Thursday, October 28, 2021

Archetypes: Family







Aster, Ari. "Hereditary." Film Comment Podcast (June 14, 2018) ["For the release of horror sensation Hereditary, we invited the film’s director, Ari Aster, to come for a wide-ranging chat. The talk was moderated by FSLC Editorial Director Michael Koresky, who wrote of Hereditary in our May/June issue: “We are compelled by our family stories, but they are often constructed narratives, given to biases, subjectivities, fictions. If at times Hereditary feels more like an askew domestic melodrama than a horror movie, that’s not accidental.” Aster talks about his love of Ingmar Bergman, his fear of The Wiz, his next project, and the arduous road to staging a scene just so.

Colins, K. Austin, et al. "Families on Film." The Film Comment Podcast (November 21, 2018) ["In marketing parlance, a “family film” has tended to mean an anodyne product, something that all could enjoy and that couldn’t possibly offend anyone. For our latest Film Comment Podcast, we’re taking our cue instead from movies actually about families, with all of the love, mundanity, and cringing horror left intact. That includes not only Shoplifters—a new release from that auteur of the comforts and complications of home, Hirokazu Kore-eda—but also the likes of Jodie Foster’s Home for the Holidays, Orson Welles’s The Magnificent Ambersons, Yasujiro Ozu’s Equinox Flower, and a couple more that may surprise you. Film Comment’s Michael Koresky was joined for this discussion by K. Austin Collins of Vanity Fair; Aliza Ma, head programmer of Metrograph; and Farihah Zaman, filmmaker and FC contributor."]

Digging Deeper. "A Separation: A Man-Made Divide." (Posted on Youtube: May 5, 2016)

Dogtooth (Greece: Giorgos Lanthimos, 2009) Dialogic Cinephilia (Ongoing Online Archive)


Feliciano, Moisés. "Yorgos Lanthimos and Realism." (Posted on Youtube: June 17, 2019)

Frames of Empathy. "Midsommar: Finding Your Family." (Posted on Youtube: November 27, 2019)

Harrison, Sheri-Marie. "Us and Them." Commune (June 6, 2019) [On Jordan Peele's 2019 horror film Us.]

Heller-Nicholas, Alexandra. Silence and Fury: Rape and The Virgin Spring." Screening the Past (September 1, 2010)

Johnson, Jenna. "Dogtooth: A Lacanian Analysis." (Posted on Youtube: December 20, 2019)

Kogonada. "Nothing at Stake: Roma." (Posted on Vimeo: 2020)

Lee, Kevin B. "Kevin B. Lee’s New Video Essay Explores Mourning with Minari." Hyperallergic (April 14, 2021) ["In a Hyperallergic exclusive, Lee muses on the aftermath of the Atlanta spa shootings and how the media imagines Asian Americans."]

Lessons From the Screenplay. "Get Out - A New Perspective in Horror." (Posted on Youtube: February 27, 2018) ["Get Out takes a situation that is universally relatable and adds a specific and unfamiliar protagonist. In doing so, the film unlocks new ways of creating tension and establishing trust."]

The Shining (USA/UK: Stanley Kubrick, 1980) Dialogic Cinephilia (Ongoing Online Archive)

The Take. "The Incredibles Symbolism: The Power of Family." (Posted on Youtube: December 14, 2016)

Us (USA: Jordan Peele, 2019) Dialogic Cinephilia (Ongoing Online Archive)

You Have Been Watching Films. "Dogtooth - Satire Without Spoon-Feeding." (Posted on Youtube: June 14, 2019)

Tuesday, October 26, 2021

12 Years a Slave (USA: Steve McQueen, 2013)

 





12 Years a Slave (USA: Steve McQueen, 2013: 133 mins)

Aitkenhead, Decca. "Steve McQueen: My Hidden Shame." The Guardian (January 4, 2014)

Berlatsky, Noah. "How 12 Years a Slave Gets History Right: By Getting It Wrong." The Atlantic (October 28, 2013)

Clark, Ashley. "Alien abductions: 12 Years a Slave and the past as science fiction."  Sight and Sound (April 14, 2015)

