Garapa ***

Director: José Padilha

Garapa is a film about contrasts; it focuses its attention on the lives of three Brazilian families whose major ailment is extreme hunger.
When they can't afford milk, one of the families relies on garapa (a drink made out of water and sugar cane) to satiate its hunger. While a mother from another family has to hide milk so her alcoholic husband won't sell it to buy cachaca (ironically nothing more than fermented garapa).
This might be a too obvious example of contrast but director Padilha makes sure that his movie becomes more of a clash of ideas and emotions than a mere "let's save the world" documentary.
The film might have United Nations bookends but it's center is pure out-of-the-box filmmaking that dares us to see how much we can take.
Most of the scenes are made out of moments where filth, human misery and despair might provoke actual physical discomfort in audience members who, with reason, would run away from a similar scene in real life.
Padilha asks us then why is it easier for us to confront moments of pain like this on a movie screen than out in the streets. It's especially interesting to see the dichotomy he creates between our ability to remain seated while we watch people suffer and the relation this has to the fact that it's being filtered through film (just how much have our notions of non fiction have to do with a certain disbelief on what we see onscreen is a different matter altogether).
He cleverly shoots the film in high contrast black and white, which tricks our mind into thinking we might be watching a neorrealist film in the tradition of Luchino Visconti's La Terra Trema.
The milky texture of the whites is unsettling enough to make us aware that the intensity of the light sometimes helps conceal darker truths.
During some scenes the image turns almost completely dark except for little creases inside the shacks that allow glimmers of light to show us reality in subtle strokes.
It's mostly this contrast between the strange, almost primitive, beauty of the images onscreen and the raw tragedy they portray that encompass what Garapa is all about.
Like the problem it deals with, you can't just watch it and establish what's right, what's wrong or how to fix it.

Why the FICG Rocked My World.

So yes, I'm finally back and blogging after ten days of pure movie bliss. I had no idea film festivals could be so exhausting and between the screenings, drink-until-early-hours-of-the-morn' parties, conferences and sight seeing I honestly had no chance to write a single word about any of the films I saw.
I did see wonderful things which you will learn all about in the upcoming days (I have a theory about an alternate Oscar win now) and I gained new faith in the art of the short film (why oh why don't we get more of them?).
The overall experience was fantastic and I really urge everyone out there to make sure they visit Guadalajara at least once; it's such a wonderful city!
Not only is it breathtakingly beautiful but it is also one of the most cultural places I've ever been to. Few things have given me as much pleasure as watching a bunch of 14 year olds walk into the screening of an Israeli film and actually stop texting while the movie played.
But that wasn't the only great thing about Guadalajara;

• It was fascinating to learn about the different takes on film criticism between Europeans and Americans.
  While screenwriter Michael Tolkin all but declared that criticism was irrelevant in the face of Twitter and blogs, European festival organizers saw this as an opportunity to reaffirm the need of leading voices in film criticism that actually contribute to the overall experience of watching a film.
  There was a debate between important Latin American film critics that stimulated me intellectually in shamelessly pleasurable ways.
• I had no idea how old Matt Dillon actually was. He sure looks good though.
• I attended the world premiere of a movie which didn't even have an IMDB page yet! More about that soon...
• Ugh it's so ridiculous to think of the amount of movies that never get distribution in most countries. Out of the dozen or so films I saw there are some that have only premiered in festivals and Norway!
• The screenwriter of Goodbye, Lenin! bought me a beer!
• A Prophet is nothing short of majestic on a giant movie screen.
• Diego Luna has got to be one of the nicest movie people out there, I wasn't even starstruck when I was in the same room with him!
• Kinatay was a letdown in terms of shock...am I becoming too difficult to surprise?
• Nothing like Europop to uplift a so-so movie and make it more entertaining than it has any right to be.
  

More to come about the fabulous festival movies after I get a much needed rest...
How have all of you been?

Mexicoma.

From today until next week the blog will enter a short hiatus while I indulge in everything Carrie Bradshaw refused to enjoy while visiting Mexico.
I'm in Guadalajara for a workshop during the International Film Festival. Might get to meet Diego Luna and Matt Dillon (random combination I know...)
So keep an eye for a random update on Twitter and be back here next week! May you all have a wonderful, film filled time!

