ScreenFish

where faith and film are intertwined

grief

TIFF ’21: The Starling

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In The Starling, Lilly (Melissa McCarthy) and Jack (Chris O’Dowd) are a couple who have been shattered by tragedy. A year after their infant daughter has passed away, their grief has driven them apart. While Jack is recovering in a psychiatric clinic, Lilly tries to maintain her job in a local grocery store and keep their home stable. After an encounter with a tiny starling pushes her to the brink, Lilly reaches out to Larry (Kevin Kline), a local veterinarian, for help and emotional support.

Directed by Theodore Melfi, The Starling is an enjoyable film that still feels like somewhat of a mixed bag. Melfi understands how to bring the best out of his cast and they offer some good work here, especially O’Dowd and Klein. This is a film which deals with grief in a mature manner that refuses to settle for any easy answers on how to deal with the pain. There is a great deal of respect here for those who are hurting and how they manage to work their way through it. For example, each character within the film is dealing with their own pain in different ways, whether it’s Jack’s self-blame, Larry’s penchant to flee or Lilly’s denial. In each case, Melfi’s film allows its characters to be themselves and take their own journey’s towards healing. (In particular, Kline’s supporting role as the broken counsellor turned veterinarian anchors the film with a hesitant wisdom.)

Nevertheless, despite the strengths of the film, there are simply a few too many spaces that take you out of the experience. Despite her incredible dramatic talent, there are times when McCarthy’s need to provide humour somehow lets the air out of the moment. (The scene with the ladder is particularly noticeable.) While The Starling is most definitely an enjoyable and poignant film over all, there are times where it still feels like a missed opportunity.

In a strange way, one of the most intriguing aspects of the film is the starling itself. With every attempt that Lilly makes to rebuild her garden (and her life), the bird swoops down and make it difficult for her to do so. As she mows the lawn, she is forced to run into the house. Planting vegetables in the garden result in further random attacks from above. (In fact, she eventually even has to wear a football helmet to protect herself.) Despite the fact that she is attempting to do something constructive, she finds herself under constant threat of assault from her tiny feathered adversary.

However, this is also what makes the starling so interesting. Mirroring Lilly’s struggles, this small, territorial bird operates as a strong metaphor for grief’s ability to constantly attack at random times. For anyone who has endured the trauma of grief, there is a certain level of paralysis that takes place for the wounded. As much as one wants to let go of their suffering, there is a process that must be endured in order to do so. Similarly, despite the fact that Lilly desperately wants to move forward, this tiny creature keeps causing her to fall flat on her back or run away in fear. 

And it refuses to relent.

As such, grief is portrayed as a road with many twists and turns. Days of joy turn quickly based on a simple reminder of the pain that they’d briefly forgotten. Moments that feel like breakthroughs can bring hope but can also seem elusive. Each experience feels like an eternity and yet gone in a blink of an eye. Every character does what they can to get through the day. 

Incidentally, it’s worth noting that, although faith is brought into the film, it is also held a distance. As Lilly attempts to get through the day, she sits and stares blankly at a television program that mentions that there’s hope yet gives few answers. In this way, faith becomes somewhat of a panacea for this grieving mother as she zones out in front of the TV but never really seems to be able to connect it to her life. While never portrayed negatively here, faith simply seems irrelevant to her experience, even if it is calming for her.

But this is what works best within the film. These quieter moments highlight the challenges of suffering and grief without sacrificing their complex nature. Whereas many films often offer simple solutions, The Starling doesn’t always come to conclusions and that is too its credit. Even though the more slapstick moments can deflate moments that need thought, the more one reflects on the film, the more one can appreciate what Melfi and his team are trying to do. Like the starling itself, this is a story that understands that grief must be endured before it can finally be released.

To hear our interview with director Ted Melfi, click here (audio) and here (YouTube).

The Starling premiered at TIFF and is available on Netflix on Friday, September 24th, 2021.

Audible – Teen Angst in Silence

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The teen years can be a challenge. It is a time when people struggle with their identity and their place in the world. Even for the most “normal” of teens, these years can be a struggle. Add to that having to deal with a disability. In Matthew Ogens’s documentary short Audible, we meet a young football player at a school for the deaf as he struggles with teen angst, deafness, and the loss of a friend.

