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Mar 29, 2008

Trapped


Privacy is one of the most precious things we have. Freedom from intrusion, disturbance and the view of others; privacy is a right. What happens when privacy ceases to be individual and becomes collective? The growth of violence and insecurity has created a phenomenon in many big South American cities: the “barrios privados,” gated communities outside main cities, fortresses with private guards watching, making the privileged who live inside the walls to think they’re “safe.”

La Zona is Rodrigo Plá’s directorial debut, and was adapted by him and Laura Santullo, author of the original short story. It’s a first feature that did very well in the international festival circuit, winning awards at Toronto and Venice. The film has brought together a few well known actors like Blanca Guerra (Lucía), Spaniards Daniel Giménez Cacho (Daniel), Maribel Verdú (Mariana) and new promising talents like Alan Chávez as Miguel. Alejandro (Daniel Tovar) appears in the first scene driving inside “la zona” being followed by the security cameras, in an image that anticipates part of the story: these affluent people seem to have everything except happiness. They are caught by their own freedom under the surveillance of an eye – the view of others – so ever-present that it has become an intruder.

After a power failure makes a private neighborhood in Mexico City vulnerable, resulting in a fatal robbery, residents are left in a state of shock. Before the incident becomes public, they decide to conceal it and take justice into their own hands. Officer Iván (Enrique Arreola) also tries to solve the case on his own but must fight against the police department’s corruption.

The story builds up suspense from beginning to end, and makes the audience identify unusually with the poor “bad guys,” contrasting them with the group of rich people who lie to the police and don’t care about anything but their internal eco-system. This aspect of the plot is handled in a very smart way: it doesn’t matter if those thieves get into the private property and kill; we only want social justice. Is it fair? Is it about good vs. bad or is it an urgent call for discussion about inequity? Plá and Santullo add an interesting element: while Daniel leads the persecution of the supposed killer, Miguel, one of the thieves who escaped the deadly night of the robbery is discovered by Daniel’s son, Alejandro, in his own basement. Here the film has a golden opportunity to rise above the genre as a sensitive reflection on friendship beyond classes, but instead, gives in to the suspense structure, becoming a victim on two levels. On the one hand, the relationship between Alejandro and Miguel can’t be fully developed. On the other hand, to keep constant the “cat and mice” chase, the film falls into cliché and overboard situations that could excite some audiences but really disappoint others.

Immorality everywhere, dissatisfaction among the poor and emptiness among the rich,, boredom and isolation, all create a zone surrounded by a big wall that not only produces a new unofficial geographic border, but also leads to an inevitable transformation: if it wasn’t possible to get in, it won’t be possible to get out. The private turns into public, and everybody becomes trapped: the residents, the thieves, the police, the public and even the film too. Depending on which level you want to play, you may find the exit or not.

(Written for NYRemezcla.com)


La Zona

Series: New Directors/New Films 
[April 4 @ MoMA, April 6 @ Walter Reade - Lincoln Center]
Director: Rodrigo Plá
Writer: Rodrigo Plá & Laura Santullo
Release: 2007
Runtime: 97

Mar 14, 2008

Lamentoborincano


Estoy biendeamores. Feliz, enamorado y sonriente. Que tragedia...

Creo que ningún ser humano puede evitar incluso en su mayor felicidad esa sensación interna de que algo anda mal. Será el miedo a perderlo, la incomodidad de creer que nos hemos equivocado, o la culpa de sentirse tan bien cuando hay tantos dramas en el mundo. Takeshi Kitano, uno de los grandes cineastas asiáticos de culto en las últimas décadas, dijo en una entrevista que siempre en los buenos momentos algo malo suele pasar, entonces es mejor adoptar la teoría de no ser feliz para evitar los malos momentos. Y en esa fascinante paradoja se acomoda exactamente la comedia como género. Hace sonreír la discusión absurda, arranca una carcajada el tipo que tiene impedimentos para hablar claramente, causa gracia el gordo que le cuesta correr, y nos hace también reír la señora bien vestida que al ir apurada tropieza y cae en un pozo lleno de barro. Si nos sentimos identificados no estamos sólos, y si nos reímos desde nuestro cómodo lugar porque a nosotros eso no nos pasa, ahí vuelve la culpa. Porque en el fondo nos da pena. Porque en el fondo la comedia y el drama están tan interlazados que no los podemos separar.

