Sydney Film Festival 2021 - Film Review - Parallel Mothers

Milena Smit and Penelope Cruz - Parallel Mothers

 
Acclaimed director, Pedro Almodovar wrote and directed this film which has an odd juxtaposition of a historical backstory and muddled collection of current inter-relationships. Janis (Penelope Cruz) a high end photographer becomes pregnant to her lover, a married war crimes archaeologist with whom she has arranged the excavation of a mass grave from the era of the Spanish Civil War. The mass grave is located in her grandmother's village. 

In the maternity wing of the hospital Janis then meets Ana (Milena Smit) a young woman also having a baby and the two women form a friendship. As fate would have it, the hospital has mistakenly switched babies with the two women unknowingly taking each other's infant home. Janis discovers the mistake but keeps it from Ana while the two become momentarily involved in a lesbian relationship. The archaeologist is still on the scene and comes to visit from time to time but Janis keeps her distance. Ana confides in Janis that her baby has died from Sudden Infant Syndrome until the sense of guilt overwhelms Janis and she admits that her baby daughter is, in fact, Ana's child.

Confusing storyline ? It is.  The underlying theme concludes with the excavation of the mass grave containing the remains of prisoners killed during the Spanish Civil War. A dramatic scene of villagers walking along the road carrying large photos of the dead forms part of the final imagery with Janis and Ana and everyone else seemingly reconciled with each other. A happy ending perhaps.

It's a quintessential Almodovar film but Cruz' talent is somewhat wasted on this script with the convoluted relationships. Principal photography provides an attractive image of Madrid and Spain itself but there is a sense of the audience being lectured in the screen writing.

 

COP26 - The United States and China Joint Declaration on Climate Change

As the final hours of negotiation for the COP26 final statement tick down, one of the surprising announcemenst of the past week was the Joint Declaration of the two major emitters and powers, the United States and China on the need for action. Through a 16 paragraph statement, both countries have committed to not only work jointly with each other but to commit to concrete action. The timelines for action oultined including much earlier reduction targets in the 2020s decade, well before 2035 or near the end point of 2050 for near total elimination of carbon emissions.

Amongst the key statements contained in the Declaration is a clear unambiguous recognition of the situation and the need for urgent action -

"The United States and China, alarmed by reports including the Working Group 1 Contribution to the IPCC Sixth Assessment Report released on August 9th, 2021, further recognise the seriousness and urgency of the climate crisis. They are committed to tackling it through their respective accelerated actions in the critical decade of the 2020s, as well as through cooperation in multilateral processes, including the UNFCCC process, to avoid catastrophic impacts"

"The United States and China recall their firm commitment to work together and with other Parties to strengthen implementation of the Paris Agreement. The two sides also recall the Agreement's aim in accordance with Article 2 to hold global average temperature increase to well below 2 degrees C and to pursue efforts to limit it to 1.5 degrees C. In that regard, they are committed to pursuing such efforts, including by taking enhanced climate actions that raise ambition in the 2020s in the context of the Paris Agreement, with the aim of keeping the above temperature limit within reach and cooperating to identify and address related challenges and opportunities'"

The Joint Declaration can be accessed at this link:

US State Department: Joint Glasgow Declaration on enhancing climate action in the 2020s

COP26 Glasgow - draft conference decision released - strong on empathy, light on agreed action

The major political leaders have left COP26 and the nitty-gritty negotiations between officials has been progressing. But will there be enough action taken to prevent catastrophic temperature change with all that it entails ? 

The draft CMA statement ('CMA' being the Conference of the Parties serving as the meeting of the Parties to the Paris Agreement) has been released. The current draft over 84 clauses covers topics such as the science for effective climate action, adaptation finance, mitigation, technology transfer and capacity-building for adaptation, loss and damage caused by climate change, implementation, and finally collaboration.

Much of the draft statement has the language of diplomacy, with terms such as 'recognises', 'welcomes', 'reaffirms', 'úrges'  Of note, the draft agreement -

• recognizes that limiting global warming to 1.5 °C by 2100 requires rapid, deep and sustained reductions in global greenhouse gas emissions, including reducing global carbon dioxide emissions by 45 per cent by 2030 relative to the 2010 level and to net zero around mid-century;

• decides to establish a work programme to urgently scale-up mitigation ambition and implementation during the critical decade of the 2020s;
• resolves to move swiftly with the full implementation and delivery of the Paris Agreement.

There are many placeholders in the draft decision demonstrating there are still multiple points to negotiate.

The draft decision can be found at this link: Overarching decision 1-CMA                    

Sydney Film Festival 2021 - Film Review - Undine

Paula Beer Undine

 
Director and Screenwriter Christian Petzold has used the myth of the water sprite as the basis of the story for this film. Undine (Paula Beer) is a Berlin historian and guide who endures a breakup with her lover Johannes. Oddly she informs him that any betrayal will mean his death and her return to her place in the water. Alas the relationship does breaks down, however Udine meets a professional diver, Christoph and falls into a relationship with him that changes the rules that she follows. Its a meaningful relationship and creates the possibility that Undine will stay on land.  When Christoph is injured in a diving accident and left seemingly brain dead in hospital, Undine restores his life leaving Johannes lifeless in his swimming pool. Undine returns to the water leaving a recovering Christoph frantically searching for her.

