ScreenFish

where faith and film are intertwined

Animation is Film

Animation is Film 17: Virus Tropical

Adapted from the graphic novel memoir by Colombian-Ecuadorian cartoonist Power Paola,?Virus Tropical follows the story of a young girl in Ecuador named Paola, as she grows and matures from infancy to striking out on her own as a young adult. Raised by a mostly single mother, Paola struggles through her relationships with family, friends and romance. The film’s use of idiosyncratic animation adds to the charm of the film which offers an interesting perspective on life, love and sexuality from a female perspective.

Beginning on the night of her conception,?Tropical displays Paola’s birth as somewhat of a miracle as her parents did not expect to have any more children. The youngest of three sisters, we bear witness as she grows up in a home with many relationships but very few intimate connections. In fact, much of Paola’s life is shaped by various forms of abandonment, ranging from absentee parents to selfish boyfriends.?However, despite her difficult upbringing, Paola seeks to discover what it means to experience genuine love. To her credit, Paola also seems most self-aware in regards to what love?isn’t as opposed to what it actually is. As boyfriends come and go, Paola holds off from sexual encounters from numerous potential lovers for the simple reason that she doesn’t believe that they offer her real love in return. (However, it is also worth noting that Paola’s most stable relationship lies with her older sister, Patty, who does offer love and consistency throughout her life.)

Interestingly, religion plays a role in her development through her father, Uriel, albeit a distant one. A ‘retired’ priest, Uriel’s desire is less that they would experience God and more that they would ‘follow the rules’. As his role becomes less substantial in Paola’s life, so too does religious influence fade into the background.?In?Tropical,?religion is not about love or relationship but rather about adhering to the proper guidelines in order to maintain order.

In light of this, it’s also worth noting the role that sexuality plays within the film. While displayed graphically at times, it’s clear that sex is viewed as the ultimate expression of humanity. Paola’s conception to open the film builds the argument that there is a definitive intent and purpose to her birth that even she doesn’t fully understand. Although her birth is mysterious to the doctors, with explanations ranging from stomach issues to demonic possession, Paola states clearly that she believes she exists for a reason. What’s more, throughout the film, sex is almost viewed with reverence as the characters recognize the importance of one’s experiences and maturity.?As a result,?Virus Tropical plays out as a coming-of-age drama as Paola develops her own self-awareness, often through her ability to respond to potentially sexual situations. For example, while her parents are not known for their physical connectedness, she learns how to kiss from the boy across the hall. (“Kiss me like they do in the soap operas,” she invites.) In addition, a young boyfriend whom she cares about cheats on her and then attempts to sleep with her, leading to her claim that “he doesn’t really love her”. In the midst of these situations, Paola recognizes the importance of her sexuality and the role it should play in her life.

On the surface,?Virus Tropical?appears to be a portrait of one young girls journey to adulthood.?Yet, at its core, the film is far more intimate, recognizing our purpose and how our relational experiences shape our identity.

Animation is Film 17: Tehran Taboo

Directed by expat Iranian filmmaker Ali Soozandeh,?Tehran Taboo tells the stories of?three strong-willed women who cross paths in Tehran?s divided society where sex, corruption, and drugs coexist with strict religious laws and patriarchal traditions. Through rotoscoping technology, its use of real actors provides genuine depth to the characters yet the animation also provides a safe distance for the audience to explore provocative subjects.

Taboo tells two distinct stories side by side, one of moral indignation, and one of sexuality and gender oppression. In a country where morality is held in high regard, we bear witness to the fact that it exists in law only. While an Imam holds the keys to divorce for young mother Pari (Elmira Rafizadeh), he also uses that as leverage to keep her as his prostitute. Donya (Negar Mona Alizadeh) seeks to have surgery to make her appear as a virgin for her fianc? out of fear that he would kill her lover. In Taboo, women are treated as commodities that maintain their value only if they remain pure. (As a result, sexuality within the film is also used by the women as a form of rebellion–or even emancipation–as they seek to reclaim the use of their own bodies from the oppression of a patriarchal society.) In many ways, the film is a testament to what happen when religious influence is wielded as a sword, rather than with grace. Morality within this culture remains empty. There is no actual help for the broken in this film. In fact, in many ways, the broken are feasted on by the powerful.

Taboo is also a reminder of the many stories that go largely ignored within the midst of large urban contexts. While the powerful go about their day, these women suffer. Each one has a story to tell, yet each also lives in fear that she might be discovered. As a pastor, I am reminded of how Jesus spent time with the prostitutes and tax collectors, showing them a love that offered genuine hope. He knew their stories and he showed grace. Like those stories in Scripture, the lives of these women matter, despite what the culture chooses to believe.

However, in the midst of their pain and oppression, one can still see goodness. Despite her circumstances, Pari also demonstrates a passionate love for her son. The sacrifice of her body is as much for his benefit as it is of her own survival.?In fact, much of the story is told through the eyes of a Pari’s young son. He bears witness to all of the pain and yet has no response. This way of life is simply accepted by him as it is all he knows. He is present as his mother offers sexual services. He befriends another woman who is being hunted by the morality police. Like us, he watches but is helpless to affect change. Has he completely lost his innocence? Will he recognize the affect that culture has upon these women and attempt to live differently as he grows into manhood? Or will he simply view these events as ‘the way it should be’? By the end of the film, these questions are left unanswered yet we also are left with the sense that he will bring hope to the next generation.

Tehran Taboo has its North American premiere this weekend at Animation is Film 2017.