Several movies over the past decade have brought Mexican cinema repeated international recognition. While popular films like Amores Perros and, most notably, Pan’s Labyrinth are without a doubt great, no film in the last decade has given me as much hope about the possibilities of a Mexican national cinema as Y Tu Mama Tambien (beautifully directed by Alfonso Cuaron).

On paper, it seems like your typical brainless Hollywood road trip movie. Two horny, immature teenagers (best friends Julio and Tenoch, played by Gael Garcia Bernal and Diego Luna) head to the beach, all the while competing against each other for the pleasure of bedding an older, married woman (Maribel Verdu, in a magnificent performance). While the two boys share plenty of immature moments, it isn’t a case of those behind the camera living out their fantasies vicariously through the characters. Each person in the film is clearly defined, and if you find yourself rolling your eyes at anything uttered or done by Julio and Tenoch throughout the film, you nevertheless recognize the moments as ringing true to being seventeen. They are not moments played for easy laughs, which is not to say they aren’t necessarily funny. Instead, they show us two characters discovering themselves, growing, and finding their lives forever changed by the time the credits roll. And, for once, it is not merely a cliché.

Another thing that sets the film apart is the way the film parallels the state of Mexico itself. While Tenoch and Julio’s weekend adventures might offer much in the form of instant gratification, it only thinly veils the unrest the hides beneath their friendship, the clashes caused by their differences in social status, and the uncertainty of their future. The initially almost-utopian beauty of daily life in rural Mexico, too, is not able to long hide the tragic future that awaits it, as revealed through a rare case of effective and poignant omniscient voice-over that provides context to the film and contrast to the initial banality in the lives of our two leads.

A surprise (almost out-of-nowhere) revelation at the end could have also felt like easy, lazy sentimentality, if not for the fact that upon further analysis we realize it had been hinted at throughout the entire movie. And the fact that as the credits start to roll you don’t feel cheated or fooled, but an appropriate uneasy feeling in your stomach.

Much like the lives of the characters in the film, watching this movie provides an endless sense of discovery. Something new to learn upon each repeated viewing. Thankfully, watching it again and again is the kind of pleasure that the audience can keep forever.

Sure, there are people out there who think there’s an actual race for Best Picture between Avatar and The Hurt Locker. The only thing I can say to that is that I don’t get it.  The Hurt Locker might appear microscopic in comparison to Avatar but, apart from the Golden Globe, it has won every award you can think of so far. An Avatar win tonight would flat-out shock  and disappoint me. True, I would have said the same thing about a Brokeback Mountain loss a few years back, but I am not expecting history to repeat itself so soon. So with Picture, in my opinion, pretty much wrapped up, it narrows down the likelihood of any major surprises to a couple of categories. The most likely of these is Best Actress.

Let’s face it, if one year ago someone had said tonight’s frontrunner to win would be Sandra Bullock, most (if not all) of us would have quietly and discreetly driven them to a nearby mental institution. But here we are, and it is a reality.

The thought of that only reminds me of what should be already obvious. There is so much more to the Oscars than quality. I’m not ashamed to publicly say  that Sandra Bullock is a great actress. A supporting actress nomination would not have been unwarranted a few years ago for her performance in Infamous. Even before that, she had been consistently delivering performances that were far better than the material she was being given. Her performance in The Blind Side is another great one, no doubt about it. But best of the year? Not a chance.  And yet I’m having a difficult time being too upset about the possibility of her winning. That has little to do with the performance itself and everything to do with the grace and charm that Bullock has shown throughout the season, and even before that. Which makes me wonder if an equally consistent actress in the same role, giving an equally good (or better) performance would have had any chance of being nominated, let alone win. I am inclined to say no.

The Oscars are, of course, awarded by people within the field in some capacity or another.  While they should be about the best work of the year, how many of use can say that, if given the task of choosing a co-worker (in any field) for some type of honor, we would be able to be 100% objective and take only their work into account.  Not I. That is perhaps the fundamental problem with those who every year whine about quality not playing a big enough role (raises hand) at the Oscars. We are expecting voters to do their job in a way that most of us would not be able to ourselves.  That’s not to say quality isn’t factored in at all, which is what makes this category the most likely for a surprise tonight.

Most people who think there’s an actual race in the category have focused on Bullock and Meryl Streep, and it’s hard to argue against it. Streep gave a great performance this year and she has been doing so, consistently, for over three decades. That, arguably, the best actress of this generation has not won an award in 27 years seems unbelievable. That alone makes her a contender for the win every time she is nominated. Let’s not forget, though, that she has won her share of awards from various groups this year as well, including the Golden Globes, the Broadcast Film Critics, and numerous other critics associations.  If voters decided they would not be able to sleep with themselves after a vote for Bullock, Streep is a serious possibility.

A  third possibility, however,  has been on my mind the last couple of weeks: Gabby Sidibe. I think if, as it should be, only quality was taken into account she would win hands down. The fact that the only  two contenders for the win so far have been perceived to be Bullock and Streep only helps Sidibe. While a segment of voters flip-flops with the decision of Streep vs. Bullock, Sidibe and her film, Precious have maintained steady support from a considerable and vocal fan base.  So much so that I was thisclose to going ahead and predicting her as the ultimate winner tonight.