In mythology, Undines are a form of elemental beings associated with water and derived from the writing of Paracelsus. The title of this film is drawn from the work of Friedrich del la Motte Fouque titled 'Úndine'. The attraction of love and yearning to live on land underpins the myth of the water sprite. 

The film has dramatic moments but its generally a light romance film with a love story that suggests a possibility, but which ultimately cannot be realised. 

Sydney Film Festival 2021 - Film Review - The Drover's Wife The Legend of Molly Johnson

Leah Purcell The Drover's Wife The Legend of Molly Johnson

Well known indigenous actor, Leah Purcell wrote, directed and acted in this period Australian Western genre film set in 1893 in the alpine country of the Snowy Mountains. 

Purcell has melded a number of themes together - isolation and hardship in the Australian rural backcountry, domestic violence towards women, treatment of the Aboriginal community and the commitment of a mother to her children (which is central to the overall story).  The film is visually atmospheric and plays to the topography of the Australian landscape and its relationship to the lives of the characters. This is recognised in Aboriginal storytelling and Purcell's reimaging of the Henry Lawson classic tale 'The Drover's Wife'. Purcell includes elements of Lawson with the rough hewn house, the bevy of children, the general living conditions and a menacing bullock that arrives one day.

The plot line is centred on Molly Johnson (Leah Purcell) who lives on an isolated farm with her young children while her drover husband is away for months at a time herding sheep flocks. Molly struggles to care for her young family and on a chance encounter with the newly arrived Sergeant of the constabulary, Nate Clintoff (Sam Reid) and his wife, she sends most of her children to town to the care of a charitable woman.

All is not what it seems and when the Sergeant learns from a droving team that Molly 's husband has not been seen for some time, he begins to suspect that something else has happened. The situation is further complicated by an escaped Aboriginal man, Yadaka (Rob Collins) wanted for murder who arrives at Molly's farm as he journeys to a hideout.  

There are a few jarring elements in this film. The dialogue is a mix of modern expressions and the formal verbal language of the 19th Century; the local frontier town has characteristics more akin the American West than the Australian version of the same; Molly has a loaded rifle at the ready be it needed for beast or human and is perhaps too gun totting; and there are more than a few cliched scenes in the film. The Drover's Wife was a personal project for Leah Purcell and took some years to bring to completion. 

Sydney Film Festival 2021 - Film Review - Quo Vadis Aida

Jasna Duricic and Johan Heldenbergh Quo Vadis Aida

 
It's 26 years since the Bosnian war, yet for many people living in the former Yugoslavia, the impact of this conflict remains ever present. Film maker, Jasmila Zbanic has tackled the horror of the war crimes committed at the supposedly UN safe haven zone of Srebrenica by Bosnian Serb forces in this high production value film.   

The story is set in  July 1995 and centres around UN translator Aida (Jasna Duricic) as she seeks to provide shelter for her family at the UN peacekeeper base as the Serbian army overuns Srebrenica. 30,000 terrified people crowd around the perimeter of the UN base as they are encircled by the hostile, menacing Serbs. As the UN translator she becomes aware that the Serbian army has no intention of respecting the UN ultimatums which are little more than hollow rhetoric. Her increasingly desperate efforts to save her husband and two sons form the core of this film and the now documented duplicity of the Serbian army particularly General Radko Mladic are a central theme. The helplessness of the Dutch peacekeepers and their abandonment by the UN is as poignant as Aida's despair.

This film deservedly was nominated for an Academy Award and has high production values with a large capable cast, significant military assets (tanks, armoured cars, military vehicles) for effect and effective photography. Not surprisingly there is no happy ending for Aida as indeed there was none at Srebrenica.

Sydney Film Festival 2021 - Film Review - The Power of the Dog

Benedict Cumberbatch - The Power of the Dog

 
Producer/Director/Screenwriter Jane Campion has returned to film making after a long absence with this dark Western period piece thriller set in Montana (but filmed in New Zealand) in the year 1925. With a key cast including Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons and Kodi Smit-McPhee with superb cinematography, Campion demonstrates again her skill in this genre. She won Best Director at the Venice Film Festival in 2021 for this film.

The plot contains elements of hyper male masculinity, dark brooding menace and harsh conditions on a ranch run the Burbank brothers Phil (Cumberbatch) and George (Pelmons). George is quiet and calm while his brother Phil is charismatic, muscular and bullying of those he deems inferior. Enter into this mix is the widowed restaurant-owner Rose (Dunst) and her sensitive son, Peter (Smit-McPhee). When George marries Rose and she joins the household her quiet manner enrages Phil who reacts with his  brooding and often aggressive manner.  His behaviour increasingly depresses the gentle Rose leading to her growing dependence on alcohol. The tension builds between the characters as George tries establish a more peaceful environment for his wife and step son while Phil seeks to sabotage his efforts.

Campion has positioned the protagonists expertly in this story and when the conflict reaches its climax and then end point, it is through the most unexpected method of intervention from the least obvious character.  Much of the production and technical staff of this film are Australian and this proficiency contributes to a quality production.