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Rojo

“For a cop things are black or white. In the middle there’s nothing.”

The year is 1975. In a small province of Argentina, a group of people are quietly emptying a house of its most valuable possessions. It’s rumored that the family who lived there were the targets of a government raid and have since fled the country. This introduction tells us what we need to know about mid-1970s Argentina and the government corruption that endangers its own people.

Claudio (Dario Grandinetti) is a town counselor and lawyer. A tense confrontation with a stranger, later known as El Hippie (Diego Cremonesi), at a restaurant escalates and ends in tragedy. Claudio leaves this unfortunate event behind him and transitions back to his normal life with his wife Susana (Andrea Frigerio) and teenage daughter Paula (Laura Grandinetti). Corruption lurks around every corner as friends go missing. After arranging an underhanded deal with his friend Vivas (Claudio Martinez Bel) to buy the aforementioned house, Claudio discovers the true identity of El Hippie and that Vivas has hired former cop turned celebrity detective Sinclair (Alfredo Castro) to investigate. It’s only a matter of time for things to unravel for Claudio as Sinclair zeroes in on what really happened.

Written and directed by Benjamin Naishtat, Rojo is a moody and atmospheric drama that explores how government corruption enables the worst in human behavior. I found this film deeply unsettling. Right from the very beginning I got a sense of dread. As though danger were lurking at every corner. Why is the camera so still? Why is it looking at this house for so long? Is the house going to explode? It didn’t but that was the palpable tension that made me so engrossed in the film. 

Rojo means red in Spanish and the film utilizes the color in many ways. The most interesting use of the color comes from the scene when a solar eclipse casts a red glow. This is a pivotal point in the film as detective Sinclair has just entered Claudio’s life, stirring the pot and making Claudio very uncomfortable. Claudio and his wife escape to the beach where they witness the eclipse and this moment the beginning of an end of sorts.

Naishtat was inspired to make Rojo from his fascination with the 1970s and “the symbolic burden” the political persecution and exile of the Argentine people had on future generations. The overall theme of a greater evil threatening the personal freedoms of citizens is compelling and universal but really gives the viewers a sense of one of the darkest times in Argentina’s history.

Rojo opens in New York City at Quad Cinema and the Film at Lincoln Center on Friday and in Los Angeles at the Laemmle Royal on July 19th.

The Spy Behind Home Plate

“He was a man apart… different from the others.”

Moe Berg was an extraordinary human being. The son of immigrant Jewish parents, he developed prowess as a baseball player, studied at Princeton, received his law degree at Columbia, traveled the world, spoke over 10 languages, was the star of the trivia show Information Please and just happened to be a spy for the U.S. government during WWII.

Aviva Kempner’s documentary The Spy Behind Home Plate paints a portrait of the human phenomenon that was Moe Berg. A catcher with a 15 year career in the Major Leagues, Berg went against his father’s wishes to pursue his baseball dreams. From those early days he already showed potential for a future career as a spy. He used Latin and Sanskrit to create secret codes for his fellow baseball players so they could communicate without informing the other team. Berg was part of a diplomatic mission to Japan, led by Babe Ruth, to train Japanese players and share the mutual love of the sport in an effort bridge the growing divide. Berg, the quintessential polyglot, spoke fluent Japanese and hung around in Japan then traveled to Asia and already started gathering intelligence photographing and filming in areas that were forbidden by the local government. During WWII, he was recruited for the OSS Operational Group. He had proven his chops with his fluency in a variety of languages, including German. 

A man of the world, Moe Berg was the epitome of brain and brawn. We learn about his extraordinary life through interviews with family members, experts, historians, filmmakers, athletes, sports columnists and figures as well as archival footage and photographs. This documentary is multi-faceted, much like the man himself. It’s a satisfying combination of baseball and WWII history but works on its own as a biographical documentary about a fascinating subject. The film gets a bit muddled with all of the details during Berg’s time in the OSS but those who are well-versed in military history will find much to enjoy here. Film buffs will appreciate the variety of clips from classic war movies included in the documentary.

The Spy Behind Home Plate is presented by The Ciesla Foundation. It released in theaters Friday and there are screenings nationwide through July and August. Visit the official website for information on screenings.

