¡Vive el cine! Havana’s 37th International Festival of New Latin American Cinema—a magical encounter with Havana and film
Havana’s 37th International Festival of New Latin American Cinema, December 3-13, 2015, had its opening night at Teatro Karl Marx in Havana’s Miramar district. The film was Argentinean director Pablo Trapero’s “El Clan” (2015). Geraldine Chaplin, the British-American daughter of Charles Chaplin, was honored. Teatro Karl Marx is Havana’s largest cinema house and seats over 5,000 in a huge single auditorium. After the screening, the rum flowed as participants partied in heavy rain at Havana’s palatial Hotel Nacional de Cuba.
One of the main attractions of the International Festival of New Latin American Cinema or “Havana Film Festival” is its locale—sunny Havana, Cuba. Every year, for the first two weeks in December, this phenomenal festival, now in its 37th edition, brings Cubans and international guests to 14 historic cinema halls all over downtown Havana and outlying neighborhoods. Scurrying from venue to venue has never been more exciting as Havana is experiencing its own cinematic moment. The city still has much of its unique time-capsule feel—old Chevys, cobblestoned plazas, faded facades, and 1950’s Soviet-style architecture. The famous five mile long Malecón, the broad esplanade, roadway and seawall, looks much the same as it did a half century ago. But on nearly every block within the city center, those fabled baroque buildings are undergoing surgery as hundreds of new businesses, restaurants, bars and hotels go up. A chaotic melange of people go about their daily business while foreigners with cameras and phones click away.
The prestigious festival itself is one of the Havana’s and Latin America’s most anticipated annual events, offering the best and latest in Cuban, Latin American and world film—over 675 features, documentaries, fiction, animation, and archival gems from 49 countries. Programming Director, Zita Morriña, received over 1,500 film submissions, the biggest year ever and the festival seeks out and invites prizewinners from Cannes, Venice, Berlin and Toronto.
Travel has been denied most Cubans but they are well-informed, voracious cinephiles and will wait for hours in lines that stretch on for blocks to see a film that generated a buzz abroad. The energetic atmosphere makes all the hassle of getting to Cuba worthwhile. With juried competitions in eight areas and numerous awards, including best unrealized screenplay and even one for the best artistic design of the festival’s poster, the festival acknowledges talent across the board. I was on the lookout for Raúl Castro, who usually makes an appearance at every festival, but Cubans are excited about famous guests. Over the years, the festival has flown in a good number of Hollywood stars—Jack Lemmon, Gregory Peck, Robert DeNiro, Chris Walken, Annette Bening, Spike Lee, and others.
I attended the 37th edition of festival—December 3-13, 2015. I had been inspired by the Sonoma International Film Festival’s “Vamos Al Cine” programming, organized by Claudia Mendoza-Carruth, which in 2014 brought several Cuban films, directors and actors to Sonoma. I had also spent part of the summer of 1987 in Cuba with colleagues from the Columbia School of Journalism and was intrigued to learn how life had changed there.
There were no direct flights to Cuba, so I traveled from San Francisco to Cabos San Lucas, Mexico, and then on to Havana. My accommodations at the Hotel Nacional de Cuba, in gorgeous Vedado, just a few meters from the sea, were booked through the festival. The pace of change in Cuba is brisk, so look for direct flights to Havana soon.
There’s no better way to see the Cuban country side than to hit the road. Sonoma International Film Festival programmer Claudia Mendoza-Carruth (R), originally from Columbia, eased Spanish language concerns and talked film while Sacramento lobbyist Noreen Blondien (L) was enthusiastic about business opportunities and discovering Cuban wines. Photo: Geneva Anderson
After leisurely touring the Cuban countryside in an old Chevy for three days with friends from Sonoma, I attended opening night and the first five days of the festival and saw five to six films per day, from 10 AM through midnight. The festival catalogue, Apuesta por el cine (Committed to Cinema) offered 200 pages of films. About a third of the films were subtitled but all program information was in Spanish. I realized that I knew next to nothing about the cinematic history of the region, much less its newest films and most important directors, and would need help.