Conrath, Ryan. "Interview: Editor Joe Walker on 12 Years a SlaveHungerShame, and More." Bright Lights Film Journal (April 30, 2014)

Karp, Matt. "A Confederacy of Kidnappers." Jacobin (November 4, 2013)

Kellner, Douglas. "The horrors of slavery and modes of representation in Amistad and 12 Years a Slave." Jump Cut #56 (Winter 2014/2015)

Livingston, Jay. "The Revenge Fantasy: Django Unchained vs. 12 Years a Slave." Sociological Images (November 4, 2013)

Mackey, James. "12 Years a Slave: Verso’s essential reading list on slavery and race relations." Verso (October 23, 2014)

Nayman, Adam. "Atrocity Exhibition: 12 Years a Slave." Reverse Shot #33 (2013)

Rich, Frank. "Liberal Echo Chamber." New York (November 3, 2013)

Suebsaeng, Asawin. Henry Louis Gates Jr. Fact-Checks 12 Years a Slave." Mother Jones (October 12, 2013)

Wickman, Forrest. "How Accurate Is 12 Years a Slave?" Slate (October 17, 2013)





Monday, October 25, 2021

Archetypes: Jester/Fool/Trickster




Major Arcana: The Fool
Qualities: Freedom; Lust for Life; Beginnings; Adventure
Element: Air
Planet/Zodiac: Uranus
Symbols: White Rose; Small Bundle; Small Animal; Precipice


Birdman (USA/Canada: Alejandro González Iñárritu, 2014) Dialogic Cinephilia (Ongoing Online Archive)

Cairns, David. "PlayTime: Anatomy of a Gag." Criterion Collection (Posted on Vimeo: November 2014)

Daisies (Czechoslovakia: Vera Chytilová, 1966: 74 mins)

Drain, Heather, et al. "Celine and Julie Go Boating." The Projection Booth #277 (June 28, 2016) ["Jacques Rivette's Celine and Julie Go Boating (1974) tells a story of friendship, adventure, and magic between two women (Juliet Berto and Dominique Labourier) in Paris."]

Fear and Loathing in Las Vegas (USA: Terry Gilliam, 1998) Dialogic Cinephilia (Ongoing Online Archive)

Ford, Phil and J.F. Martel. "What a Fool Believes: On the Unnumbered Card in the Tarot." Weird Studies #77 (July 8, 2020) ["'What a fool believes he sees, no wise man can reason away.' This line from a Doobie Brothers song is probably one of the most profound in the history of rock-'n'-roll. It is profound for all the reasons (or unreasons) explored in this discussion, which lasers in on just one of the major trumps of the traditional tarot deck, that of the Fool. The Fool is integral to the world, yet stands outside it. The Fool is an idiot but also a sage. The Fool does not know; s/he intuits, improvises a path through the brambles of existence. We intend this episode on the Fool to be the first in an occasional series covering all twenty-two of the major trumps of the Tarot of Marseilles."]

Funny Games (Austria: Michael Haneke, 1997) and (USA/France/UK/Austria/Germany/Italy: Michael Haneke, 2007) Dialogic Cinephilia (Ongoing Online Archive)

Infranaut. "How Capitalism Commodifies Revolution and Sorry to Bother You." (Posted on Youtube: January 10, 2019)  

Kuersten, Erich. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 12, 2021) 

Marsh, James, et al. "Terry Jones' Monty Python's Life of Brian." CriterionCast #121 (April 5, 2012)

Phillips, Maya. "Sorry to Bother You and the New Black Surrealism." Slate (July 18, 2018) ["Like Get Out and Atlanta, Boots Riley’s gonzo satire realizes the best way to depict black people’s reality is to depart from it."]

Repo Man (USA: Alex Cox, 1984)  Dialogic Cinephilia (Ongoing Online Archive)

Seitz, Matt Zoller. "The Wes Anderson Collection Ch. 8: The Grand Budapest Hotel." (Posted on Vimeo: 2015)



Sunday, October 24, 2021

Halloween 2021 Recommendations: 21st Century Horror

The Devil's Backbone (Guillermo del Toro, 2001) [A subtle exploration of individual and collective trauma. Del Toro is a master of horror and insightful explorer of childhood explorations of the dark side of adulthood.] 