The second, though far less likely, surprise tonight might come from the best supporting actor category. Christoph Waltz has won pretty much every award this year short of the Nobel Prize. It will take a lot to defeat him, but if anyone stands a chance, it’s Woody Harrelson for his performance in The Messenger. Again, the Oscars are about a lot more than just quality. Like Bullock, Harrelson has been around for a while and general perception is that he is well-liked. The Oscars have shown him their love in the form of a previous lead actor nomination. He even managed to get a couple of awards from critics here and there this year, an amazing accomplishment, considering Waltz.  Waltz, on the other hand was pretty much unknown in North America prior to his role in Inglourious Basterds . Period. Does Harrelson actually have what it takes to pull a major upset tonight? Unlikely, but it’s a distant possibility. Stranger things have happened, after all.

Regardless of the outcome tonight, I am as excited as ever about the ceremony tonight, flaws and all. After all, what other event can claim to have given me a life-long supply of reasons to whine? That, I will cherish forever.

What about you? Do you foresee any surprises tonight or will it be business as usual? What wins would make your size grow a size or two?

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Best Picture
Will Win: The Hurt Locker (Alt: Avatar)
Should Win: The Hurt Locker
Should Have Been Nominated: Bright Star

Best Director
Will Win: Kathryn Bigelow (Alt: None)
Should Win: Kathryn Bigelow
Should Have Been Nominated: Jane Campion (Bright Star)

Best Actress
Will Win: Sandra Bullock (Alt: Gabby Sidibe)
Should Win: Gabby Sidibe
Should Have Been Nominated: Catalina Saavedra (The Maid)

Best Actor
Will Win: Jeff Bridges (Alt: Jeremy Renner)
Should Win: Colin Firth
Should Have Been Nominated: Joseph Gordon Levitt (500 Days of Summer)

Best Supporting Actress
Will Win: Mo’nique (Alt:None )
Should Win: Mo’nique
Should Have Been Nominated: Marion Cotillard (Nine)

Best Supporting Actor
Will Win: Christoph Waltz (Alt:Woody Harrelson )
Should Win: Christoph Waltz
Should Have Been Nominated: Christian McKay (Me And Orson Welles)

Best Original Screenplay
Will Win: Ingluorious Basterds (Alt: The Hurt Locker)
Should Win: A Serious Man
Should Have Been Nominated: (500) Days of Summer

Best Adapted Screenplay
Will Win: Up in the Air (Alt: Precious)
Should Win: Precious
Should Have Been Nominated: Bright Star

Best Animated Film
Will Win: Up (Alt: Fantastic Mr. Fox)
Should Win: Fantastic Mr. Fox (with Up a close second)
Should Have Been Nominated: Mary & Max

Best Editing
Will Win: The Hurt Locker (Alt: Ingluorious Basterds)
Should Win: The Hurt Locker
Should Have Been Nominated: (500) Days of Summer

Best Cinematography
Will Win: White Ribbon (Alt: The Hurt Locker) (We actually have a race in this category!!)
Should Win: The White Ribbon
Should Have Been Nominated: Bright star

Best Art Direction
Will Win: Avatar (Alt: Nine )
Should Win: Nine
Should Have Been Nominated: Bright star

Best Sound Mixing
Will Win: The Hurt Locker (Alt: Avatar)
Should Win: The Hurt Locker
Should Have Been Nominated: N/A

Best Sound Editing
Will Win: The Hurt Locker (Alt: Avatar )
Should Win: The Hurt Locker
Should Have Been Nominated: N/A

Best Costume Design
Will Win: The Young Victoria (Alt: Bright Star)
Should Win: Bright sTar!!
Should Have Been Nominated:

Best Original Score
Will Win: Up (Alt: Fantastic Mr. Fox)
Should Win: Fantastic Mr. Fox
Should Have Been Nominated: A Single Man

Best Foreign Language Film
Will Win: The Secret of their Eyes (Alt: White Ribbon )
Should Win: N/A
Should Have Been (submitted and) Nominated: The Maid (Chile)

Best Documentary
Will Win: The Cove (Alt: Food, Inc. )
Should Win: The Cove
Should Have Been Nominated: N/A

Best Visual Effects
Will Win: Avatar (Alt: None )
Should Win: Avatar
Should Have Been Nominated: N/A

Best Song
Will Win: The Weary Kind (Crazy Heart) (Alt: Almost There from Princess & The Frog)
Should Win: Almost There
Should Have Been Nominated: None

Best Makeup
Will Win: Star Trek (Alt: The Young Victoria )
Should Win: None
Should Have Been Nominated: Nine

What are your picks?

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As much as I wanted to be prepared for a donkey attack with gear to step all over them, going for my hike in boots might not have been the best idea. And I was once again unable to reach the river, although I was that much closer. Within meters, in fact. I’m beginning to wonder if this is the Mexican Area 51. I will just have to keep going back until I reach my intended destination, I guess. That might have to wait until the missing layer of skin at the bottom of my feet grows back, though. Until then, I have these photos (and more over at my Flick’r page):

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Bright star, would I were stedfast as thou art.