Amaree McKenstry-Hall plays for football for the Maryland School for the Deaf. At the beginning of the film we see the team losing its first game against a deaf school in sixteen years. It also breaks the 42-game winning streak against all teams. For regular high school athletes, this would be a difficult time. We watch as Amaree and his schoolmates deal not only with the defeat, but with the struggles of facing a world as a deaf person. When school is over Amaree and his classmates will face discrimination and isolation.

As we get to know Amaree, we learn that his father left when he became deaf, and the two are working on rebuilding a relationship. His father, a onetime drug dealer, is a minister in a local church. He also is a bit unsure of his relationship with a girlfriend. Amaree’s biggest emotional challenge is dealing with the suicide of a classmate.

All of these are issues that many teens face. As such this is very much a look at coming-of-age in America. But when you include the challenges of getting ready to move into living fully in a hearing world, it all becomes multiplied.

Because it is a short (running time:39 minutes), it doesn’t have a chance to go very deep into Amaree’s stuggles, but we do see enough to understand that like all teens, he has many pressures. But we also see that he has qualities that may be helpful as he moves on in life.

AUDIBLE/NETFLIX © 2021

Audible streams on Netflix.

Photos courtesy of Netflix.

WandaVision Episodes 5 & 6: Coming Back from Cancellation

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[Caution: This post contains spoilers for Episodes 5 & 6 of WandaVision.]

Grief is a strange thing.

Whenever we lose someone that we love, our feelings can fly all over the place. Misplaced anger, sadness, relief or even joy can come at us in waves without prompting. We can fight with ourselves in disbelief or simply crumble under the weight of our emotions. Because everyone grieves differently, these feelings can be scary, causing us to ask whether or not what we’re experiencing is normal (or even acceptable). 

But WandaVision has taken this to a whole other level.

For those who aren’t keeping up (and, seriously, why wouldn’t you be?), WandaVision follows the marital bliss of beloved Avengers Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany). Playing out through the lens of classic television sitcoms, everything seems right in the world for the couple until cracks begin to appear in the façade that point to something more sinister.

Since it began, the show has literally stormed the globe. (Current reports suggest it’s the #1 series in the world.) What began as a history lesson in television nostalgia has edged ever closer into true horror with a conspiracy angle that’s driving the story forward. All this has blended together into something truly magical that has drawn in new audiences while connecting with those already heavily invested in the MCU. Regardless of your previous interest in Marvel, WandaVision has all of us asking the same question right now…

What’s going on with Wanda?

The most recent episodes have really leaned into the fact that Wanda is heavily involved in the machinations of this world. Neighbours ask her if she wants them to ‘take it from the top’ when things don’t go as planned. She can clearly control elements such as time and repair what’s broken when needed. She’s even brought back her brother from the dead (even if he’s not who she remembers). For her, Westview is a safe space where she has ‘everything that she wanted’ (as she indicated in her brief appearance to the S.W.O.R.D. installation).

But it still seems entirely connected with Wanda’s grief.

In the last few episodes, the series has specifically referenced Vision and Pietro’s deaths (even throwing Ultron’s name into the mix). When confronted with questions about her reality, Wanda attempts to ‘roll the credits’ in an effort to skip to the end of the episode and ignore the conversation (to no avail). And, of course, the sixth episode saw Vision almost vaporized in a Truman Show-esque attempted ‘jailbreak’.

What has become clear though is that Wanda can’t seem to bring people back from the dead. After the death of their dog Sparky, Wanda is called out by Agnes and the twins to ‘fix it’ yet she says she doesn’t have the power to do so. Although her resurrected brother and, of course, Vision seem free to live within the Hex, Wanda seems powerless (as of right now) to be able to keep those she loves from dying.

Apparently, in the Hex, there are rules about death. 

Rules we don’t understand, but rules nonetheless.

In many ways, there’s a strange comfort around death in this way. Though our grief may plead with us to keep people alive, there’s also a sense of freedom that comes from being able to let them go. Although he’s thriving within Westview, Vision feels trapped. Neither Vision nor Wanda seems at peace with this arrangement, even though Wanda seems the most willing to try to maintain the pretense of marital bliss. The loss of a loved one is never an easy experience but, assuming that Wanda is running this show, she seems to have lost all sense of objectivity. If she can have her husband and brother back, she is determined to make it happen. (Admittedly, this is still unclear. While the series is leaning this direction, I’m not convinced this is entirely her decision.) 

