I found myself reminded very much of British pub cul­ture while watching the film, where the bar is not only a place to drink and meet romantic part­ners, but a hub of inform­a­tion and a sur­rogate family. Ingram’s film does a great job of cap­turing a sense of place and of the very unique people who pop­u­late it.

Perhaps the only weak­ness I found in the film was in its choice of counter-voices. Reverend Fred Phelps (of GodHatesFags.com fame) was born in Meridian, so I can see why the film­maker wanted to fea­ture him, but giving this nutbag so much screen time was unne­ces­sary. Ingram also inter­viewed Tim Wildmon of the American Family Association, another extreme organ­iz­a­tion with their headquar­ters in nearby Tupelo. While this gen­er­ated lots of sparks, I was rather hoping to hear more from local reg­ular people and even local pas­tors instead of people whom the majority of Americans would view as raving lun­atics. As well, it would have been inter­esting to hear why the pat­rons of Rumors and the other bars haven’t just given up and moved to larger cities where they could live more openly.

As a side note, I was intrigued when I heard so many Toronto bands on the soundtrack (Metric, The Hidden Cameras, Broken Social Scene) and guessed, right­fully, that dir­ector Malcolm Ingram was indeed from Toronto. I’d love to hear what drew him so far from home to tell this story.

Official site for the film

7/10(7/10)

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Men At Work (Kargaran mashghoole karand)

Kargaran mashg­hoole karand (Men At Work) (Director: Mani Haghighi, Iran, 2006): Kargaran mashg­hoole karand (Men At Work) begins with four middle-aged men driving home to catch an important foot­ball match on tele­vi­sion. Three of them are talking and joking around while the other naps. He wakes up and bugs them until they finally pull over and allow him to make a pit-stop on the side of the road on the edge of a canyon. While they are stopped, they dis­cover a tall, narrow rock form­a­tion sticking out of the ground. This film is about their attempts at trying to figure out how it got there, but ulti­mately how to knock it down.

It doesn’t sound like a very intriguing story, but somehow it is. And funny. The situ­ation these men impose upon them­selves can surely be a meta­phor for any kind of obstacle that one may face in life, or it could really just be about how dif­fi­cult it is to dis­lodge a big rock from the earth.

Through altern­ating moments of silence, comedic and almost slap-stick antics, emo­tional out­bursts and acts of des­per­a­tion, we learn of these mens’ rela­tion­ships with women (two of whom con­veni­ently show up, join the chal­lenge for a while, and then leave) and each other, but mainly we see how dif­fer­ently they each deal with this “problem.”

Men At Work (Kargaran mashghoole karand)

I have seen a few Iranian films from the past few years, and most of them are about women and their struggles within their cul­ture. This film, how­ever, may focus on the pos­sibly neg­lected point of view of the men, and per­haps this is why the offensive rock is quite, well, phallic. Is this a com­mentary on the dif­ferent atti­tudes that some Iranian men may have about their male-dominated society? If so, then how does one explain the rel­at­ively passive atti­tudes of the women who show up? (One can make a meta­phor of any­thing, I suppose.)

In the end, after periods of working together and then lit­er­ally giving up and leaving someone behind, the four friends learn that some­times prob­lems can solve themselves.

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Viva Cuba

Viva Cuba (Director: Juan Carlos Cremata Malberti, Cuba, 2005): Viva Cuba is a charming fairytale/road movie that sub­merges its polit­ical mes­sage in a very per­sonal story of friend­ship and love. Jorgito and his tomboy friend Malu are on the cusp of adoles­cence, and their close friend­ship seems about to morph into some­thing at once more ser­ious and more fright­ening. It’s evident from the way they can be holding hands one minute and arguing viol­ently the next. To make things worse, their fam­ilies detest each other. Malu lives with her mother, a bitter woman whose family used to wield influ­ence in the days before Castro’s revolu­tion. Jorgito’s par­ents have moved to Havana from the coun­tryside and are firm sup­porters of the gov­ern­ment. Each mother admon­ishes her child for playing with an unsuit­able play­mate, but that only drives the pair closer together.

This Romeo and Juliet story really takes off when Malu’s mother decides to leave Cuba forever, to join her boy­friend in what we assume is America. In order to get per­mis­sion to leave the country with Malu, she must get her estranged ex-husband to sign an exit author­iz­a­tion. Knowing this, Malu and Jorgito hatch a plan to appeal to his paternal love (or guilt) by trav­eling in person to see him. The problem is that Malu hasn’t seen her father since she was six, because he works as a light­house keeper at the other end of the country.

The two young prot­ag­on­ists hit the road by train, bus, and oxcart to reach their des­tin­a­tion, but their con­stant squab­bling threatens to ruin the plan. In the mean­time, their wor­ried fam­ilies have seem­ingly recon­ciled in the des­perate search for their missing children.

First and fore­most, this is a beautifully-shot film, and the use of colour is often striking. The polit­ical mes­sage, such as it is, seems to ignore Castro com­pletely; instead, it’s a shame­lessly pro-Cuba film, high­lighting both the island’s nat­ural beauty as well as the fierce pride of its people in their cul­tural insti­tu­tions. It’s not sur­prising that music plays a big part in the film.