Oscar Fashion: Best Dressed.

10. Demi Moore

I still have no idea what she was doing there (when did she last release a movie?) but Demi Moore was as usual a treat for the eyes.
Dressed in a ruffled Versace that matched her sublime tan she was one of the night's best (in a night that also happened to have very few-if none at all-disasters).


9. Cameron Diaz

Diaz had never been as beautiful and classy as she was in this beaded Oscar de la Renta. At first it reminds you too much of the gown Reese Witherspoon collected her Best Actress Oscar in but Diaz was a bit more playful with the loose hair and makeup.
She's a total surfer princess.


8. Sigourney Weaver

Lanvin can do no wrong and this design in deep red makes Weaver look both sexy and regal.


7. Zoe Saldana

The following two entries have offered perhaps the most polarized opinions in terms of fashion. Both are huge gambles that might work in a runway but have to pull a little something extra to work in a red carpet but they also worked in my opinion.
First is Saldana in Givenchy. The dress was made out of three main parts which all seemed to be made by different designers.
The top was sparkly joy, the middle was deconstructed delight and the bottom was flamenco fiesta, however, the three elements have beautiful synergy and for someone like Saldana who remained so committed to her character in "Avatar" the dress, with its magical sea creature with sparkles details, seems to have been made by the best couturiers in Pandora.


6. Vera Farmiga

Marchesa gowns at red carpets have become as common as Meryl Streep appearances and the truth is that it's the house that more often pushes the boundaries in terms of what to add to dresses (remember that one Anne Hathaway wore three years ago?).
Farmiga had already donned Marchesa this year for the BAFTA's, where she looked angelical, and this berry colored creation might either take your breath away of bring you memories of 80's proms.


5. Meryl Streep

During the last few years the greatest living actress has been challenging our notions that she wasn't such a good dresser (what she wore the year she was nominated for "The Devil Wears Prada" is still unforgivable) but last year and especially this one she has been amping her fashion cred.
In a simple, but stunning white creation by Chris March she instantly recalls "Now, Voyager" (this and this) and it makes total sense that the legend would want to recall Hollywood's studio era.
Best of all though are her beautiful shoes (which she said she was dying to take off) and that gem encrusted clutch which embody timeless elegance.


4. Penélope Cruz

She might always play it safe (and sometimes even dull) to previous award shows but Pe always saves her best look for Oscar. Wrapped in burgundy Donna Karan she was two parts old school European glamor, one part quintessential American classic.


3. Jennifer Lopez

Some dresses seem to take on a life of their own once they're put on (J. Lo sure knows about this) and this Armani Privé was a perfect example.
She called it "iridescent pink" as she showed anyone who cared to see how the enormous tail moved (OK I know that sounds bad but you know I'm speaking of the dress...).
Not anyone can pull off the kind of dress that doesn't even fit in a seat and J. Lo did it with class and incredibly sensual grace.


2. Sarah Jessica Parker

If last year she was a 1950's princess, Sarah Jessica Parker is all about the wild 60's in this stunning pale canary yellow column dress with jeweled appliques.
Everything about this Chanel Couture dress is perfection. The subtle transition of the pastel to the stronger metallic tones is to die for and the jewelry goes so accordingly that you almost think it's part of the dress.
The whole look is as if SJP had been possessed by a younger version of Julie Christie (the whole thing is straight out of "Darling").
If the clothes goddess is doing a decade theme at the Oscars I'm already salivating at what she'll do for the 70's.


1. Diane Kruger

You don't have to be an expert to know instantly that Diane Kruger is wearing Chanel. If the petal inspired middle section of the dress doesn't tip you off, then the black flowers will or the creamy color that you could almost swear has a faint No. 5 or Coco Mademoiselle scent...
In a nutshell this delicate but imposing work of couture art does more to evoke the legendary house than that dull biopic with Audrey Tautou did and Kruger shows that runways and red carpets sometimes can be the same.

Oscar Fashion: Split Decision.