This is Not Berlin

Set in 1986, writer and director Hari Sama’s newest film This is Not Berlin follows Carlos (Xabiani Ponce de Leon) a teen trying to find his own place in a world that doesn’t seem to have a place for him. He and his best friend Gera (Jose Antonion Toldano) attend Catholic school in the suburbs of Mexico City. Carlos is disinterested in his soccer friends’ rivalry with another school. Instead he spends his time tinkering with electronics, hanging out with Gera and getting advice from his uncle Esteban (Hari Sama).

One day Gera’s sister Rita (Ximena Romo), the lead singer of a local punk band takes the two friends to a club, as a thank you to Carlos for helping fix her synthesizer. Both Carlos and Gera are thrust into the underworld of Mexico City. The drug and booze fueled scene is where rebellious youths escape for the freedom to express their sexuality. There Carlos meets Nico (Mauro Sanchez Navarro), a photographer who is attracted to Carlos. Through Nicho, Carlos becomes part of a community of artists whose unconventional forms of artistic expression including outlandish performance art. As Carlos and Gera drift apart and tragedy befalls Carlos’ family, will his newfound rebellion help him find his true self? Or will it keep him away from what truly matters?

Photo Courtesy of Sundance Institute

This is Not Berlin is inspired by director Hari Sama’s teenage years in Lomas Verdes, a suburb in Mexico. About the writing process, Sama says “the research took me to painful places of my adolescence but also allowed me to revisit the moments that made me a filmmaker and musician.”

One of my favorite aspects of the film was Sama’s role as Esteban, Carlos’ uncle, mentor and confidante. Esteban seems to be the only one in Carlos’ who truly understands his struggles. They have some wonderful moments together and some deep philosophical discussions.

“Have you ever felt like you want something but there’s something inside you that won’t let you do it? Like a voice that doesn’t shut up and it’s not even yours.” 

“Love is very wacky… but when you find it, when you have that moment of silence with someone… taking that leap is worth it.”

Had the plot shifted and focused more on the friendship with Carlos and Gera with Esteban as the anchor, essentially making in a buddy movie, it would have been a stronger movie. Like Y Tu Mama Tambien but with a much different ending. I was particularly drawn to the theme of loyalty and the difference between those who stick around and those who abandon you when times get tough.

This is Not Berlin is a deep exploration of artistic expression and finding your true self. The opening scene is quite breathtaking. Carlos stands in the middle of a fight between the two rival Catholic school soccer teams. It’s clear that Carlos is lost in the chaos around him. He doesn’t participate in the fight and eventually it overwhelms him. The performance art scenes are quite provocative. I hope we see a lot more from Hari Sama.

This is Not Berlin recently premiered at Sundance and had it’s New York premiere at the Tribeca Film Festival.

Instant Dreams Poster

Instant Dreams

“The digital dark ages took over our lives…”

Edwin H. Land in The Long Walk

In 1947, Edwin H. Land introduced his invention to the world. The Polaroid camera would revolutionize photography. Inspired by his young daughter, who just couldn’t wait to see a photo that was just taken, Land decided he would develop the technology that would shorten the time gap between the shutter click and the final product. With Polaroid technology it would reduce the time to just one minute.

Fast forward to 1970, when Land was filmed for the short documentary The Long Walk in which he narrates a helicopter tour of several Polaroid facilities in Massachusetts and discusses at length the company’s new technological advancements and his predictions for the future. Land envisioned a day when we would have a portable camera, the size of a wallet, that would be used as regularly as the telephone.

In 2008, the bankrupt Polaroid announced it was no longer producing its trademark film stock. Although Polaroid still exists today, in a new iteration after the brand had been sold, and re-sold, it’s a shadow of its former self. What was once revolutionary is now obsolete in the rapidly changing landscape of the digital age. Have we lost the magic of Polaroid forever?

“It felt like I was confronted with the death of a friend.”