The historic Hotel Nacional de Cuba is the festival’s main host hotel. Built in 1930, the five-star Vedado hotel is situated on a hill just a few meters from the sea and its guests have included Winston Churchill, Frank Sinatra, Ava Gardner. Photo: Geneva Anderson
Breakfast at the festival hub, the Nacional, included the who’s who of Latin American cinema, all pouring over their Diarios del Festival. This 8-page daily festival newspaper lists screening times and venues for the current day and the next day, and whether or not a film contains English subtitles. It also profiles celebrities in attendance and historic film and festival moments. Loaded up with recommendations straight from directors, producers and actors, I built an ambitious schedule.
The “Diario del Festival,” the festival’s daily newspaper (entirely in Spanish), is indispensable for scheduling and the latest festival news. Photo: Geneva Anderson
Getting to the various venues in the morning via some form of taxi was the first challenge and the second was navigating the huge lines. A festival “participante” pass ($40) gets you in the theatres ahead of non-pass holders but you still stand in long lines. Almost every day, it rained heavily off and on for several minutes, creating monstrous puddles to navigate while in line. One can’t help but be swept up in the moment—the excitement of the crowd, the impassioned conversations, the glory of these old cinema houses— Infanta, La Rampa, America, Charles Chaplin and 23Y12.
This is bound to change, but with so few cell phones, people actually communicate directly with each other, something I enjoyed. I met an endearing trio of women in their late 70’s, friends since childhood, who make this festival their annual get together and haven’t missed a year yet. They recounted memories of Harry Belafonte and Annette Bening. After the gala screening of Todd Haynes’ lesbian melodrama, Carol (2015), I walked on to the next screening with two university students who were struggling to understand why the film had gotten so much hype—in Cuba, it’s a given that some freedom’s are denied but they found something missing in the film and hadn’t been able to relate to the characters emotionally.
Cine Yara, in Havana’s Vedado district, is one of the main venues for Havana’s International Festival of New Latin American Cinema. A key example of Cuba’s “Modern Movement” in architecture, it opened in 1947 as “Teatro Warner Radiocentro” with 1,650 seats, and was operated by Warner Bros. In 2015, it became one of Havana’s first cinemas to embrace digital projection but it retained a 35 mm projector to allow screening of classic films. Photo: Geneva Anderson
Bustling Cine Yara. Photo: Geneva Anderson
If you’re looking for perfect screening conditions, creature comforts, or envision sipping a mojito during a screening, Havana is not for you, at least not yet. There were technical issues—primarily with sound, or films that would not play, and, a few times, there were no subtitles. Substitutions were made on the spot. Basic snacks—chips, cups of popcorn, greasy nuts, Cuban candies and fruits—are sold outside the theatres in huge shopping carts. There is no “to go” for coffee and this was challenging. There’s not much to buy but each theatre displays and sells wonderful movie posters and t-shirts that you’ll be tempted to stock up on.
One of the best experiences to be had in Havana is taking a taxi colectivo (shared taxi), about 30 cents a ride and always in a vintage American car. Photo: Geneva Anderson
After each film, it was a race out the door to the street curb to hunt down a way to get to the next screening. Most tourists use Convertible pesos or “CUC” and pay the equivalent of US $5 to $10 dollars to go from venue to venue in some form of private taxi. The locals all use buses or taxi colectivos—big old classic cars from the 1950’s, which go just one way, up or down the long boulevards. People cram in like sardines and hop in and out and pay just 30 centavos in Cuban “CUP” (the national coin used by Cubans).
What I did see in my five days was largely exceptional and I had the time of my life. Here are five aspects of the festival that most impressed me—
Opening Night at Karl Marx Cinema
Over 4,000 people showed up at Teatro Karl Marx, Havana’s largest cinema house, located in Miramar, central Havana, for opening night and it rained. Following festival director Alfredo Guevara’s opening remarks, there was a brief homage to Geraldine Chaplin, the British-American daughter of Charles Chaplin. Born in Santa Monica, in 1944, she has over 140 acting credits and chaired the festival’s jury for fiction films. Next, the audience was treated to Pablo Trapero’s El Clan (2015). The prominent Argentinean director won a Best Director Silver Lion at Venice for this brutal bio-pic about the notorious real-life Puccio family who resided in an affluent Buenos Aires suburb and kidnapped their wealthy neighbors to extort ransom and then murdered their captives anyway. With a dark performance from Argentinean actor Guillermo Francella, the film picks up right after the 1981 fall of military dictator Jorge Rafael Videla, whose regime was responsible for the disappearances of some 30,000 Argentinean dissidents. At the festival’s closing awards ceremony, the film picked up the Coral Award for Popularity, which was based on audience feedback.