Carey Mulligan

I was a big supporter of the mid length thing Carey did at the BAFTA's but this Prada dress doesn't work precisely because of that effect.
Mulligan is very petite and while the top (including makeup and earrings) is perfection, the bottom looks too wide for her to carry.
Plus if you're gonna show the world the shoes you're wearing you should make sure they're gorgeous creations not the clunky, strapped platforms she chose.


Sandra Bullock

The embroidery in this Marchesa gown was stunning and Sandra accentuated the paleness of the color perfectly with the best use of lipstick in the whole event but something about the fabric reminded me too much of an old Chinese purse I saw somewhere.
Extra points for not being subtle at all about the fact she was going to win and making Oscar look great with the color she chose.


Kate Winslet

Simplicity is usually a really good thing, but the tight bodice and pantsy looking shape of this dress make Oscar winner Winslet look as if she didn't even try.
The makeup and Veronica Lake hair are perfection but the rest isn't half as memorable as she has us used to.
Kudos for looking so fresh and gorgeous though. She's been radiant since last year's red carpet run. That newly found sense of freedom makes Kate look more gorgeous than ever.

Oscar Fashion: Worst Dressed.

3. Tina Fey

It's not that the leopard print was a bit off putting or that it took a while to figure out it was actually leopard print, or that she was trying too hard to copy Kate Winslet last year (who wasn't at her all time Oscar best for that matter).
It was just that the amazing comedienne looked so uncomfortable in this Michael Kors creation. I've complained a million times she always looks the same but one's got to face the fact that if she tries too hard she looks like the geeky girl her parents forced to dress up for prom.


2. Nicole Richie

I get the whole disco nostalgia vibe this Reem Acra dress is trying to pull off, I just don't get why Nicole Richie looks so constricted in it when it should be all about love and dancing.


1. Charlize Theron

You have got to give it to Charlize Theron for pushing the envelope at these award show red carpets (remember that disastrous bow from the 2006 Oscars?). She's one of the most beautiful women in the planet and could really wear a banana leaf and still look amazing.
The thing with her though is that you never really know if she's trying to make fashion statements or actually thinks the overdone details she chooses actually are aesthetically pleasing.
This Dior Haute Couture creation was made exclusively for her by John Galliano (she's one of his muses) who came up with the dress inspired by an old Marilyn Monroe picture (this perhaps?).
However fashion is usually an instant gratification thing for most people who don't give a damn about history or statements and just think "pretty" or "ugly".
Those in the Marilyn joke may choose to see how Charlize is paying tribute to one of Hollywood's most beloved icons while making a pronouncement all her own.
It's as if the post feminist Theron is saying "I know you're looking at my breasts instead of my face-and mind-but it's my choice!" like the infamous Madonna conical bra.
Most others though will be thinking she's trying too hard.

The Bright Side.

When all is said and done the 2009 Oscars will be remembered because the best nominated movie won.
"The Hurt Locker" might not be the most popular movie ever made but popularity isn't always the best way to appraise art and Kathryn Bigelow's historic win contributed to make a night whose winners we might remember, but the ceremony already stands as one of the dullest.
Most of the winners were set in stone despite their lacking quality and the "suspenseful" race between "Avatar" and "The Hurt Locker" was over before it even began.
Apparently Adam Shankman's tactics which aimed to make the Oscar more tween friendly paid off in terms of viewers (41.3 million tuned in, compared to 39 the year before) but the show lacked coherence and respect for what might be Hollywood's most irrelevant honor but also the most respected.
When Shankman insisted on bringing out the "Twilight" kids, Miley Cyrus and that sweet natured but very random tribute to John Hughes (He gets a special tribute and Eric Rohmer barely got applauds during the In Memoriam?) it was obvious that this wasn't an Oscar ceremony meant for grownups.
Shankman might have meant well but his talents are more appropriate for a Nickelodeon awards show not the Oscars.
It all was even funnier-in a bad way-when the acting winners amounted to being one of the oldest set of winners all decade long and the youngsters- like Martin and Baldwin quipped about two young presenters-probably didn't even know who they were.

The show overall proved to be a step down from the elegant ceremony Hugh Jackman hosted a year ago. The fact that they even went back to saying "and the winner is" resulted in one of the tackiest twists the Shankman posse could've mustered, especially when some of these winners resulted so meh.