It’s unclear whether the dir­ector was attempting to make a film aimed solely at chil­dren. There is cer­tainly a sense of naïveté in the dia­logue and the basic struc­ture of the film, and there is never any real danger to these two kids on the run, but the ending seemed par­tic­u­larly grown-up and ambiguous, and made me ree­valuate my ini­tial impres­sions. Some critics have seen the film as an allegory depicting two sides to modern Cuban cul­ture, but I don’t believe the inten­tion was that obvious. I think the film gains res­on­ance from refusing to be overt about its polit­ical opin­ions. Instead, it leaves the viewer to untangle his sym­pathies from the inter­sec­tion of con­flicting desires in a country that is chan­ging, just not fast enough for some.

Note: Film Movement fea­tured this film as their Year 5 Film 5.

8/10(8/10)

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El Bola

by Jason Chu on June 5, 2007

in DVD,DVD Clubs,Film Movement

El Bola (Pellet)

El Bola (Pellet) (Director: Achero Mañas, Spain, 2000): Pablo’s nick­name is Pellet, hence the title of this film. I didn’t know any­thing about this film before pop­ping it in the DVD player, so I had no idea what kind of a ride I was in for.

The ride was great. Performances are authentic and at times, appro­pri­ately subtle. The actual sub­ject matter doesn’t arise until almost halfway through the film; a style that doesn’t always work, but def­in­itely does here.

Pellet loiters around town with some of his misfit, dare­devil peers and befriends the new kid at school, Alfredo. Alfredo provides Pellet with a simple camaraderie that Pellet seems to never have known before, and he is obvi­ously needy for this kind of friend­ship. Still, he ini­tially feels out of place in cer­tain situ­ations, such as spending time in Alfredo’s family envir­on­ment; granted, Alfredo’s family envir­on­ment may not be the most “normal”, but we soon see why Pellet is tentative.

El Bola (Pellet)

The film touches indir­ectly on a lot of themes and situ­ations that are not very developed, but I appre­ciate the real­istic snap­shot of time-and-place that this method provides; they also work to advance char­ac­ters rather than plot. We never really get the story on some of the sup­porting char­ac­ters but it ends up not really mat­tering; somehow the subtle oddities of cer­tain people and events gives the film a “truth is stranger than fic­tion” sort of backdrop.

I was very impressed with the lead actor Juan José Ballesta, who played the title char­acter at only thir­teen years of age. I didn’t recog­nize him at first, but later real­ized that I saw him in person a couple of years ago at TIFF when he was in town to pro­mote the film 7 vírgenes.

El Bola is a powerful film that deserves the many awards and nom­in­a­tions that it received. It is a moving story that is painful at times and heart­warming at others. It authen­tic­ates itself through its pho­to­graphy, char­ac­ters, per­form­ances and sadly, the story itself. I think that Jay would con­sider this to be a “Jason Chu film”, so it’s no sur­prise that many moments of it recall Truffaut’s Les Quatre cents coups (The 400 Blows).

Note: Film Movement fea­tured this film as their Year 1 Film 1. That’s right, it was their very first pick. As an added bonus, the film is on sale right now for half price, making it a bar­gain even for non-subscribers to Film Movement’s service.

Official site for the film (Spanish only)

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Blue Vinyl

Blue Vinyl (Directors: Daniel B. Gold and Judith Helfand, USA, 2002): After seeing and enjoying Helfand and Gold’s latest film Everything’s Cool at Hot Docs this year, I was looking for­ward to seeing this, their first film. Let’s just say that the pair have developed quite a bit as doc­u­ment­arians in the past five years. Though the film explores an important sub­ject, the tox­icity of the vinyl used in siding and other products, the tone and pro­duc­tion values were ulti­mately dis­tracting for me.

Helfand is very much involved in the film, since the pro­ject grew out of her con­cern that her par­ents’ install­a­tion of vinyl siding on their house would lead to health prob­lems and other envir­on­mental damage. She does a decent job invest­ig­ating the vinyl industry’s record of decep­tion and coverups, but she’s just a little too gim­micky. She reminded me too much of Michael Moore, put­ting her­self into every scene, and even car­rying around a piece of vinyl siding throughout the film. In a few places, her inex­per­i­ence as an inter­viewer is obvious, and although she tries to play it for laughs, it falls flat.

One sub­ject that I wanted to hear more about was the search for altern­ative building mater­ials. She does talk to a number of people at a California con­ven­tion, but doesn’t provide enough inform­a­tion about the innov­a­tion going on in the con­struc­tion industry. The film aims for a light tone but has a hard time main­taining it when we hear about how many people have become sick or died from working with vinyl and PVCs. This is a decent first effort, but I’m glad that in their latest film, Helfand gen­er­ally stays off screen. As well, they chose to make a more pos­itive film focus­sing on solu­tions, which suits their style better.

Note: Ironweed fea­tured this film on their April 2007 Earth Day edi­tion. They’ve posted a good col­lec­tion of resource links about vinyl siding.

Official site for the film

6/10(6/10)

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