Argentina’s Oscar entry and its box office sensation “El Clan,” directed by Pablo Trapero, was the opening night film for the 37th International Festival of New Latin American Cinema, December 3-13, 2015, in Havana, Cuba.
As it turned out, Havana offered a number of stomach churners whose moral consequences weighed heavily on viewers. Chilean director Pablo Larraín’s El Club (2015) took the Coral Award for Best Feature Film. This dark treatise on the Catholic church through the prism of a group of exiled priests had picked up the Silver Bear Grand Jury Prize at the Berlinale. What I found lacking in Havana was post-screenings Q & A’s with the directors and actors that help one process their experience and broaden perspectives. These have become such an integral part of most festival experiences that when they don’t happen, you feel you’ve missed out.
Revisiting important events in Latin American history
It’s thanks to movies like Patricio Guzmán’s La Batalla de Chile (The Battle of Chile) (1975-78, Chile, Cuba, France) or Costa Gavras’ Missing (1982) that many of us learn about events in Latin American history such as the CIA-funded military coup in Chile that installed the right wing dictator Pinochet and led to thousands of deaths and mothers and sisters searching for decades for the remains of their missing loved ones. In Havana, I witnessed the power of film’s storytelling to reopen debate on what these significant events meant and how to move on.
Columbian director Klych López at the screening of “Siempreviva” (2015) which addresses the siege of Columbia’s Palace of Justice thirty years ago.
Prior to viewing Columbian director Klych López’s engrossing drama, Siempreviva (2015, 111min), his first feature film, I had never heard of the siege of Columbia’s Palace of Justice. The 1985 raid by members of the guerrilla group M19 (or April 19) led to all 25 of the country’s Supreme Court Justices being held hostage, over 200 civilian deaths and disappearances, and three decades of largely futile efforts by surviving family members to recover the remains of their loved ones. López, an acclaimed television director, was a just a boy when the siege occurred but he went to school near the Bogotá courthouse and witnessed the event unfolding. His work in television has also addressed aspects of historical memory. Siempreviva tells the story from a family’s perspective. In their large Bogotá household, which is held together by a struggling strong mother (Columbia’s beloved Laura Garcia), all of Columbian society is represented through skillfully interwoven stories.
Peruvian director Héctor Gálvez’s NN (2015), Peru’s Foreign Language Oscar nominee, also confronted the scars of civil war but was less successful from a storytelling perspective. The drama focuses on a forensic anthropologist (Paul Vega) in Lima whose team spends their days excavating remote mass graves and sorting through human remains trying to help people find missing relatives who were victims of Peru’s Internal Civil War (1980-2000). He struggles to remain detached but a long-suffering elderly widow, who only knows that her husband was pulled off a bus in 1988 by the military police, gets under his skin.
A scene from Peruvian director Héctor Gálvez’s second feature film, “NN” (2015), Peru’s Foreign Language Oscar nominee, which addresses the ongoing Peruvian struggle to identify the remains of and remember Peru’s disappeared persons.
Encountering big Latin stars unknown in the US
Havana is an inauguration into the legacies of talented Latin stars who, largely due to the exigencies of film distribution in the US, are virtually unknown in the States. Casual conversation with festival participants generates a list of not-to-be missed performances by actors as well as not-to-be missed actor-director pairings. A film that completely charmed me was Argentinean director Maxi Gutiérrez’s Tokio (2015), a love story that unfolds in 24 hours against the backdrop of jazz piano and low light. Since there are hardly any romantic films in the US with characters past the age of 70, I was delighted to watch 75 year-old Argentinean film and television siren, Granciela Borges turn out a tender, sensual performance conveying the hesitation, insecurity and joy that accompany falling in love late in life. Over the years, Borges has acted in over fifty films. Her co-star, the beloved Argentinean film, theatre and stage actor Luis Brandoni, 76, matched her step for step and together they elevated the film into an unexpected masterpiece.
A scene from Argentinean director Maxi Gutiérrez’ “Tokio” (2015) starring Graciela Borges,76, and Luis Brandoni, 75, both big stars of Argentinean television and film.