Donnie Darko (Richard Kelly, 2001) [I remember seeing an image of Donnie in the theater with the freaky rabbit head creature in a short review in a paper. The film disappeared quicker than I could get to see it and I was pleased to discover it when it was released on video. It quickly became a cult favorite and one of those films that you can rewatch.]

Trouble Every Day (Claire Denis, 2001) [One of the great pleasures of Claire Denis' unique & powerful films is the coterie of dedicated artists that work in her films (and her ability to attract other similar one time participants). This can be seen in her work with Agnes Godard her long time cinematographer (they met while working for Wim Wenders), to Tindersticks providing the soundtracks, and through the great acting collaborators that artfully manifest as different characters in mutliple films. Denis and her collaborators seem to develop a space for fearless filmmaking that challenges the artists involved and the later audience to (re)conceive the possibilities of different ways of telling stories through films (and in the case of Trouble Every Day -- the hoary conventions of a sanitized and exhausted vampire mythos).]

Save the Green Planet (Jang Joon-Hwan, 2003) [Are you curious about the QAnon believers, this bat shit crazy Korean film is an interesting glimpse into the possible mindset of those that spiral down conspiracy rabbit holes. Great ending ;)]

Shaun of the Dead (Edgar Wright, 2004) [Shaun just wants to rescue his doomed romance, then all hell breaks loose. The start of Wright's brilliant Cornish Trilogy.]

Pan's Labyrinth (Guillermo del Toro, 2006) [A masterpiece touchstone of 21st Century horror and brilliant exploration of the role stories play in our lives during difficult times. One of the best production design and creature creation films! The ending has led to many debates in my film classes.]

The Host (Bong Joon-ho, 2006) [I tell my students this is Little Miss Sunshine's family meets Godzilla.  I would take this over a million Godzilla reboots.]

Let the Right One In (Tomas Alfredson, 2008) [Long, intense discussions about this film at the end of The Kentucky Theater midnight movie screening. That night I had an intense dream about it and woke up to scribble this down  "Be Me, for Awhile" -- Ideological Becoming and Future Objectivity in Let the Right One In."  A great re-imagining of the vampire story and exploration of the monster in all of us.]

Pontypool (Bruce McDonald, 2008) [My tagline would be: The only way to survive is to resist understanding. A great vehicle for Stephen McHattie to do what he does best :) A counter to the mindless hordes of brainless zombie films/TV.]

Hellboy II: The Golden Army (Guillermo del Toro, 2008) [Even when del Toro is paying the bills he hits some great notes. Leaves me crying at the fact that his adaptation At the Mountains of Madness has not come to fruition.]

Polytechnique (Denis Villeneuve, 2009) [An attempt to examine a deeply traumatic, misogynistic, mass shooting in Canada. One of the best attempts to do something like this. Unique narrative.]

The Temptation of St. Tony (Veiko Õunpuu, 2009) [This Estonian films opens with this epigraph: from Dante’s Divine Comedy: “Midway upon the journey of life / I found myself within a forest dark / For the straightforward pathway had been lost.” What does it mean to be a middle manager, losing all sense of morality, in a culture that has long abandoned any scraps of right/wrong.]

Jennifer's Body (Karyn Kusama, 2009) [I fully agree with the theme that crappy, pseudo-independent, boy hair bands are the devil's work ;) Great fun!]

Shutter Island (Martin Scorsese, 2010) [I remember during the last 20 minutes of this film I was wringing my hands so tightly I feared I would break the fingers. A great exploration of consciousness and identity. Don't read about it, see it.] 

The Silence (Baran bo Odar, 2010) [I'm not a fan of serial killers, and I wonder about the obsessive fascination of others about them, although it does seem to be the monstrous archetype for capitalistic individualism. This film really tries to explore the compulsion behind the serial killer and left me wrecked at the end.]

Stake Land (Jim Mickle, 2010) [It is an amazing experience when you watch a favorite film years later and it still has the power to thrill you. Even more frightening in its message and story after 4 years living through a pandemic in reactionary Trump'merica. Just as redemptive in the struggle and journey of the characters. Engaging, intense narrative!]