But, by being unable (or unwilling) to process her own grief and release her loved ones from her fantasy world, I would argue that Wanda’s really the one in prison. While her time with Vision and Pietro may have been cut short—saving the world comes at a cost—it is the time that she did have with them that matters most.

Like Wanda, we cannot control life and death… but we can celebrate the people in our lives when we have them.

Though the MCU has never hinted (officially) at any belief in an afterlife or specific faith, what seems clear is that Vision is being prevented from taking those next steps by being held on to by his beloved. In the same way, Wanda seems to have become a victim of her own marital façade. For her, hope appears to be deeply connected to her ability to release those she loves from her will by accepting the truth that they have already gone. Like any great series, there comes a time when the show needs to be cancelled. Though she cannot bear the thought of life without them, neither can she keep them alive by forcing them to stay in her fantasy world. In fact, this  release may be the greatest act of love that she can offer them (or herself).

When she does, maybe then the healing can begin.

Maybe then she (and they) can truly be free.

The first six episodes of WandaVision are currently streaming on Disney+ with new episodes airing each Friday.

@Sundance: Land

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“Why are you helping me?”  “You were in my path.”

Surviving may be all that someone can handle at times. It’s not just a matter of physical survival, but can require surviving the kind of pain and sorrow that seeks to kill one’s soul and spirit. In Land, the directorial debut of Robin Wright, a woman who cannot stand her pain seeks to live as a hermit seeking to avoid all human contact. But will that be the answer to her suffering?

Edee (Wright) is obviously in pain. In an early scene in a therapist’s office, she is asked about sharing her feelings. She replies, “Why would I want anyone to share in [what I’m feeling]? She can no longer stand trying to meet the expectations of how quickly she should “move on” from her grief.

Robin Wright stars as “Edee” in her feature directorial debut LAND, a Focus Features release. Credit : Daniel Power / Focus Features

She buys a remote cabin in the Rockies. There is no one around for miles. She settles in with no phone and no vehicle. She soon discovers she is ill-prepared for the challenges of such a life. She hasn’t considered that the deer will eat anything she plants. She hasn’t expected a bear to go into the cabin and destroy all the food while Edee is in the outhouse. As fall gives way to winter, her situation becomes ever more precarious. Perhaps she sees this as a passive suicide, but in any case, we know she will not survive here for long.

When she is at the point of death, someone comes into the cabin. Miguel (Damián Bichir) has been on a hunt and noticed no smoke from the chimney. With the help of Alawa (Sarah Dawn Pledge), a Native American nurse, Miguel cares for her until she is strong enough to be alone again. He offers to teach her what she needs to know to live the life she has chosen, then leave her alone. In their interaction, and the friendship they develop in the process, Edee becomes self-sufficient, but is that enough for her to have a full life?

Demián Bichir (left) stars as “Miguel” and Robin Wright (right) stars as “Edee” in LAND, a Focus Features release. Credit : Daniel Power / Focus Features

While the ability to physically survive may keep Edee alive in this remote setting, we sense that it is not a life that can truly sustain her spirit. She is not so much working through grief as she is waiting for the pain to subside enough for her to be willing to connect to other people. While the trapping and hunting skills Miguel shares with her are vital, the truly important thing he gives her is a chance to be with another person and have no emotional commitment. It allows her to heal at her own pace with no judgment.

At one point, Edee refers to Miguel as Yoda (a reference he doesn’t understand because he’s never seen a Star Wars movie). Yoda, of course, taught Luke Skywalker far more than Jedi skills. Edee recognizes that Miguel has been sharing wisdom with her. He stays within the confines of the relationship that Edee has set (including no news of the outside world), but he offers her a model of someone who has also come through a soul-scarring experience. She sees in Miguel someone who very well may have chosen the life of a hermit at some point. And we learn that he, too, is in need of finding grace.

Robin Wright (left) stars as “Edee” and Demián Bichir (right) stars as “Miguel” in LAND, a Focus Features release. Credit : Daniel Power / Focus Features

The film relishes the awesome (and at times terrible) beauty of the landscapes. But it also wants us to look beyond the external beauty to understand that the beauty of life can also be both awesome and terrible. Edee has lived out the terrible part. Because of this, she may no longer appreciate life that can fill her with light, warmth, and satisfaction. More than anything else, Miguel brings Edee the hope that she can heal.