Experiencing cinematic history
Attending the premiere of Bob Yari’s Papa: Hemingway in Cuba (2015), the first Hollywood film to shoot on location in Cuba since the trade embargo was imposed in 1960, was one of the more memorable festival experiences. Most of the cast and crew flew in for the event. Yari, the director of Crash (2004) and The Illusionist (2006), shot the film in 2014 with the assistance of the Cuban Film Institute. The film generated a lot of media attention and festival screenings were enormously popular with Cubans. The screenplay by the late journalist Denne Bart Petitclerc recounts his relationship with Hemingway, whom he befriended when he was a young Miami Herald journalist. Later, Petitclerc was a reporter for the San Francisco Chronicle and he retired in Sonoma. Adrian Sparks was brilliant as Hemingway, capturing the vulnerability under the rage and bluster of this great genius in his last years. At 41, Giovanni Ribisi was miscast as a young reporter and turned out a rather lackluster performance. My Papa experience reached its zenith when I shared an elevator with Mariel Hemingway, who makes a brief screen appearance.
Adrian Sparks is Hemingway in Bob Yari’s “Papa: Hemingway in Cuba” (2015). The film is set against the turbulent backdrop of the Cuban Revolution, with many scenes shot at Finca Viga, Hemingway’s Havana estate, as well at La Floridita, his preferred watering hole. Sparks used Hemingway’s actual typewriter in a scene shot at Finca Viga.
Cuba’s cinema moment
My enthusiasm for Cuban film brought me to Havana and the selection was vast—61 films! I got a list of must-sees from Jorge Perugorría, Cuba’s most famous actor, now 50, who in 1994, played Diego in Tomás Gutiérrez Alea’s delightful fresa y chocolate (Strawberry and Chocolate) (1994), reportedly the first Cuban film with a gay hero. Perugorría has since stared in over 50 films and visited the Sonoma International Film Festival in 2014 with Se Vende (2012) Naturally, he recommended his latest film, Irish director Paddy Breathnauch’s Viva (2015), a Cuban-Irish co-production about Cuban drag queen culture, enlivened by pitch-perfect acting and its gritty barios Havana setting. Viva is Ireland’s Foreign Language Oscar entry. Héctor Medina’s seductive and tragic performance as a young man struggling with his identity stole the show but watching Perugorría’s transformation from a wrecked and aching man into the role of a real father was something to behold. Viva was one of a large number of films at the festival addressing gay, trans and alternative lifestyles from multiple perspectives. It was just picked up by Magnolia Pictures, expect a State-side release.
Héctor Medina (R) is Jesus in Paddy Breathnauch’s “Viva” (2015). Jesus works backstage at a nightclub styling wigs but yearns to perform in drag on stage. When he gets his chance, he emerges as the stunning chanteuse “Viva” but, just as he is building his confidence, his long-absent father (Jorge Perugorría) appears and demands that his son stop performing. As the son learns to forgive the father and to broaden his identity, the father learns to accept his son.
Pavel Giroud Eirea’s El Acompañante (The Companion) (2015), took the Coral for Best Screenplay. I knew that filmmaking has been quite arduous for Cuban filmmakers whose scripts must still be approved by the State but I also began to pick up on the fact that most Cuban dramas seem to need to fulfill a purpose–they revisit some aspect of Cuban history. This one brilliantly focuses on an unpleasant moment in Cuba’s recent past. In the 1980’s, during the peak of AIDS epidemic, the Cuban government began testing citizens for HIV and taking those who tested positive to Los Cocos, a sanatorium where they were quarantined from the rest of society and cared for. Each incoming patient was assigned a companion who educated them and simultaneously spied on them. The film tells the story of hunky Horatio (Latin Grammy winning singer Yotuel Romero), a former Olympic boxing champion who was caught doping and becomes the companion/watcher for Daniel (Armando Miguel Gómez ), a defiant soldier who was infected by a prostitute. Under constant surveillance, their trust grows and slowly develops into a friendship that is challenged by Daniel’s attempts to escape and Horatio’s desire to resume boxing. The film managed to deliver a searing critique of state policy and magnetic performances. Its best moments are found in the ruthless behaviors of its desperate characters.
Yotuel Romero and Armando Miguel Gómez in a scene from Pavel Giroud Eirea’s El Acompañante (The Companion) (2015), which won the Coral for Best Screenplay.