Martha Marcy May Marlene (Sean Durkin, 2011) [Ostensibly an exploration of the damage a small, controlling cult can wreck on the individual, but I would make the case that it is equally and importantly a parallel exploration (intentionally or unintentionally) of mainstream social strictures. Brilliant!"]

Kill List (Ben Wheatley, 2011) [Wheatley's 'A Field in England' sent me on a pleasurable orgy of tripping imagistic weirdness (that seemed so damn real), so I was worried if 'Kill List' could match that film... it did... intertwining the cliched hit man charcters embroiled in domestic drama into a twisted horror scenario - brilliant, deconstructive film. Combine that with the fully committed, intense, and improvisational acting of the four leads -- yes! You should go into this with as little information as possible....."]

A Cabin in the Woods (Drew Godard, 2011) [My favorite metacinematic film exploring the nature of horror on a societal level while providing a rip-roaring narrative. Another film you should go into completely uninformed.]

Attack the Block (Joe Cornish, 2011) [Good monster/alien invasion film. Place your bets - street kids vs alien invasion.]
 
You're Next (Adam Wingard, 2011) [Definite flaws, but a candidate for the final girls hall of fame.]

Kiss of the Damned (Xan Cassavettes, 2012) [My favorite 1970s arthouse erotic vampire film - four decades later!]

Berberian Sound Studio (Peter Strickland, 2012) [A fascinating, spooky homage to Italian giallo films, sound effect techniques, and analogue sound."]

American Mary (Jen Soska and Sylvia Soska, 2012) [It is difficult paying for college these days! Not really contemporary horror, more like classic grand guignol (and I say that admiringly). I've heard about the Soska sisters for a couple of years and was going to watch this film during the last Directed by Women global event. I'm very intrigued by how they developed this story of the extreme measures taken by a female medical student to fund her expensive education and her reactions to the abusive patriarchy/authorities of her institution. Also an interesting and disturbing alternative society seems to be developed (Lance's comment near the end is key?) ............ but it seems equally abusive and centered around capitalist relations of money. More questions than answers. Deeply problematic film, but shows a lot of promise - I would like to see what their next film will be.....  This ranks with Abel Ferrara's The Addiction as one of the great academic horror films.]

Only Lovers Left Alive (Jim Jarmusch, 2013) [A great meditation on coming to terms with aging and ones place in the world at that time. Also a great soundtrack, I have it on vinyl (blood red, of course).]

Under the Skin (Johnathan Glazer, 2013) [The first time I watched this I was stymied by my expectations based upon an earlier reading of Faber's novel. I had picked it up during my first trip to Europe and the book entranced me with its social and political allegory told through the reflections/experiences of the protagonist. Maybe it took on an added depth of meaning due to my own feelings of alienness on that trip. My second viewing was approached with an awareness that I need to set aside those expectations and open myself to a new interpretation of the story. I was rewarded with a stunning visual masterpiece of imagistic storytelling - potent and powerful, even if a bit ambiguous.]

A Field in England (Ben Wheatley, 2013) [Mycelium horror. After a series of dreadful/banal film viewings it was a pleasure to be enveloped by Wheatley & crew (love the extras on the DVD that emphasize the collective effort that went into this film) into a strange, distant, and confusing world -- all working to provoke this viewer to ask why, how and could ... and ask those questions multiple times, but always engaged and interested.]

Enemy (Denis Villeneuve, 2013) [Profoundly weird (in the classic sense) -- don't want to say anything else :)]

A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014) [Amirpour made a splash with this unique take on the beautifully shot and scored vampire film.]

It Follows (David Robert Mitchell, 20140 [Interesting homage and reworking of the horror films of my youth (esp. John Carpenter). Great concept for the initiation of the horror.]

The Invitation (Karyn Kusama, 2015) [Kusama returns to the heights of her first film Girlfight with this intense, highly-watchable, keep-you-guessing, slow-burn thriller. The less you know about it, the better - seriously, don't even watch the trailer, but definitely check this film out, preferably with some friends over food & drinks ;) The audience I saw it with had a great, loud time and we were literally buzzing afterward! That ending, on the cusp of 2016 - wow.]