Maldeamores (2007) se escribe todojunto, a ritmo velóz y preciso. Cada uno de sus personajes pierde, incluso los que más parecen estar ganando, y viceversa. Ismael (Luis Guzmán) logra llevarse algo en medio del drama familiar, su esposa Lourdes (Teresa Hernández) parece ser la más sufrida de la historia aunque de alguna forma verá la luz, e Ismaelito (Fernando Tarrazo) digiere la sorpresa de ver cómo se destroza su familia, pero toca el cielo con las manos gracias a su primer amor. Macho (Norman Santiago) desencadena los problemas con parsimonia caribeña y se atiene a las consecuencias, y la Tati (Ednali Figueroa) es víbora y cordero. Miguel (Luis Gonzaga) y Marta (Dolores Pedro) viven un amor imposible color sangre junto a los pasajeros de la "guagua" que se ilusionan con sabor a novela. Y el maravilloso trío de Pellín (Miguel Angel Alvarez), Cirilo (Chavito Marrero) y Flora (Silvia Brito) le agregan a la historia la parte más divertida y conmovedora. Todos ellos tienen casi el mismo peso e importancia, aunque Flora (Silvia Brito, ganadora del premio a mejor actriz en el Festival Internacional de Cartagena 2008) se roba la pantalla por una cabeza, no sólo porque a sus setenta y cinco años aparece en pantalla dando clase de actuación, sino porque también se las arregla naturalmente para ser la más jóven de todas.

Carlitos Ruíz Ruíz, co-director junto a la editora Mariem Pérez Riera, y co-escritor junto a Jorge Gonzales, es el mayor responsable de esta historia que logra satisfacer el gran desafío de hacer comedia en serio, y de una forma inteligente. Sus personajes caminan contínuamente sobre el drama con un grado de inconsciencia y naturalidad que permite esta dualidad, nos hace cómplices y alivia nuestras carcajadas. Yo tengo la siguiente teoría: los artistas que hacen comedias suelen ser personas infelices en su vida personal, y los que hacen dramas y tragedias son los cómicos del grupo en las reuniones sociales. Será por la necesidad de adquirir un poco de "eso" que no tenemos. Sí, ya lo sé. La teoría puede fallar. Pero no en este caso. Porque Carlitos hace reír no sólo en el cameo que hace en su propia película, sino también personalmente. Pero siempre serio. Maldeamores nos hace reír -y mucho-, pero también nos emociona y nos hace pensar. La muerte de la abuela le dice hola al beso con lengua infantil. Golda Meir solía decir "Los que no saben llorar con todo su corazón tampoco saben reír". Será porque ambos desahogos son regeneradores. O porque en el fondo, la comedia y el drama están tan interlazados que no los podemos separar.

Esta película boricua de pura cepa cuenta con la bendición de su productor ejecutivo Benicio Del Toro (sí, aquél mismo que nos sacudió de la silla en 21 Gramos, renació mexicano en Traffic y se ganó nuestro máximo respeto a su versatilidad en Fear and Loathing in Las Vegas), y no es un dato menor, ya que una de las cosas que caracteriza la carrera de Del Toro es su selección de proyectos de calidad. Maldeamores se pasó el último año paseando por el mundo en festivales del prestigio de Tribeca y Cartagena, y anduvo también por Huelva, Cairo, Italia y otros lugares luciendo su orgullo nacional. Su productor Luillo Ruíz lo dijo bien claro en el avant-première de Nueva York apenas le dieron el micrófono: "Estoy orgulloso de ser de Puerto Rico." La Comisión de Cine de su país le dió un gran apoyo y subvención, y también la eligió como selección oficial para los Oscars. Esta película es una muestra más de que el cine latinoamericano tiene pasta y le sobra calidad, y representa una fe enorme para el cine de la isla del encanto, que en vez de "llamarte pa' tras" te lleva "pa' lante", y como aquel jibarito de Rafael Hernández, también puede alegrarse, llorar y cantar.

Quien diga que nunca tuvo maldeamores miente. Y quien niegue que en lo profundo del dolor yace la esperanza también. Que alegría...


Maldeamores (lovesickness)

Puerto Rico, 2007, 85 Minutos
Distribuida por Maya Releasing

Dirigida por: Carlitos Ruíz Ruíz y Mariem Pérez Riera
Escrita por: Carlitos Ruíz Ruíz y Jorge Gonzales

Desde el 14 de Marzo en los cines AMC, Multiplex y mayores salas

Feb 10, 2008

A Mainstream Minority

Normal is a word that I don't like. What is normal? If I try to translate it into Spanish I obtain the same result: normal. It looks like it's not allowed to move outside the imaginary boundaries. It looks like what is not normal is wrong or dangerous. But normal is not only associated with something common or average, but also with a cultural and social meaning. If we say "Is not normal to find these kind of apricots in winter", the "normal" word is unnoticed. But if we say "that person is not normal", automatically that person is turned into a monster, a poor, a sad, or a "different" person. I personally think that everyone is different. Luckily.