My Cuban line-up also included Rigoberto Jiménez Hernández’ first feature film, Café Amargo (2015, Cuba/Spain), a period drama centered on four sisters living independently and working in very macho culture on a coffee plantation in Cuba’s remote Sierra Meastra mountains. Risking their lives, they give refuge to an injured young rebel who is leaving to join the guerrillas and he profoundly impacts each of the women. Jorge Luis Sanchez’s third feature, Cuba Libre (2015), the first Cuban film to depict the US army’s intervention in Cuba’s 1898 war of independence (the Spanish-American War), boasted extravagant sets, magnificent period costumes and wonderful acting, bringing late 19th Cuba to life through the eyes of two Cuban children who are both witnesses to and caught up in a battle that involves three countries with competing interests. Crowds turned out in droves for this film, filling the Charles Chaplin theater. Marcelo Martin’s quite documentary, El Tren de la Línea Norte (2014), took me on an unforgettable journey on a single wagon train, the only means of transport between several small towns in the rustic province of Ciego de Avila, the agricultural heart of Cuba highlighting how difficult and different life is in the provinces.
Bleary-eyed from my whirlwind and wonderful Cuban festival experience, I then stepped into full-swing into Christmas stateside. Looking back, there’s no more exciting locale than Cuba, a country teeming with talent and excited to step onto the world stage and an important hub for Latin cinema. And while I concentrated on Latin American and Cuban film, I did run into San Francisco experimental filmmaker Dominic Angerame, who for the past 10 years, has been programming a popular experimental and avant garde film program that screens a half dozen or so films each festival. He explained that the Cubans in his audience had read everything they could about experimental film but few had actually had the opportunity to watch one until he came along. With so many film angles to explore in Havana, I can’t wait to return next year.
Details: The 38th Festival of New Latin American Cinema is December 8-18, 2016 in Havana. Click here for information a few months prior to the festival.
Soulful, spirited, political—the 17th Sonoma International Film Festival has a line-up of stories from around the world with an emphasis on Cuban film—it kicks off tonight
Columbian director Juan Carlos Melo Guevara’s “Field of Amapolas” (Jardín de Amapolas) screens at the 17th Sonoma International Film Festival, April 2-6, 2014 as part of the popular Vamos Al Cine series. Filmed in Ipiales, in the Nariño region of Colombia, the film addresses the impact of Columbia’s ongoing struggle with corruption through the story of two innocent children. Latin American cinema is hot right now, so much so that in most of the big festival offerings it has nearly replaced Asian cinema. The films are coming not from the old standbys (Mexico, Argentina, Brazil) but from Colombia, Chile, Peru, nations that have had sporadic cinematic output. Columbia in particular is a hotspot for vibrant film. SIFF 17 will offer over a dozen films from Latin America and is showcasing Cuban film.
ARThound loves a great film, one whose story speaks right to my heart. This year’s 17th Sonoma International Film Festival (SIFF), which kicks off tonight, features over 115 hand-selected films from 22 countries—features, documentaries, world cinema, and shorts. Two hundred filmmakers and celebrities will attend and participate in premieres, Q&A’s and panel discussions spread over five glorious days in Sonoma. The festival is also one long party, offering pass holders world-class cuisine from local artisans and exceptional wine from Sonoma vintners in “The Backlot,” SIFF’s culinary hub, a one-of-a-kind hospitality tent on the North side of Sonoma’s City Hall. Whether you’re a passholder or come for individual film screenings, this festival has a to offer. It all starts this evening with an opening night party, two opening night films and an after party. If you’ve missed my previous coverage of the festival basics and Big Nights, here are the links explaining all about the passes vs going solo—
ARThound’s top picks in the World Cinema category:
In choosing these must-see films, I’m looking for something that I won’t be able to see elsewhere, countries that are less represented/new directors generating a buzz, a unique story with an international point of view, and the promise of cinematic magic. SIFF doesn’t provide critics with screeners, so putting this information together requires lots of research and some guesswork. Given the ascendency of Latin cinema, I recommend attending as much as you can of this year’s Vamos Al Cine programming. This wonderful series, initiated three years ago by Claudia Mendoza-Carruth, began as programming for the Spanish speaking community but has morphed into one of the festival’s biggest draws. This year, it offers 10 films, emphasizing distinctive new voices from Columbia (2), Cuba (4), Dominican Republic (1), Mexico (2) and Venezuela (1). There’s an emphasis on Cuban cinema with 4 Cuban films and several Cuban directors and actors in attendance.