Final Girls (Todd Strauss-Schulson, 2015) [A lot of fun for horror fans that like metacinematic explorations of the genre."]

The Lure (Agnieszka Smoczyńska, 2015)   [A horror musical? Yes. Also rescues the mermaid from Disney.]

Crimson Peak (Guillermo del Toro, 2015) [I'm concerned by those that believe this film does not contain enough "horror"]

A Dark Song (Liam Gavin, 2016) [Painstaking attention to the details of traumatic grief, magic rituals, and ... (can't spoil it) brings this effectively written, acted and directed two-hander to life - I was riveted throughout!]

The Neon Demon (Nicholas Winding Refn, 2016) [I drove to see The Neon Demon and stopped into the corporate faux-British pub for a bite/drink beforehand. Made conversation with a stunning bartender in a tartan skirt. In the spirit of the high-fashion, excesses I expected from the film, I asked to try a dram of a high end bourbon (which I had not tried before) and she laughingly told me she would have to get on a ladder to get a new bottle and then proceeded to do so right in front of me. A bit stunned and exhilarated, as little was left to the imagination (this was not me gawking - the tartan skirt was barely covering her), I was for a moment a bit speechless. A few minutes later we struck up a conversation and she discussed her sideline of schilling alcohol samples at regional venues - she asked me if I knew Jay-Z and his new line of 'healthier' alcohol brands (she works for them). She was interesting and engaging, but it was clear her 'beauty' was the skill she used to make a living. I left wondering/wandering about the vagaries of beauty (of those that have it and those that want to use it) and the ways in which society defines it, distributes it, defiles it and discards it. Needless to say I was primed for the film ........... As I left the film - the first song I heard on my car radio was Meghan Trainor's 'Me Too' (a singer and song I was unaware of - the line "If I was you I would want to be me too" was what stuck) and when I changed the channel, almost immediately, Monty Python's Money Programme came on. Obviously this doesn't describe the film - I recommend you see it. Tagline: "Beauty is vicious"]

Train to Busan (Yean Sang-ho, 2016)  [Nice to see a film(maker) rise to the challenge of making something new in the very overworked Zombie sub-genre. An action, thrill ride!]

Raw (Julia Ducourau, 2016) [I decided to watch this during a 24 hr fast - good decision ;)]

31 (Rob Zombie, 2016) [This film... what the fuck, such a mess (the script), but rescued by other aspects of the film, and at times a bit of brilliance.]

Get Out (Jordan Peele, 2017) [A perfect social horror film to cap the Obama era's liberal self-patting.]

The Endless (Aaron Morehead and Justin Benson, 2017) [Both a great cult and cosmic horror film that keeps one engaged throughout without losing an essential ambiguity that allows your mind to fill the open spaces.]

Tigers are Not Afraid (Issa Lopez, 2017) [The setting for this realistic narrative of orphans on the streets is scary enough, then there is the interjection of magical realism which gives it an otherworldly sensibility.]

Suspiria (Luca Guadagnino, 2018) [Remake of Dario Argento's 1977 film. I know this will bother fans of the original, but I think this is the superior film and I was riveted throughout. Great dance scenes, a mindbending ending, and great female cast headed by Tilda Swinton.]

Annihilation (Alex Garland, 2018) [One of the best cosmic horror films. Maybe mycelium horror, depending on your interpretation. Stellar female ensemble playing scientists and soldiers. Visually intense and beautiful.]

Cam (Daniel Goldhaber, 2018) [What could be more frightening to a social media influencer than to have their online, branded identity, hijacked by unknown forces... and they may be even better at it than you in your tireless efforts. Could have been so bad, instead it rises to be a prime film examining our online obsessions about our performative identities.]

A Quiet Place (John Krasinski, 2018) [Unique, highly effective, even some well-earned jump scares - had me squirming at times.]

Tales From the Hood 2 (Darin Scott and Rusty Cundieff, 2018) [Hanging with a friend she chose this film and I had very low expectations. It was better than I expected and had me chuckling and shocked at times.]

