After a hiatus shaped like Alchemy Film and Moving Image Festival (which I produced), my viewing journal returns with a typical mix of artistic expression and popcorn nonsense. On Wednesday night the third edition of Iberodocs – Scotland’s only dedicated documentary festival and a celebration of Ibero-American cinema – opened at Filmhouse in Edinburgh to a packed audience. Begun as a way to showcase the work of Spanish, Portuguese and Latin-American filmmakers, Iberodocs has quickly developed a dedicated audience, supportive sponsors and a robust and carefully selected programme of films. A lively and welcoming reception at Traverse bar preceded the opening film, Gabo: The Creation of Gabriel Garcia Márquez, a sincere and affectionate biography of the Nobel prize-winning author of One Hundred Years of Solitude. Directed by Justin Webster, the film brings together interviews with Márquez’s friends (Gerald Martin, his biographer; Plinio Apuleyo Mendoza, writer and Bill Clinton no less), peers, family and inspired writers (Juan Gabriel Vásquez), to reflect on the extraordinary life and politics of one the world’s most celebrated literary talents.
Relying mostly on talking heads interviews, archive and television footage, Gabo chronicles the writer’s early life, student days, journalistic career, romances, his great friendship with Fidel Castro, which seemed to run counter to his anti-communist politics, and is most engaging in the use of interviews with the man himself, which demonstrate his sharp wit and idiosyncratic perspective on life. On receiving the Nobel prize for literature, a journalist asks him, “is this the greatest moment of your life?” to which Márquez replies, “No, that was the day I was born.” Such moments go some way to answer the film’s central question; how did a boy who was born into poverty grow up to be a writer ‘who won the hearts of millions?’ Márquez’s charisma, dedication, and importantly, self-belief emerge as the defining characteristics that allowed the author to have such an impact.
Iberodocs runs until Sunday 8 May and includes the remarkable and very moving, All of Me (Friday 6 May), by Arturo González Villaseñor about the Patronas, women in Mexico who prepare and distribute food to the migrants who pass by on the freight train to the US. The short film programme Looking From Afar (Sunday 8 May) also looks to be an exciting collection of highly personal works from such sharp artistic talents as Salomé Lamas and Ana Vaz.
Elsewhere in my viewing, Jeremy Saulnier’s third feature as writer/director, Green Room surpassed my expectations, which were based on some buzz around Patrick Stewart portraying a skin head Nazi in backwoods America. Stewart certainly is suitably chilling in the role of Darcy, but what’s most interesting about Saulnier’s work, as with Blue Ruin, is how, unlike many a director of dark and violent films, he appears not to celebrate violence, but rather, violence occurs due to ingrained social expectations and justifications of power, and is horrific and visceral in a very authentic, non-stylised way. Green Room cinematographer Sean Porter creates a dank, dark atmosphere using very little light, whilst editor Julia Bloch uses neat and clever cuts to keep the pace fraught and the horror efficient.
Finally, this week I saw Captain America: Civil War, which gleefully allows members of the Avengers A and B team (and some other ‘enhanced’) to shine, within excellently choreographed and edited action set-pieces. The film somehow doesn’t convey the ethical complexity of the Civil War comic books, despite the presence of a menacing Daniel Bruhl. It’s also still deeply frustrating to see only three female characters with speaking roles in these films (where’s Cobie Smulder’s Agent Hill?!) and only two women a line-up of super dudes. I’d love to see a Black Widow (Scarlett Johansson) origin story, but the possibility of that seems nil.
What Happened Miss Simone? Liz Garbus, excellent documentary
Season 7 of Parks and Recreation (again)