Land premiered at Sundance Film Festival and will soon open in theaters (where open).

Onward: The Magic is Within

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“Long ago, the world was full of wonder. It was adventurous, exciting and best of all, there was magic. And that magic helped all in need. But it wasn’t easy to master. And so the world found a simpler way to get by. Over time, magic faded away….”

Disney/Pixar’s Onward is set in this world that used to be so full of wonder, adventure, magic. But technology made it easier to get by without the magic, so things settled into a ho-hum suburban lifestyle. The world is still filled with magical creatures—elves, pixies, unicorns, mermaids, cyclopes, centaurs, fauns, manticores, dragons—but because they haven’t been in touch with the magical nature of the world, all those gifts have become dormant.

It is in this fantasy world that elf Ian Lightfoot (voiced by Tom Holland) is turning 16. Ian is shy, but wishes he could be bold. He feels a bit empty because he never knew his father. His older brother Barley (Chris Pratt) has three memories of their father and though they are rather banal, because of their rarity, both brothers venerate those memories. Barley is as boisterous and outgoing as Ian is reserved and quiet.

Because it’s Ian’s birthday, their mother Laurel (Julia Louis-Dreyfus) gives the two boys a gift from their father meant for when they are both over 16. It is a magical staff with a note that includes a spell to allow him to come back for one day so he can see how they’ve grown up. Barley can’t make it work. But when Ian picks up the staff, it is obvious that he is the one with the magical gifts. When the spell goes awry part way through, leaving Dad materialized only up to his waist, the boys must set out on a quest to find another magical crystal so they can complete the spell before the day is over.

The odd-couple nature of the brothers is the engine that drives the story. Ian is quiet and timid. He has no idea of what magic is or how to make it work. Barley has no fear (even when he should). But he is a veteran Dungeons and Dragons player who believes that the game reflects the real history of the world. He knows spells, but he must encourage Ian to use them when needed. As they try to complete the quest, the brothers learn about each other and themselves. They find a way through their common grief. They also begin to show that the world is full of magic, if only the world will connect with it.

As I look back at previous Pixar films, I think of films that rely on stories that touch the viewers. Onward touches us, but not to the same extent of other Pixar films. That may be due to the frenetic pace of the brothers’ journey. It feels more like an action movie than some of the more thoughtful nature of past films. Because of the pace, there is little time to appreciate the comedy involved. There are some funny spots, but they blow by way too fast.

In the end, we may see this as a film about faith. Barley is a man who believes and trusts in the magic of the world. Even though others don’t see that magic, for Barley it is waiting to be rediscovered. Through the brothers’ journey, that forgotten nature of the world becomes visible yet again, changing not only Ian and Barley, but everyone who sees what they have done—and come to believe as well.

Onward casts its spell in theatres on Friday, March 6th, 2020.

Photos courtesy of Walt Disney Studios

Waves – A Family’s Darkest Hours

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In Waves, from director Trey Edward Shults, a suburban African-American family faces struggle, then tragedy. Healing is surely needed, but in what power will they find it?

Ronald (Sterling K. Brown) is a demanding and domineering father. He describes himself as “the wise and noble father”. It is said lightheartedly, but we know it is not a mere jest. He expects perfection from his teenage son Tyler (Kevin Harrison Jr.), especially in his wrestling. Ronald constantly pushes Tyler, both physically and emotionally, to achieve.

Tyler is dealing with other pressures as well. He has an injury he keeps hidden from his parents. His girlfriend Alexis (Alexa Demie) announces she is pregnant. His whole world is facing collapse, which will not sit well with his father. In an alcohol induced rage one night, Tyler tracks down Alexis at a prom party. They fight and the tragedy occurs that will tear this family apart.

The dynamic of these relationships (especially the contentious connection between father and son) give the first half of the film great energy and emotional power. Tyler, on whom this first half focuses, is obviously in a downward spiral. He senses no support from his father. Viewers may think Ronald is overly demanding, but we also sense that he is acting out of love to give his son the best possible world.