Midsommar (Ari Aster, 2018) [I hated the excruciatingly painful Hereditary (maybe that means it was effective?), so I avoided this second film for awhile, then I was in the early days of the pandemic and gave it a try. I thought it was a fascinating exploration of fraught relationships, insular communities, cultural arrogance, predatory academics, masculine posturing, and ... I don't want to give it away. I thought it was brilliant.]

Doctor Sleep (Mike Flanagan, 2018) [What an impossible task, making a sequel based upon two twin masterpieces, Stephen King's novel The Shining and Stanley Kubrick's adaptation. To make matters worse, King hated Kubrick's adaptation, which by many is considered to be a masterpiece of horror filmmaking and might have superseded the original novel. Flanagan engages both versions, while creating his own unique vision. I have much admiration for how this turned out and can see myself revisiting it soon. A classic of psychic vampires and evil places!]

Us (Jordan Peele, 2018) [In two years Peele released two great and successful horror films. I had to watch this a second time to fully grasp the intricacies, mostly because I was distracted the first time, and I was fascinated by the social horror of individuals trapped in a social situation definitely not of their making and the blase comfort of those that, knowingly or unknowingly, benefit from their Omelas-like oppression. Everyone is good in this, but Lupita Nyong'o is stellar! That ending ;)] 

In the Earth (Ben Wheatley, 2021) [Mycelium/cosmic horror - understated, cerebral and trippy (kind of like Wheatley's A Field in England). Martin seemed like a wimp from the beginning, but the man held up through some seriously messed up shit. Made during the intense phase of the COVID-19 pandemic - impressive!]

Censor (Prano Bailey-Bond, 2021) [A rigid, moralistic censor during the heyday of the British video nasties censorship period, sees a film that dislodges painful memories and ... don't want to reveal that ;)]


Grilled Carrots w/ Avocado and Mint

Makes 4 servings

1tsp cumin seeds
3 Tbsp fresh lemon juice
2 tsp honey
1/4 cup plus 2 Tbsp extra-virgin olive oil
1 serrano or jalapeno, seeds removed, diced 
1 inch piece ginger, peeled finely grated 
Himalayan Salt
5 good size carrots, halved or quartered, lengthwise
2 avocados, cut into good size chunks
1/2 cup mint leaves

You can do this on a grill - I roasted them in the oven.

Preheat oven 400

Toast cumin seeds, tossing often, until fragrant for 2 mins. Crush coarsely in mortar and pestle (or on a cutting board with flat side of a chef knife)

Transfer to a large bowl. Add lemon juice and honey. Whisk in a 1/4 cup of oil, jalapeno and ginger. Add salt to taste. Let sit while you cook the carrots so ginger & pepper infuse the dressing.

Toss carrots in remaining 2 tbsp. oil and put on a baking sheet covered with aluminum foil. Season with salt and pepper. Roast under burner 14 - 18 mins (turn over half way).

Let cool for a couple of mins. Toss in bowl with dressing.

Arrange carrots and avocados on a platter. Spoon leftover dressing over it. Top with mint.  

Tuesday, October 19, 2021

Embrace of the Serpent (Columbia/Venezuela/Argentina: Ciro Guerra, 2015)

 



Embrace of the Serpent (Colombia/Venezuela/Argentina: Ciro Guerra, 2015: 125 mins) 

Benton, Michael Dean. "Notes for Embrace of the Serpent (Colombia/Argentina/Venezuela: Ciro Guerra, 2015) - Presentation for International Film Festival: Hispanic Heritage & Latinx Culture 10/19/21." Dialogic Cinephilia (October 19, 2021)

Berghahn, Daniela. "Encounters with Cultural Difference: Cosmopolitanism and Exoticism in Tanna (Martin Butler and Bentley Dean, 2015) and Embrace of the Serpent (Ciro Guerra, 2015)." Alphaville #14 (2018)

Brennan, Collin. "Embrace of the Serpent: A Surreal, Transformative Journey Into the Heart of Darkness." Consequence of Sound (March 10, 2016)

Cadena, Nicolas. "Embrace of the Serpent: Reframing the Colombian Amazon." NACLA (April 8, 2016)

