spirituality

The Tree of Life

by James McNally on October 10, 2011 · 1 comment

in DVD

The Tree of Life
eOne released The Tree of Life on DVD and Blu-ray in Canada on October 11, 2011. Help sup­port Toronto Screen Shots by buying it on Amazon.ca.

The Tree of Life (Director: Terrence Malick): When I first saw Terrence Malick’s long-awaited fifth film back in the spring, I simply couldn’t write about it. Certainly still in the top spot for my Film of the Year, it hasn’t become any easier to artic­u­late my thoughts about a film so per­sonal and yet so uni­versal. I can say with cer­tainty, though, that the film looks every bit as stun­ning on Blu-ray as it did pro­jected the­at­ric­ally, and that means that you should cer­tainly add it to your collection.

The Tree of Life has been described as Malick’s most per­sonal film yet, fea­turing a family very much like his own in a time and place very sim­ilar to where and when he grew up. At the heart of the story is a tragedy, the loss of a beloved child, and the oldest son’s remem­brances of his brother, his own child­hood, and espe­cially his rela­tion­ships with his mother and father. As young Jack (Hunter McCracken) leaves child­hood behind for the tur­bu­lence of adoles­cence, he’s torn between the com­fort of his mother’s (Jessica Chastain) uncon­di­tional love and his more con­flicted feel­ings toward his strict father (Brad Pitt). There is an ever-present nar­rator, though the voices change. Sometimes it’s the voice of his mother, some­times his father, and some­times you wonder if it might even be God.

Quite apart from the remem­brances of Jack (played as an adult by Sean Penn), there is an entire sequence visu­al­izing the form­a­tion of the Earth and the begin­ning of life itself. Malick worked with spe­cial effects expert Douglas Trumbull to make these look as nat­ural as pos­sible, depending on com­puters only when abso­lutely neces­sary. The imagery is stun­ning throughout, both the spe­cial effects stuff and the warmly nos­talgic cine­ma­to­graphy by Emmanuel Lubezki, who worked with Malick on his pre­vious film The New World.

The Tree of Life is Malick at his most Malickian, and by that I mean that plot and char­acter are not revealed through tra­di­tional nar­rative, but more by the accu­mu­la­tion of details and impres­sions. Music is important and the camera sweeps around like a paint­brush on a canvas. The voi­ceovers can seem a bit pon­derous to someone not expecting a film about the Big Questions, but if you’re pre­pared to be stirred emo­tion­ally, exist­en­tially and, dare I say spir­itu­ally, this film will simply knock you out.

The most helpful thing I can say about this film is that it’s a mirror. What you end up thinking or feeling about it will be very much determ­ined by what you bring into the exper­i­ence. That’s why I’m so excited to have such a beau­tiful work of art in such a pristinely presented package. The Tree of Life is a film that will deeply reward patience and repeated view­ings, at least for me.

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Post image for Driven By Vision

Vision TV premi­eres a really inter­esting series this week. On Wednesday March 11 at 10pm, Driven By Vision enters its second season after a name change (the first season was entitled Shrines and Homemade Holy Places). Through seven half-hour epis­odes, we visit a number of unique art sites cre­ated by vis­ionary (or some might just say eccentric) cre­ators, many of whom seem inspired by their sense of con­nec­tion with the divine. The show was cre­ated by Toronto-based Markham Street Films, and written and dir­ected by Michael McNamara. The nine ori­ginal epis­odes will air in the same timeslot begin­ning in May 2009.

A ringing endorse­ment from doc­u­mentary legend Albert Maysles doesn’t hurt either:

This is exactly what we should be seeing on television…a mes­sage of hope through beauty in the sub­ject matter and in the filmmaking.

What caught my atten­tion about this was its sim­il­arity to a web series called American Dreamers that I wrote about a few months ago. It seems that this kind of “out­sider art” archi­tec­ture has cap­tured the ima­gin­a­tion of a lot of people, or at least a lot of doc­u­ment­arians. After watching it, though, I think this will interest almost anyone with an interest in building things or dis­cov­ering inter­esting char­ac­ters. It’s beau­ti­fully shot, and brings the viewer face to face with many works which will never appear in their local art museums.

In the first episode, we meet two loners who have devoted their lives to their indi­vidual art pro­jects. Jim Bishop has spent the past few dec­ades ded­ic­ated to building his very own castle in rural Colorado. Bishop’s Castle is indeed awe-inspiring, but this episode shows the darker side of the affable builder and tour guide and invest­ig­ates some of the pain behind his obses­sion. We also meet the utterly charming M.T. Liggett, who has annoyed every one of his 250 neigh­bours in Mullinville, Kansas by immor­tal­izing them in scrap metal sculp­tures. Using his art to work out his polit­ical and reli­gious opin­ions, and even to memori­alize past loves, he has caused con­tro­versy by planting his pieces along the sides of the highway on his prop­erty. What Liggett con­siders his open air gal­lery, the townspeople con­sider an eye­sore, but it doesn’t seem to bother the 76-year-old Liggett in the least.

If the first episode is any indic­a­tion, I’m very much looking for­ward to meeting the rest of this col­ourful cast of characters.

P.S. According to the Facebook fan page, the series is run­ning on Ovation TV in the US.

