Rain examines globalization as a form of forced colonialism in the context of modern day Bolivia as a European film crew settle on Cochabamba (Bolivia’s third largest city) as a cheap and acceptable filming locale. The film within the film is meant to show a truer portrayal of Christopher Colombus and the way he enslaved the local peoples and exploited them and the land of the New World. Meanwhile, in real world times, an uprising is occuring in Bolivia as the country sells its water rights to western countries who try and markup water taxes 300%. Nationwide violent riots seem imminent threatening the film.

The script was written by Paul Laverty.  And the story is about as heavy handed as you’d expect would come from someone who worked in Central America for several human rights organizations during political turmoil and civil war (which Laverty did). But some excellent parallels are made and it’s so much fun watching it all happen. Gael Garcia Bernal plays Sebastian the director of the European film crew and Luis Tosar plays Costa, the crew’s producer. Initially the penny pinching spirit of early colonialists is mostly seen in Costa. Since he’s in Bolivia, he doesn’t bother taking proper safety precautions building sets and brags with exact sums the amount of money he’s saved using local labor that either doesn’t know any better, or needs the money too much to complain about the risks. At one point, Costa is speaking on a cell phone to English-speaking funders of the project where he laughs at the fact the extras are thrilled to be receiving two dollars a day as compensation.

Opposite these imperialists both in the film and in the film in the film is a local man named Daniel.  He’s chosen to play an Indian martyr at the hands of Columbus’s men.  But Daniel ends up playing a large part in the organized protests against the government’s misappropriation of water rights.  He becomes the leader of an oppressed people in both facets.

Bollaín found an uneven balance in making things uncomfortable and taking things too far.  In one moment of Sebastian’s film, extras are meant to play out a scene where they’re to drown their own babies as a better option than letting them be eaten by the European men’s dogs.  It’s an uneasy moment, aided by the awkward time required to translate back and forth the things being said.  Later, Daniel’s character is meant to burnt at the stake along with twelve of his insubordinates (one for each of the apostles and one for Jesus Christ himself).  The scene goes on far too long with the European actors yelling, “This is what happens when you oppose the Christians!”  Quick cut to riots in the streets of Cochabamba where locals are being beaten and put into jail for protesting the encroachment of western corporations.

Regardless, Rain is pretty poignant for the most part.  Up until the final moments of the film no major misstep can really be noted as Bollaín’s direction is assured and pleasant.  The footage of Sebastian’s film we see are tonally perfect, and stirring.  The coverage of the political unrest have just enough of a documentary-like feel to be believable.  But in the last leg of the film, we see a major change in Costa.  Sebastian and Costa spend most of the film reminding themselves and their crew that the film comes first no matter what.  Sebastian even reminds Costa that the riots will eventually calm down and be forgotten, but the film will be forever.  This attitude is important to the satire of the movie.  They are a vital part of the commentary the film is making.  But Costa ends up jeopardizing the entire film in order to try and get a young girl (Daniel’s daughter) to the hospital after being injured among the crowds.  Perhaps this is a trite message of hope, a suggestion things have changed at least a little bit?  Maybe it’s meant to be morally instructive?  I don’t know.  Either way, it took a bit away from a film that was pretty biting until the last few minutes.  There’s still much to take away from Even the Rain, it’s a much welcomed break to the mostly worthless films choking theatres at this time of year.

3.5 out of 4 stars

Jarmusch wrote the script for this film, and its minimalism is intriguing in the same way I very much enjoyed Gus Van Sant’s Gerry; not so much a straight forward narrative, but fun, and intriguing nonetheless.  The story follows a character only credited as ‘Lone Man’ (Isaach De Bankolé). His story begins at an airport where he meets with two men Creole, and French. Creole speaks in Creole, giving Lone Man densely ambiguous and philosophical advice as to how to be successful in what seems to be a contract job the three have entered in to.