Dahan, Yaron. "Lost in the Jungle: Aguirre, the Wrath of God and Embrace of the Serpent." Notebook (June 20, 2016)

Franco, James. "Embrace of the Serpent Documents a Lost World." IndieWire (February 19, 2016)

Guillén, Michael. "Embrace of the Serpent: An Interview with Ciro Guerra." Cineaste (Spring 2016)

Harvey, Sophia. "The Seven Most Compelling Characters of the Year." No Film School (December 20, 2016)

Holden, Stephen. "Embrace of the Serpent: Where Majesty Meets Monstrosity." The New York Times (February 16, 2016)

Kermode, Mark. "Embrace of the Serpent: You Will Be Transported." The Guardian (June 12, 2016)

Kiang, Jessica. "Cannes Review: Embrace Of The Serpent Is A Soulful, Strange And Stunning Discovery." IndieWire (May 17, 2015)

Like Stories of Old. "Venturing into Sacred Space | Archetype of the Magician." (Posted on Youtube: April 21, 2018) ["In this conclusion of my Archetype Series based on the book King, Warrior, Magician, Lover by Robert Moore and Douglas Gillette, I examine the archetype of the Magician and explore some related concepts such as initiation, ritual process and sacred space." Other sources discussed:  Carol S. Pearson – The Hero Within: Six Archetypes We Live By; Robert Moore – The Archetype of Initiation: Sacred Space, Ritual Process and Personal Transformation; Mircea Eliade - The Sacred and the Profane: The Nature of Religion; Victor Turner – The Ritual Process: Structure and Anti-Structure.]

Luna, Maria. "The Films of Ciro Guerra and the Making of Cosmopolitan Spaces in Colombian Cinema." Alphaville #14 (2018)

Mallik, Santasil. "The Native Eye: Re-Embracing the Serpent with 'Chullachaqui.'" Bright Lights Film Journal (June 15, 2017)

Mathiesen, Karl. "Embrace of the Serpent Star: 'My Tribe is Nearly Extinct.'" The Guardian (June 8, 2016) ["Their land was plundered for rubber while they were enslaved or killed. As Embrace of the Serpent tells the shocking story of the tribespeople of Colombia, its star relives a moving screening in the heart of the jungle"]

"No Film School's Top 10 Indie Films of the Year." No Film School (December 22, 2016)

Nord, Liz. "The Most Stunning Cinematography of 2016." No Film School (December 23, 2016)

Ponman, Bruce E. and Rainer W. Bussmann. "Medicinal Plants and the Legacy of Richard E. Schultes." (The William L. Brown Center at the Missouri Botanical Garden: 2012)

Shaw, Deborah. "Falling Into the Embrace of the Serpent." Mediático (July 21, 2016)

"Watch an 80-Minute Talk with the Directors Behind 2016’s Best Foreign Language Film Nominees." The Film Stage (January 14, 2016)


























Embrace of the Serpent (Colombia/Argentina/Venezuela: Ciro Guerra, 2015) - Presentation for International Film Festival: Hispanic Heritage & Latinx Culture 10/19/21





 

A 2015 internationally produced Colombian film directed by Ciro Guerra. It is based upon the field notes & travel diaries of the German ethnologist Theodor Koch-Grünberg (1872 - 1924) and American pioneer of the field of ethnobiology Richard Evans Schultes (1915 - 2001). I originally learned about these explorers in anthropologist/ethnobotanist Wade Davis' intoxicating recounting of his own travels in the Amazon region interspersed with a recounting of Schultes 1940s explorations. It was a favorite book of mine and I have gifted it to two students with interests in the field:





As great as I find Wade Davis' book, it had a fatal flaw, in that it was solely from the viewpoint of the European/American scholar-explorers.  While these explorers were motivated by the quest of knowledge about the people /cultures and fauna/flora of the region, we should recognize that is was in the context of a larger colonizing project. By colonizing, I mean outside powers/forces that invade an area/region in order to profit from or extract the natural resources and human labor.  It should be noted that Davis later addressed these missing perspectives, in his books/research, including Light at the Edge of the World: A Journey Through the Realm of Vanishing Cultures (National Geographic, 2001) and The Wayfinders: Why Ancient Wisdom Matters in the Modern World (Anansi Press, 2009). You can also see his lectures online of the importance of ancient wisdom.