The second half of the film is a drastic shift in both focus and tone. It shows us the family in the aftermath of the tragedy. Ronald and his wife must deal with grief and anger, but that mostly plays out in the background. But their daughter Emily (Taylor Russell) becomes the real focus. Emily is Tyler’s younger sister. She is quiet and withdrawn, even more so in the aftermath of what happens in the first half. She lives in the shadow of her brother and his actions. Her parents are deep in their own issues. She feels abandoned.

We watch Emily as she slowly begins to come to terms with who she is. She is befriended by Luke (Lucas Hedges), one of Tyler’s wrestling teammates. He is not put off by her connection to Tyler. The two begin an innocent, tender, and romantic relationship that gives Emily a chance to grow, to love, and to feel love.

This becomes the beginning of restoration in her life, and perhaps also for the family as it searches out what it means to love each other in the darkest of times. Finally, Ronald knows that he must reach out to his daughter in a different way than the demands he placed on Tyler.

For all the turmoil and energy of the first half of the film, I personally found the subtlety and quiet of the second half to be far more powerful. It allows us to see that even in the darkness that seems to overwhelm the family, there can still be hope if they continue in love—and more importantly, find ways of sharing that love with each other.

It is not an accident that in an early scene when the family is in church, the pastor reads from 1 Corinthians 13 about love. In that scene, the words just seem to wash over the family, but later that becomes a seed that may blossom in their lives.

Photos courtesy of A24.

First Man: Man on a Mission

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Directed by Oscar-winner Damien Chazelle (La La Land), First Man tells the story of one of the most iconic moments in history as it tracks NASA’s quest to be the first to put a man on the moon. Following the journey of Neil Armstrong (Ryan Gosling), the film explores the human side of the mission, without shying away from the sacrifices and losses that came as a cost for their victory.

In the development of First Man, Chazelle has stated that he wanted to show the intense risk undertaken by the crew and staff in order to make this historic event possible and he certainly accomplishes his mission. Told over the span of 1961-1969, the film does not shy away from the highs and extreme lows that NASA endured during their journey. Through his use of editing and sound design, each launch sequence is equally thrilling and terrifying. Ranging from the noise of the launch to the limited view from the cockpit of the shuttle, Chazelle has sought to help his audience to experience the sheer peril in every moment of the experience.

However, rather than focus entirely on the moon landing itself, Chazelle instead allows the Armstrong’s personal battles to inform the narrative. Interestingly, unlike other ‘space race’ films (is that a genre?), First Man spotlights the journey to the moon through the eyes of Armstrong himself, as opposed to the entire team. Although their impact is never ignored, Chazelle is most concerned with Armstrong himself, both for his contribution and the emotional struggles he suffered after a family tragedy.

Gosling handles himself admirably, portraying the legendary astronaut as heroic for his efforts yet struggling with grief and loss. By juxtaposing his family struggles with his passion for the mission, First Man allows one to inform the other. Faced with insurmountable odds, Armstrong is still a man whose soul has been damaged by tragedy and is looking for answers. Is he driven to reach the moon to avoid his pain through achievement? Or does he seek to achieve the impossible in order to stare down the darkness inside him? While his motivations remain somewhat ambiguous in the film insofar as Armstrong rarely speaks from his soul. Still, First Man clearly believes that the two issues are linked in a such a way that the answers impact one another.

With this in mind, First Man also begs the question of whether or not the sacrifices are worth the glory in the end. Although their quest ends (um… spoiler alert?) on the surface of the moon, there still remains issues at home that need to be confronted. Despite the glory associated with their historic victory, there are personal losses at home along the way that must be weighed in the balance. In midst of global celebrations for their achievement, the challenges of parenting and maintaining a happy marriage with his wife, Janet (Claire Foy, whose performance steals the film) remain very much in the forefront. Armstrong may be a hero to the masses but he is simply a man with responsibilities when he’s at home. As such, First Man serves as a reminder that there can be failures in the midst of successes when we deny the pain of our soul in the process.

In the end First Man walks a thin line between thrill ride and grounded dramatic piece. Wildly different than his previous two films, Chazelle continues to prove his skill and creativity behind a camera by shedding new light on a familiar story. As intense as it is compelling, First Man challenges the nature of heroism in a way that also humanizes the men and women who helped make such a significant moment possible.