A young Iranian woman is gang raped and must deal with the fall-out in Pourya Avarbaiyany’s “Everything is Fine Here,” screening at SIFF 17.
Everything is Fine Here— Iran | 2012 | 75 min. | Dir. Pourya Avarbaiyany (in attendance)
On the verge of her marriage, Arghavan a 25 year old writer who is newly engaged and acclaimed, with an invitation to lead a prestigious writing workshop in Germany, is gang-raped in a deserted area of Tehran. In a strict, conservative society where young women are expected to be virgins before marriage, the crime is that of her assailants but the catastrophe is hers. Overwhelmed by rumors, her life turns into a nightmare and her pending marriage and her relationship with her parents are threatened. The film addresses Iran’s perplexing state of gender inequality and the battle of the individual in a discriminatory society to cope when a tragedy occurs. In 2011 in Iran, there were reports from Human Right Agencies chronicling 6 brutal rapes of Iranian women and in some of these cases, Iranian officials blamed the victims. Iran’s women face a host of laws which limit their rights in marriage, divorce and child custody. In some cases, their testimony in court is regarded as less than half that of a man’s. This young director is from Tehran. I can’t wait to hear how he managed to make a film like this. Screens: Thursday, April 3 (12:15 pm) Vintage House and Friday, April 4 (9:30 pm) Murphy’s Irish Pub
Cuban actors Armando Miguel Gómez and Yuliet Cruz are a couple impacted by the closure of the sugar mill in Carlos Lechuga’s first feature, “Melaza,” screening twice at SIFF 17.
Melaza—Cuba | 2012 | 80 min. | Dir. Carlos Lechuga (in attendance)—With the closure of its local sugar mill, the picturesque (fictional) Cuban town of Melaza has become desolate and lifeless. School teacher Aldo (Armando Miguel Gómez) and now-unemployed Monica (Yuliet Cruz) eke out a meager living, going as far as renting out their tiny home to the local prostitute for extra cash. When they get in trouble with the authorities, resulting fines lead to more desperate measures. This beautifully filmed, contemplative first feature explores the social crisis in the Cuban sugar factory neighborhoods following the dismantling of many production units. It poses the question of how to survive in a country in crisis.
This is Lechuga’s first feature film. Director’s statement: “While the post-production process went on, I began to realize that a love story was being told that in the end left an optimistic taste, but which, like molasses (melaza), hides certain bitterness. The bitterness of a tragedy set up in the Tropics, with a brilliant sun, green sugarcane and lovers holding each other’s hands, awaiting the worse.” Screens: Thursday, April 3 (8:45 pm) Murphy’s Irish Pub and Saturday, April 5 (7:15 pm) La Luz Center
Chronic Love (Amor Crónico)—Cuba | 2012 | 83 min. | Dir. Jorge Perugorria (in attendance)—This exhilarating and energetic blend of fact and fiction follows flamboyant Cuban-born/New York-based singer and Grammy nominee Cucú Diamantes on her first tour of Cuba. This unique road film interweaves footage of her cabaret-style performances with a fictional love story. A love letter to Cuban cinema, to Cuban music and to its people. Directed by Cuban actor and visual artist Jorge Perugorría (famous for his part as Diego in Tomás Gutiérrez Alea’s fresa y chocolate (Strawberry and Chocolate), 1994). Screens: Friday, April 4 (8:00 pm) Sebastani Theater and Saturday, April 5 (5:00 pm) La Luz Center
Yilmaz Erdogan’s “The Butterfly’s Dream” (Kelebeğin Rüyası) was Turkey’s submission for Best foreign Language Oscar. Set during World War II in Zonguldak, Turkey, the film is the real life story of the bond between two young poets who both contract tuberculosis and fall in love with the same woman.