I heard about Embrace of the Serpent in 2015, the year of its release, and when I watched the trailer I immediately recognized that the film was following the early explorations of Koch-Grünberg and Schultes, but with the twist of an imagined shamanic character, Karamakate, that accompanies/guides the two explorers in the 1920s and 1940s. 

Santasik Malik, on the film, states: "Ciro Guerra’s Embrace of the Serpent (2016) can be read as a brilliant subversion of the colonising role that the camera plays in appropriating native cultures in favour of Western narratives. The film ... was influenced by the ethnographic accounts of ethnologist Theodor Koch-Grunberg (in 1909) and American biologist Richard Evans Schultes (in 1940), yet it deviates from uncomplicated transliteration of those accounts and weaves in various indigenous narratives to critique the colonialist discourse."

As an African saying illustrates: "Until the lion has a historian, the hunter will always be the hero."  This reminds us that history is a living, ongoing dialogue, and the more ways in which we can see the world through a plurality of narratives and interpretations, the better we will understand the complexities of human interactions. In the film, the shaman Karamakate states that the only way the sick American explorer could heal is to dream, perhaps that is a message to all of us. 

When watching this film, think about how we all construct a sense of our shared reality on this planet and our place in the universe. This is not disparaging in the sense that I am saying that our perceived realities are just fantasy, instead it is an encouragement to open ourselves up to how different cultures, different languages, different places, different identities, different eras, different truths, act as vast unexplored regions in which we can learn about new ways of seeing & being.

The film can challenge our rigid understanding of time as a linear process and Euro-americans fraught relationship with the natural world which they seek to solely control/exploit. Use these two challenges to anchor you during your journey through Embrace of the Serpent.

Lastly, Catherine Grant, writing in Mediático: 

Every so often a special film comes along and slaps us in the face and demands our attention. A film that reminds us why we became and remain academics, critics and teachers. We take on these roles because we love films that teach us about the world we live in, and because we want to share our enthusiasm and that knowledge. Learning and sharing knowledge is one of the central themes of Embrace of the Serpent. ... Embrace of the Serpent is a film that is simple and beautiful, yet also epic, ecological, mystical, cosmic and extra-terrestrial. It presents us with a vision of how broken people can be made whole again. It is visually gorgeous, unusually shot on film in black-and-white by cinematographer David Gallegos. In addition to its visual splendour, it provides an example of the kind of ethical filmmaking which could teach some directors a thing or two.

I look forward to discussing your responses to this film and it will also connect with Iciar Bollain's 2010 film Even the Rain that I am screening tomorrow at 1PM.

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I have a sizable archive of resources on Embrace of the Serpent - come up to me afterward if you would like to have it sent to you.

Embrace of the Serpent won many awards, including the Sundance Film Festivals inaugural Sloan Award for Science in Cinema, 7 of the 8 major categories in the Platino Ibero-American Film Awards, and was nominated as Colombia's entry for the best foreign film category at the Oscars (the first time a Colombian film made the final five list).

Yakruna is an invented plant-based drug, it was done out of respect for native cultures in the Amazon basin that use these plants in their rituals.  In Wade Davis' book One River  he relates how Richard Schultes was seeking information about Ayahuasca.

Ciro Guerra says he chose to film in Black and White because he wanted to represent how the indigenous Karamakate (and the indigenous perspective he represents) views everything as interconnected and in order to do that he wanted a similarity of representation.  Santasik Malick, again, explains: 

The reason why director Guerra chose to shoot the film in black and white illustrates the futility of the camera as a Western eye. He learned that the Amazonians have fifty different names for the colour green. Realising the inability of the camera to articulate the varied details, textures, and nuances of greenness, he decided to abandon the idea of shooting it in colour. This strategy invites the audience to fill the frame with their imaginations regarding the greenness of the Amazon, for the director claimed, “what we imagine would certainly be more real than what I could portray.”