First Man is available on 4K, Blu-ray, and Digital HD now. The special features include deleted scenes, and feature commentary by Chazelle, Josh Singer, and editor Tom Cross. Featurettes behind “Shooting the Moon,” “Preparing to Launch,” “Giant Leap in One Small Step,” “Shooting at NASA,” and “Recreating the Moon Landing” take you into the cinematic undertaking, while “Putting You in the Seat” and “Astronaut Training” are featurettes which show the audience what went into the preparation.

Mars S2E3: What Is Your Passion Worth?

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All is well . . . for now.

It seems Mars has been all the rage this week.  On Monday, NASA was able to land the InSight rover on the planet, leading to numerous cheers (and a well-choreographed celebration) from the scientists tasked with getting it there.  Over the next months and years, I’m sure they’re going to acquire an immense amount of data that will prove to be beneficial when humans take their first steps on the Red Planet.

Adding to the intrigue was the third episode of Mars on the National Geographic Channel Monday evening (9 PM/8 CT). The last time we took a look at the scientists and miners, they were engaged in a full-on fistfight over a discovery of liquid water by the Lukrum company. Commander Hana (Jihae) was also dealing with the loss of her sister and as the new episode begins, she’s not done a good job handling the situation over the previous four months.

Marta (Anamaria Marinca) was incensed in episode two about the water issue and she’s still fuming about it.  When she beings it up to Hana, the commander’s repression of grief gets the best of her, causing her to explode on her colleague.  Marta decides that she’s going to get samples to prove the existence of new life forms and despite being told otherwise, takes a rover to Lukrum and starts collecting.  It’s at this point in the show that the drama really begins.

What do you do when you’re running low on oxygen and the temperature is -40? (National Geographic/Richard Donnelly)

Interspersed with clips of scientists working in remote portions of the Greenland Ice Shelf, a solar flare damages a transformer, throwing everything into disarray. Nobody can communicate on either base. Marta loses her navigational system and stubbornly tries to drive back to the base.  This isn’t a good idea when night is falling and temperatures plummet to levels that would kill humans. Since she’s on battery power, she’s limited to what she can do.  It suddenly becomes a race against time to rescue Marta from freezing to death. All that she’s worked for up until this point is seriously in jeopardy.

It’s at this point that a distinctive message arises from the episode of Mars. Scientists aren’t always folks who work in labs, but individuals who are so called to their respective projects that they are willing to sacrifice any and everything to make their goals happen.  The folks in Greenland left family to accomplish their tasks.  Marta was so committed to going to Mars that she put the mission ahead of her boyfriend, who didn’t take the news well.  For those who wish to follow after Jesus and be his disciple, they have to be willing to do the same thing—leave all they’re comfortable with and follow him, no matter what (see Luke 9).  He never said it would be easy, but worth it in the end (see Matthew 19:29).

At the end of the episode, one of the samples Marta collected begins to show movement.  Could this be the start of something big?  Or could it be something else?  Be sure to tune in next week to find out!

Summer 1993 – A Child’s Loss of Innocence

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As Summer 1993 opens, children are playing in the street. One of them looks at six-year-old Frida (Laia Artegas), and asks, “Why aren’t you crying?” Is that part of the game or does Frida have reason to cry? As viewers we don’t yet know why she should cry, but when we find out we may spend much of the film wondering that ourselves.

It is the story of a young girl whose parents have died of AIDS. She is being uprooted from her home in Barcelona to live with an aunt, uncle, and younger cousin in the Catalonian countryside. It is a drastic change in her life. Her family is loving and supportive, but this is not yet her home. In some ways she is a pawn in the family tensions between her religious grandmother and her parent’s generation that has moved away from the church. But even though her family loves her, she frequently presses the limits of acceptable behavior—perhaps acting out what is going on inside her.

The generational divide over religion is one of the forces at work within Frida. Her grandmother encourages her to say the Lord’s Prayer daily and to pray to her mother who is watching over her. But as time passes, she senses that her mother is increasingly absent. Frida faces not just the grief of losing a parent, but is having to deal with the first inkling that the faith her grandparents taught her will not sustain her.

The film is based on writer-director Carla Simón’s own childhood. It is a series of vignettes, as memory often is, but there is a structure that allows us to see Frida’s struggle to come to grips with the grief within her, as well as the new family and cultural world she is in.