The Butterfly’s Dream (Kelebeğin Rüyası)—Turkey | 138 min. | 2013 | Dir. Yilmaz Erdogan—Turkey’s submission for Best foreign Language Oscar which had a long gestation period—seven years of screen-writing and two years in pre-production. Set during World War II in impoverished Zonguldak, Turkey, the film is the real life story of the bond between two young poets long forgotten by history—Muzaffer (Kivanç Tatlitug), the optimist romantic, and Rüştü (Mert Firat) the pessimist dreamer—whose brotherly camaraderie is based upon their shared loved for the written word and their mutual misfortune. Forced to work in the coal mines, they both contract tuberculosis and fall in love with the same woman, an aristocrat’s daughter, played by star Belçim Bilgin, who is also Erdogan’s wife. The title is from an ancient passage by Chinese thinker Chuang Tzu, in which he pondered his dream of being a butterfly. Erdoğan’s gorgeously-shot film addresses the nature of reality and the power of artistic practice to mitigate hardship. Screens: Saturday, April 5 (3:15 pm) Burlingame Hall and Sunday, April 6 (10:00 am) Murphy’s Irish Pub
Field of Amapolas (Jardín de Amapolas)— Colombia | 87 min. | Dir. Juan Carlos Melo Guevara— Filmed very close to director Juan Carlos Melo Guevara’s hometown of Ipiales in the Nariño region of Colombia, this is the first feature film to ever be shot in the area. When accused of collaborating with the enemy in the ongoing guerilla war in Colombia, farmer Emilio, along with his nine-year- old son Simon, is forced by rebels to vacate his piece of land. After relocating with the help of a relative, Emilio and his son face such an economic struggle that Emilio to takes work in the illegal poppy (Amapolas) fields belonging to a local drug lord, who happens to be his cousin. Meanwhile, Simon meets and befriends Luisa, a girl his own age. She is obsessed with playing with a puppy dog she can’t afford. Simon steals it for her every day, but returns it each night. One day, the cousin discovers Simon’s secret and decides to use him for his own greedy plan.
This is Guevara’s first feature as director, screenwriter and producer. Director’s statement: “The idea was not only make a portrayal unique to the film history of Colombia, but to make a story through the point of view of two kids who can only see their reality with innocence, without speeches or academic criticism; that’s why this is not a film about war, on the contrary, the war is only a stage where life, dreams, and hopes can continue.”Screens: Sunday, April 6 (11:00 am) La Luz Center
Nigerian director Biye Bandele’s “Half Of A Yellow Sun” finds Chiwetel Ejiofor co-starring opposite Thandie Newton in the adaptation of the bestselling (and Orange Prize for Fiction-winning) novel by Chimamanda Ngozi Adichie, set against the backdrop of the 1967-1970 Nigerian-Biafran war. This is the first Nigerian film to screen at the Sonoma International Film Festival.
Half of a Yellow Sun Nigeria | 2013 | 113 min. | Dir. Biye Bandele—For the first time, SIFF17 welcomes a film from Nigeria, first time writer-director Biyi Bandele’s acclaimed Half of a Yellow Sun, an adaptation of Chimamanda Ngozi Adichie’s bestselling novel of the same name.
This epic chronicle of family drama and tribal violence begins in 1960 and leads up to the Nigerian-Biafran War which ended in 1970. The film tracks war through the story of headstrong twin sisters Olanna (Thandie Newton—Crash, The Pursuit of Happiness) and Kainene (Anika Noni Rose), privileged girls from Lagos, who return home after their respective university educations abroad. Both make similarly scandalous decisions. Olanna defies familial expectations and convention not only by becoming a sociology professor herself, but also by moving in with firebrand academic Odenigbo (Chiwetel Ejiofor—12 Years A Slave, Children of Men) in the college town of Nsukka. Kainene assumes management of the family business and falls in love with an English – and married – writer (Joseph Mawle). The loyalties of the sisters are tested amidst the horrors of the Nigerian Civil War, and the rise and fall of short-lived republic of Biafra. The main focus is on the Olanna and Odenigbo whose passion is ignited over political protest but things get rocky when Odenigbo’s battle-ax mother (Onyeka Onwenu) comes to visit. An uneducated village woman with a mean and scheming personality, Mama is determined to split up the lovebirds up any way she can, and nearly succeeds.Rich in period atmosphere, evoking a strong sense of how these Nigerians lived their lives day-to-day, and how devastated they are when war and all its atrocities rip that fabric apart. Screens: Friday, April 4 (11:00 am) Murphy’s Irish Pub and Sunday, April 6 (2:30 pm) Vintage House
SIFF Details:
The 17th Sonoma International Film Festival is April 2-6, 2014. All films are screened in seven intimate venues, all within walking distance along Sonoma’s historic plaza
ARThound 