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Beyond Our Ken

Beyond Our Ken (2008, Directors: Melissa Maclean and Luke Walker): I knew this was going to be an inter­esting screening when I started to see leaf­lets in the hands of some of the audi­ence accusing the film­makers of slander and the film of being a fraud. The sub­ject of Beyond Our Ken is an Australian reli­gious move­ment called Kenja, founded in 1982 by Ken Dyers and his wife Jan Hamilton (the name is a com­bin­a­tion of their first names). Now, any move­ment that inspires intense per­sonal loy­alty to one person will often be labelled a cult, and Kenja is almost always referred to in this way in the Australian media. Over the years, the group and Ken Dyers in par­tic­ular have also been the sub­ject of invest­ig­a­tions into alleg­a­tions of child sexual abuse. Directors Maclean and Walker, fresh out of film school, wanted to show the world what Kenja was really about. Was it a cult? What do mem­bers actu­ally believe and prac­tice? Remarkably, they were able to gain intimate access to the group and con­ducted many inter­views with Dyers and Hamilton. They also inter­viewed many former and cur­rent mem­bers to see if the alleg­a­tions had any merit.

What struck me imme­di­ately while watching the film was how sim­ilar the cul­ture, beliefs and prac­tices of Kenja sound to Scientology (including the prac­tice of “energy con­ver­sion” which takes place in private ses­sions between two people, and the use of vocab­u­lary such as “pro­cessing,” “clear,” and “attached spirits”), and lo and behold, according to Wikipedia (granted, not author­it­ative), Dyers was a former Scientologist. His life and work had many par­al­lels with the life of L. Ron Hubbard, including a spotty mil­itary ser­vice record which was later exag­ger­ated for pat­ri­otic effect. The dir­ectors make no men­tion of these par­al­lels, per­haps out of fear of stir­ring up another organ­iz­a­tion, but I think it would have been inter­esting to see what rela­tion­ship exists between the two groups.

Kenja claims to teach a tech­nique for rid­ding a person of neg­ative thoughts and the body of “attached spirits” leading to a gen­eral state of well-being. But toward the end of the film, we wit­ness a com­plete melt­down by Dyers in which he rages about having to defend him­self against charges and alleg­a­tions for more than ten years. The master seems not to have learned from his own tech­niques. Tragically, after a fresh series of sexual abuse alleg­a­tions sur­faced, Dyers took his own life in July 2007, just around the time the film was being completed.

Far from being slan­derous, the film actu­ally seems to go out of its way to give Dyers, Hamilton, and other Kenja prac­ti­tioners time and space to explain them­selves. Clearly, how­ever, they were not happy with the final film, and actu­ally flew two of their mem­bers to Toronto to not only hand out leaf­lets, but to con­duct their own inform­a­tion ses­sion. It will be held Thursday April 24th at 7pm at the OISE Building, Room 2–211, 252 Bloor Street West. I’m hoping that the dir­ectors show up to that since the Kenja people were at the screening. In my recording of the Q&A, Luke Walker lets them ask their ques­tions at the end and I wish it had been able to go on longer. It’s a bit funny, too, that all the protests from Kenja mem­bers will prob­ably just pique people’s interest in the film and give it a wider audience.

Here is the Q&A with dir­ectors Melissa Maclean and Luke Walker from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 16:14

Official site for the film
Trailer

Kenja’s response to the film. The trailers for their own “mock­u­mentary” seem par­tic­u­larly bizarre.

8/10(8/10)

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Silent Light (Luz silenciosa)

Silent Light (Luz silen­ciosa) (Director: Carlos Reygadas): Another one of my pre­viewed films that made the final cut, Silent Light is a bit intim­id­ating to write about. Beginning with a stun­ning six minute shot of the sun rising over a Mennonite homestead, the film alerts us that it is going to require patience and a cer­tain sense of con­tem­pla­tion. And it estab­lishes right away that everything that fol­lows, the human story, is sec­ondary to the cycles of nature, to the cir­ca­dian rhythms of the nat­ural world, to the pulse of life that beats deep down in the earth and that echoes throughout the uni­verse. I’m sorry if I’m using high-flown lan­guage; it’s the effect of this strangely haunting film.

Johan is a simple farmer who’s lived his whole life among the Mennonites of northern Mexico. They don’t com­mu­nicate much with out­siders, and speak their own Plautdietsch dia­lect of German. He lives with his wife Esther (Canadian nov­elist Miriam Toews in a sur­prising role) and their large family. The film’s crisis comes when we learn that Johan has been car­rying on an affair with Marianne, another woman in the com­munity. He’s been honest about it with Esther from the begin­ning, and has tried to break it off, but deep in his heart he feels that Marianne is his “nat­ural woman” and that mar­rying Esther was a mis­take. Though he clearly loves her and his chil­dren, he’s torn by the power of his pas­sion for the other woman as well as his con­vic­tion that she is his intended match. Reygadas’ decision to use authentic Mennonite non-professionals has mixed res­ults. Though it’s clear that these are stoic people who use few words, in places the dia­logue still felt excess­ively mannered. He is able to achieve more with the camera than with any spoken dia­logue, and that’s where the film finds its emo­tional power.

The cine­ma­to­graphy and sound design are almost Dogme-like in their sim­pli­city, which makes the film’s climax all the more sur­prising for some. Without giving any­thing away, all I’ll say is that unlike many, I found it com­pletely nat­ural and moving in its sim­pli­city. And although this is sup­posedly a com­munity built on Christian faith, I found some­thing closer to pan­theism beating at its heart.

Here is the Q&A with dir­ector Carlos Reygadas from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 23:58

Trailer
Official Site

8/10(8/10)

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Toronto Star film critic Geoff Pevere is giving a free lec­ture tonight at Regis College (affil­i­ated with the University of Toronto) entitled “The Transcendental Screen: Spirituality in the Movies”. It’s part of Regis College’s Lenten Lecture series and takes place at 7:30pm in Elliott McGuigan Hall (67 St. Nicholas Street, near Yonge and Bloor). Full details here.

NOTE: If pre­vious lec­tures are any indic­a­tion, the lec­ture will be pod­cast and avail­able from the web page a few days later.

UPDATE: I’ve posted a longer art­icle on Geoff Pevere, based on an inter­view I con­ducted with him shortly after this lecture.

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