At this point, armed with strange instructions, Lone Man travels throughout Spain (starting in Madrid), meeting with variously interesting characters with whom he trades matchboxes hiding secret messages.  Or diamonds.  The characters he meets have similarly enigmatic names: Blonde (Tilda Swinton), Mexican (Gael García Bernal), American (Bill Murray), Molecules (Youki Kudoh), etc., etc.

The cinematography is technically brilliant.  This is thanks to cinematographer Christopher Doyle (who also frequently works on  Van Sant and  Wong Kar Wai films).  He achieved a beautiful, dream-like world, where everyone is mysterious and interesting.  In a conversation Blonde has with Lone Man, she says, ‘The best films are like dreams you’re never really sure you had.’  With a steady (if slow pace) of drifting characters, smooth dialogue, repetition of themes and ideas, and a bitchin’ soundscape, you’ll feel like you’re watching someone else’s dream.  The film is absolutely self-indulgent and pretentious.  But if you can get past all that, you’ll find it extremely thought-provoking.

3 out of 4 stars

The film is written and directed by Cary Fukunaga (I’m not familiar with her other work).  The big names attached to the project would be the executive producers, Gael Garcia Bernal and Diego Luna.  It made it’s North American premier at the 2009 Sundance Film Festival.

The story follows Sayra (Paulina Gaitan), a Honduran teenager following her estranged father and uncle up north, through Mexico and hopefully to the US border where they would cross illegally to bask in the glory of a dream life.  The clan rides dangerously on top of trains illegally through Mexico, braving bad weather, the possibility of falling off and the constant threat of bandits.  The family conflicts with a small band of MS-13 members, led by Casper (Edgar Flores), that attempts to rob them.

Yes, that is horrible synopsis.  The plot is quite complex.

The film is quite beautiful.  Featuring stunning settings across central America.  The acting leaves nothing to be desired.  The performances are subtle, and muted in the best way possible.  There’s no glamorizing of gang life, or even border crossing (don’t expect any sort of happy ending).  The plot is well thought out, and the dialogue is concise and compelling.  The problem comes when the audience is expected to feel for these characters.  Central acts revolve around Casper who kills multiple people during the film that runs just over an hour and a half.  I found myself conflicted towards the end when I was supposed to feel sorry for this person who will kill someone for no other reason besides the victim having the wrong tattoos.  Perhaps this was the point, or the question that Fukunaga wanted to ask: can you atone for your sins by committing good deeds?  If this indeed was the point, I missed it, and was left slightly befuddled by the time the credits started rolling.  Besides this single complaint, the film really is quite a force to be reckoned with and is certainly worth your hour and a half and nine bucks.

3 out of 4 stars

Released in 2005, The King was written and directed by James Marsh.  Previous to this film, Marsh had directed a few films, but nothing of note.  He currently has a documentary doing the art house theater tour called Man on Wire about the epic tight-rope walk of Philippe Petit’s between the World Trade Center towers.

This is the only writing credit to Marsh’s name according to imdb.com.  If that information is, in fact, correct, it’s a shame we aren’t hearing more from him.  The King is really a great drama.

The film follows Elvis (Gael García Bernal) as he’s released from the Navy after three years of service.  With a dead mother, and no real family to speak of, he heads off to find his white father (you see, Elvis was the result of unprotected sex that was paid for).  When he finds his father David (William Hurt), he’s quickly sent away by the now pastor.  The pastor has a new family, two kids (played by Paul Dano, and Pell James), he’s found Jesus, and has a wide following as a non-denominational preacher.  He doesn’t explain to his family who exactly Elvis is, but explains that they shouldn’t ever speak to him.  Rebuked, Elvis starts dating his daughter Malerie, and all the trouble begins.

The direction of this film is terrific.  Those with ADD might have trouble with the time Marsh takes to set up his story, but those who are willing to give The King the chance it deserves will be greatly rewarded at the end.  Bernal leads the cast with this disturbing portrayal of such a confused young man.  And the film serves as a reminder of how the past can come back to haunt you, even if you found religion.

3 out of 4 stars

Rottentomatoes: 54% – Cream of the Crop: 54%