The rural setting makes for a beautiful backdrop that emphasizes Frida’s innocence. The sunny and seemingly carefree setting also is a contrast to the pain that Frida holds within.

This is a child’s story of a summer that marks a transition from one life to another. The depth of her loss has not really taken hold. Realizing the reality and finality of death is one of those moments when innocence is chipped away. There are moments of fun, but in much of the film Frida seems quite impassive, as if she refuses to let the emotions within her find the surface. The summer is the setting in which Frida must grow to find her new life and come to grips with the past.

Summer 1993 is Spain’s official submission for Oscar consideration.

Photos courtesy of Oscilloscope Laboratories

Saturday at AFI Fest 2017

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The first full day for the festival took me on a trip around the world. That’s one of the values of film festivals, we get to see other lands and cultures without the expense and time of travel. (Not that I wouldn’t love being able to go to so many places.) We also get to see through different eyes. Four of the films for today were from women directors. Some have lived in more than one culture and so can compare and contrast. To see such films encourages us to see our own world and culture as others might.

From Spain comes Summer 1993 (New Auteurs section). Director Carla Simón tells a story based on her own childhood. After her mother’s AIDS-related death, young Frida moves into the Catalan countryside to live with her uncle and his family. She is surrounded by loving family members, but she has not yet come to grips with the enormity of the change in her life and discovered how to deal with the grief she holds inside. The beautiful, sunny countryside creates a contrast for the pain that Frida has. Summer 1993 is Spain’s official entry for Best Foreign Language Film.

Joachim Trier’s Thelma (World Cinema) is a nicely creepy film coming out of Norway. Thelma has grown up in a religious family, but has now set off to university, where she finds new ideas and experiences life in new ways. She is strangely attracted to another student, Anja. But when she starts having unexplained seizures strange things begin to happen. There are secrets from her past that come to bear on her life and a chance for her to find happiness. Thelma is Norway’s official entry for Best Foreign Language Film. It is slated to open in theaters on November 24.

Wajib (World Cinema) is a father/son story from director Annemarie Jacir. Shadi, an architect living in Rome, returns to Israel, to help his father Abu Shad hand-deliver wedding invitation for Shadi’s sister’s wedding. As the two men drive around Nazareth and visit friends and relatives, their differences create tensions. For Shadi, a Palestinian living an affluent life abroad, there is a culture clash in returning. The relationship between the two is very complex, at once loving and fractious. Has Shadi abandoned his family and people (as his mother did many years ago)? Has Abu Shadi compromised his principles to advance his career? As a father and a son, I found this a very universal reality of the difficulty in understanding a generational difference, yet being bonded by a lifetime of love. Wajib is the official Palestinian entry for Best Foreign Language Film.

In Iram Haq’s What Will People Say? (New Auteurs) a 1.5 generation Pakistani immigrant lives a dual life: the perfect Pakistani daughter at home, but a normal Norwegian teenager among her friends. But when Misha’s father discovers her with her boyfriend in her room late one night, everything changes. The story is a clash of important values. For the West, where Nisha has grown up, freedom is perhaps the highest value. But for her family, both in their new country and back in Pakistan, honor is paramount. It may seem that her parents are only concerned with how they are perceived, but at the same time it seems they are acting out of love for their daughter, trying to provide her with a life that fits their worldview. Of course, I watched this through western eyes, so some of the responses by her family seem extreme, but at the same time I could empathize with their desire to raise their daughter in what they considered a proper life. Mark this down as one of my favorites of the festival.

I traveled to South Africa with Jenna Bass’s High Fantasy (New Auteurs). Four friends (three women, one white, one colored, two black) go to an isolated farm for a camping trip. But when they wake up in the morning, they have somehow swapped bodies. This is more than Freaky Friday. As they struggle to understand what happened, they must also struggle with the difficulty of what it means to live in a “rainbow nation”. The racial and sexual differences are not something that can be covered up by just “walking a mile in another’s shoes”. The resentments of generations of apartheid and oppression are too deep. South Africa continues to be a country that struggles with racism—as does the U.S. This film is not about finding easy answers for how we live together in racist societies, but rather it raises some questions that need to be addressed if we are ever going to find ways to move forward.