The mainstream could be defined as an homogenization of a particular view. Larry Gross has dedicated a special chapter called "Out of the Mainstream: Sexual Minorities and the Mass Media", in his book "Remote Control: Television, Audiences and Cultural Power" (1989). He states that in current society prevail "centralized" sources of information. In this context, the sexual minorities (the abnormal, for many views), are not as easily identifiable by the rest of people as the ethnic minorities. And they seem to be the most punished of all minorities by the mass media. So once they are noticed they are a "threat to the natural order of things", and this is an urgent problem still to be treated by the mass media eighteen years after Larry Gross published his book. Television -mass media by excellence- is continually taking care of that boundaries of the normality. But the sexual minorities are not quiet, and they have different ways to react. Larry Gross defined five main roles of mass media:

a) Mass media play a fundamental role in the economic, political, and social integration of the modern society. In this way, the telecommunications function as a nervous system. This concept reveals how important is the mass media in current industrial society.
b) The representation in the mediated reality through massive culture is very powerful. So minorities kept in their places as invisible experiment a "symbolic annihilation", as George Gerbner said.
c) The elites that define the public agenda are mostly white, middle-aged, male, middle and upper-middle class and heterosexual, opposed to sexual minorities.
d) The different forms and content of media "share underlying similarities of theme, emphasis and value" (homogenization). In this way, the conventions adopted in the different media allow efficacy on audiences, and a mutual support in packaging and diffusing common values. This makes even more difficult to resist and subvert a medium in particular.
e) The mainstream film and television are almost always seen as "transparent mediators of reality". Under this fake reality lie inaccessible sources of individual motivation and subcultural life. So, the representation of the mediated reality seems to be the power in itself.

Once the roles played by mass media are stated, we see how the minority groups are distant from the lives of the large majority of audiences. As the telecommunications evolved, mass media has become the primary source of information that create and maintain a world and a system of values. How to react to it? How to fight against the stream? In the last decades, the concept of cultivation has grown. It refers to the influence that television has on the viewer's conceptions of reality, not only about social behaviors, but also about scales of values. Mainstream television helps to the cultivation of a commonality through patterns in the viewer's values. Unfortunately, not all the minorities have the same option for resistance and the development of alternative channels. Some of them are in fact supportive of the main and dominant ideology, while in other cases the values are simply incompatible with the mainstream. "These last cases which present radical challenges to the established order will not only be ignored, they will be discredited", said Larry Gross. Here begins the enforcement of the mainstream view of normality in the representation of sexual minorities, because the definitions of what is normal (and what is natural too) support the existing social power hierarchy.

Again, the sexual minorities are seen as a menace. An example of it is that most of gay films are not targeted to the gay community, but for mass audience. The gay character is negatively stereotyped as overacted victims or villains (or simply invisible), encouraging the sexual majority to stay on their gender-defined reservation, and trying to preserve the sexual minority quietly hidden and out of sight. Another worst, sad(istic) and raw example that flood the movies is the AIDS tragedy, shown mostly as a problem for the sick gay's family instead of centralizing the drama in the dying person itself. But, even with a mainstream that seems to be every day stronger, the fight established by the sexual minorities (and ethnic minorities too) in the last decades, has lighted a hope. Now the gay issue in mass media must be processed to be acceptable for the gay community and still be palatable to general audience. After years of fighting, the n-word has been replaced by afro-american, and abominable slavery stories move our souls. Before making a movie about the nazi holocaust, filmmakers and producers think about it a hundred times to avoid hurting susceptibilities in the jewish community. Larry Gross defined four categories to response to the mainstream media:

a) Internalization. This is the less powerful and effective, but still adopted by a part of the sexual minorities. Assimilationist strategies seems to promise a mobility inside the mainstream, though at the cost of cutting their own roots. Gay men and lesbians know how to pass, but the security attained in this case is fragile and illusory, because it doesn't provide a strong support in resisting the pressure of the straight culture.
b) Subversion. This is the most ambitious: appropriation of mainstream media. The idea of infiltrate in it and take a role of public defiance, "undermining the hegemonic power of media images." In this way, the minority takes a clear position outside the mainstream, consciously, separating themselves from the dominant ideology.
c) Secession. Elevating an own voice, this is the most effective form of resistance. Speaking for oneself, being included in recognizing positions that are acknowledged by the mass. In this way, gay community achieve a higher degree of legitimation. The success of minorities in pressuring on the mass media can be reflected in the care of which images and representations are being used. Most important of all, the minorities must become the producers and not merely the consumers.
d) Resistance. The most obvious but difficult. Being indifferent to the mainstream is an individual strategy, but to accomplish a big shift is necessary a general strategy. Due to the absence of equivalent programming, this response should be based on the creation of alternative channels.
e) As an extra category, I find a mix between the internalization and the subversion, that could be a long but effective process. Once inside the mainstream, supposedly assimilated, this silent mobility could be turn into subversion.

Identity formation for lesbian and gay requires in itself the strength and determination to swim against the stream. But the sexual minorities can take advantage of it cultivating alternative and challenging channels, and continuing pressing the media with fair claims for diversity, equity and respect. "The goal cannot be easily achieved and will require overcoming formidable obstacles", says Larry Gross finishing the chapter. I find this last message amazingly positive and there is no doubt that independent and critical thinking is slowly but firmly mining the mainstream. Because we all are humans that deserve the same treatment. Because we all are different. Luckily.


More info:
Larry Gross @ USC Annenberg
Media and Cultural Studies: Keyworks (includes Larry Gross' Out of the Mainstream)
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