It was a year of experiments at the Oscars and with the song performances and honorary awards removed from the telecast one would've expected them to be refreshed for the best. What we got instead was an awkward ceremony filled with odd details (that sudden Tom Hanks announcement sucked! No drumrolls even?) all for the sake of rewarding more films.
Who knows if the whole ten slot thing worked? Sure it got Pixar finally nominated for Best Picture but it also got Sandra Bullock an Oscar (she won the second "The Blind Side" was nominated) so the effects might still not be win-win.
And seriously they have got to give up that "The Dark Knight" guilt, the use of it to explain the difference between the sound categories (which they seem to have to do every single year) was preposterous and more obnoxious than all the white guilt in "Precious", "District 9" and "The Blind Side".

No One Wants to Do It alone Award
Steve Martin and Alec Baldwin did a great job as hosts (if only because of how much they made the glorious Meryl Streep laugh). It's obvious that Alec was mostly there to counter Steve's zaniness (he had never been funnier!) And together they had amazing chemistry that was perfectly encompassed by Neil Patrick Harris who called them "the biggest pair since Dolly Parton".

Best Speech(es)
Mo'Nique showed them it can be achieved without the media circus and it "can be about the performance and not the politics" as she collected her Best Supporting Actress Oscar.
While Best Costume Design winner Sandy Powell dedicated her win to "the costume designers that don't do movies about dead monarchs or glittery musicals" reminding AMPAS that she already had two statuettes back home and they really should start widening their limited views.
Both smug girls showed them how it's done!

Runner-ups
Kathryn Bigelow
It was delightful to see her so surprised even when she was the favorite for the win since January.
Babs presenting the award pretty much sealed the deal and honestly it was "the moment of a lifetime indeed".

Most WTF Best Picture Presentation
To have Chris Pine introduce "District 9" when his own "Star Trek" was viciously passed over was truly uncomfortable.

Best Revenge from the Audience
When they reminded them that the honorary awards had been given last year (done to save telecast time...) and introduced recipients Lauren Bacall and Roger Corman in the audience, Eywa herself couldn't have prevented the roaring standing ovation they both got, giving us a moment Oscar almost stole from us.

Geekiest Aww Moment
When a winning art director from "Avatar" told James Cameron "this Oscar sees you".

Best Introduction
Steve Martin faked a teleprompter error but correctly introduced Tom Ford and Sarah Jessica Parker as "two world renowned clothes whores".

Least Use of Subtlety
Demi Moore was introduced with "Unchained Melody" to introduce the In Memoriam section.
Eeesh for a minute or two I thought Shankman would have zombies perform "Thriller" as well.

Best Reminder of What the Oscars Used to Be
Quentin Tarantino and Pedro Almodóvar present Best Foreign Language Film accompanied by Nino Rota's score from "Amarcord". It was an exquisite touch in a rather cheap night.

Best Sight for Sore Eyes



















The So You Think We Care About Dancing Award
Really Shankman?
Remove the Best Original Song presentations (and rob us of the opportunity to watch Marion Cotillard) but by all means bring back interpretative dancing to present Original Score.
What was up with the choreography to "The Hurt Locker"?



The "Didn't Find it Funny the First Time, Find It Sad Now" Award
When Sandra Bullock won Best Actress as expected (in what's sure to become one of the worst wins in the category's 82 years) she once ahead brought up her feud with Meryl Streep.
And really I know Streep is above all a good sport who knows she's way better than all these women who keep winning her awards but am I the only one who finds she's been losing some class with the whole making out with SaBu shtick?
I felt bad for Bullock, because even she knew she was robbing all the other nominees and in the end her speech was more of the "you really like me" variety than a great Oscar moment.

Best Use of Meryl Streep
Steve Martin referring to her record setting nominations as "most losses" was hilarious and sadly very true. When he said this I hoped every person in that theater felt guilty for not voting for her!
Also when he asked "what's up with all that Hitler memorabilia?" [Meryl supposedly collects] I thought I was going to die from laughing so hard.

For a complete list of winners go here.