Photographer Stefanie Schneider
Scientists at work on developing Polaroid technology for the Impossible Project

Directed by Willem Baptist, Instant Dreams is a moody and atmospheric eulogy to a lost technology. It’s a quirky documentary that explores the importance of Polaroid as both art and science. The subjects in the film feel the profound loss of Polaroid. Scientist Stephen Herchen can be seen in the film trying to reinvent the lost formula of Polaroid for the Impossible Project. Other subjects include photographer Stefanie Schneider who uses the last of her Polaroid stock to capture her unique aesthetic and Christopher Bonanos, a Polaroid historian.

Instant Dreams captures the essence of Polaroid through its poetic approach in storytelling and visual artistry. If you’re looking for a more traditional documentary on the history of Polaroid, this isn’t it. It does require some patience from the viewer and it won’t be to everyone’s taste. 

Instant Dreams is my cinematic ode to that longing for magic, mystery and a celebration of the dreams of the future that are interwoven with this medium.”

director Willem Baptist

Instant Dreams opens in NYC and L.A. and 10 other North American cities today. Visit the official website for more information.

First Man

First Man

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We’ll never fully realize the level of courage and sacrifice required from the astronauts of those early NASA space missions. They put everything on the line, leaving behind their families and laying down their lives in the name of science and for love of country. It often came at a great cost. And if they were successful and lucky enough to survive their missions, they came back to earth as national heroes, their immortality secured.

“That’s one small step for man, one giant leap for mankind.”

Space exploration movies like The Right Stuff (1983) and Apollo 13 (1995) offer a glimpse into this world. Director Damien Chazelle’s First Man is the latest in a line of space age dramas and it celebrates one of the greatest accomplishments in human history, the moon landing, through the story of one man, astronaut Neil Armstrong.

First Man follows the story of Armstrong (Ryan Gosling) from the death of his young daughter, to his extensive training and his two biggest missions: Gemini 8 and Apollo 11. The story is equally split between Armstrong’s time at NASA and his work with his fellow astronauts and engineers and his home life with his wife Janet (Claire Foy) and his two sons. The film is just as much a space exploration story as it is  a character study of a complicated man who suffered a tragic loss and struggles to connect with his family. Much time is given to Janet whom, one might be able to argue, is just as courageous as her husband. She has to deal with the stress of not only her husband’s dangerous missions but also his emotional unavailability. In addition she has to keep up her strength to raise her two boys while also being strong for the other astronaut’s wives who inevitably suffer great tragedies of their own.

Ryan Gosling does a marvelous job as the subdued and introspective Neil Armstrong. However I think Claire Foy has the breakout performance as his long-suffering wife Janet. She brings an intensity that not only matches beautifully with Gosling’s performance but also stands on its own. Technically the female parts are far outnumbered by the male but Foy’s performance claims so much of our attention that it feels more like its equally divided than one sided. I wouldn’t be surprised if come award season Foy will be recognized for her performance. Another counterbalance to Armstrong’s character is Corey Stoll as Buzz Aldrin. Buzz is the outspoken, opinionated and charismatic astronaut, the complete opposite of Neil. I love their scenes together. Jason Clarke, who plays the doomed astronaut Ed White, is very well suited for his character and for mid-20th century parts. He just has that look that works. I was happy to see one of my personal faves Ethan Embry in a small role as space engineer and astronaut Pete Conrad.

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First Man must be seen on the big screen for the full impact. I watched it at my local IMAX theater after having missed an opportunity to see this at TIFF. The technical advancements in filmmaking contribute to powerful and awe inspiring depictions of Gemini 8 and Apollo 11 missions. I love how the film lingers on the moon landing, providing the original audio for those first crucial and historic moments but we also spend time in Armstrong’s personal bubble as he takes in his surroundings and taps into some of the emotion he’s been trying to suppress. The Gemini 8 scene was my favorite. It felt so realistic, almost as if I was in the space shuttle with the astronauts. We get a sense of how much power is needed and how many things have to go exactly right to thrust these astronauts into space.

 

 

 

First Man is a technical marvel in filmmaking that puts the audience in the spacecraft and on the moon for a thrilling experience.  It’s also a reserved yet poignant character study of a man on the brink of a great achievement who is struggling with his own demons. It deals with an important subject seriously but never becomes cheesy or pretentious. A must see.

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