One of my favorite ways to spend Valentine’s Day, were I not so cynical, would be a day with a few of my favorite movies. I might be biased, but it’s romantic, relaxing and relatively effortless.  Judging by a couple of titles out now and aimed at sweethearts all over, a less-cynical version of me would not be alone.

If you choose to spend your Valentine’s Day this way this year, do yourself, your relationship and humanity a favor: stay away from multiplexes and crap like Dear John and Valentine’s Day. I suggest, instead, watching the tragically overlooked 2009 Jane Campion film, Bright Star.

Based on the last three years in John’s Keats short life and his love affair with girl-next-door Fanny Brawne during that period, Star offers a kind of visceral, visual emotional gratification that is difficult to pinpoint. Without the use of expensive visual effects, the poignant images aim straight at your senses to sweep you off your feet much in the same way that Keats’ poems might. Love and heartbreak are only sporadically outwardly or bluntly expressed (at least when compared to similar films), and yet something about the whole affair rings truer and more tangible than any other romantic film in the last year. The same can be said for just about every frame in the movie. Each image is instantly, recognizably cinematic and yet you half expect such vivid detail to pop out from within the screen and come to life at any moment.  If it is true that cinema is, at its heart, a purely visual medium, then Jane Campion and her cinematographer Greig Fraser have really nailed it with Bright Star. It is a film worth seeing any day of the year, but if this little holiday is what it takes for people to finally discover it, please go for it. At long last, a biopic that is worthy of its also brilliant subject.

If Bright Star does not seem like something that would be up your alley, you can always be a little more radical with something like The Hurt Locker. I offer the guarantee of a great film. I will not guarantee the future of your relationship.

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Enjoy the (distant) views of the river and canyon.

Huentitan Canyon Sunset

River at Bottom of Canyon

Deceptively Steep Tracks to Bottom of Canyon (60 degrees…I can prove it upon request!!)

Huentitan Canyon Hills

Bottom of Canyon

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One of the things I most looked forward to when moving to Mexico was exploring Mexican cinema, from its very first silent movies to the current, and very much resurgent, era. Over the last decade, Mexico has witnessed unprecedented international success with Academy-Award nominated films like Amores Perros, The Crime of Father Amaro, Pan’s Labyrinth and Y Tu Mama Tambien. Without taking away anything from those movies (Y Tu Mama Tambien, in particular, is one of my all-time favorites) I wanted to bring attention to four filmmakers whose films didn’t quite receive the attention of the aforementioned titles. These filmmakers, however, could very well represent the birth of a bright, artistic period in the future of Mexican cinema..

First off, Francisco Vargas. Of the four directors I will be covering ,he is the only one to have made no more than one feature-length film over the course of the decade. That film, 2005’s The Violin (El violin), is such a poignant, assured debut that he absolutely had to be included here nonetheless.

The Violin, which screened and won the “Un Certain Regard” (Best Actor for Don Angel Tavira) award at the 2006 Cannes Film Festival, follows a family as they fight an oppressive government in an unnamed Latin American peasant town. When the local village is seized by the military, local guerrilla rebels flee to the hills, leaving their ammunition behind. While the rest of the guerilla plots its own counter-attack, Don Plutarco uses his image as a harmless violin player to infiltrate the village and recover the ammunition he keeps hidden in his corn fields. Over time, he is able to gain the army captain’s trust and is ordered to go back daily to play. A cat-and-mouse game ensues as Plutarco tries to successfully accomplish his mission while keeping his motives hidden. The suspense that builds up as you await the final outcome is considerably greater than any summer blockbuster could promise to deliver.

Part of the reason this lyrical film works so well is its unspecified locale and time. The oppressive government could be one of many and puts a face to human suffering around the world, past or present.  The crisp, monochrome photography used only adds to the timelessness of the film. Recalling films like I Am Cuba,  albeit without the technical innovations of that film, The Violin is less-than-subtle in its revolutionary spirit. In spite of this, it avoids portraying heroes and villains, instead focusing on human beings, each doing the best they can with what life has handed them.

The casting of non-actor Tavira as our protagonist is perfect. The character is not allowed to say much throughout the film. He doesn’t need to. His weathered face says more than  one thousand words.

After a century of a political system that has failed to bring about change, The Violin could, in theory, stand as a metaphor for Mexico’s political history in an ultra-condensed version. Perhaps the most poignant aspect of the film is the way it portrays generations and ways in which each one deals with the problems it inherited from the last. You’ll, of course, have to see the movie for yourselves to see this play out.

And, once you do, come back to read on as I continue with three more up-and-coming Mexican directors.

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That aside, and while I had long given up on nominations for some of my favorite films, there were still a couple of  major disappointments.  It is only the second day of the month and already I’m threatening to exceed my whining quota, so for my own sake I will cap off my list at three.

Marion Cotillard

Like Gyllenhaal, she might have been the victim of a botched up campaign that ludicrously campaigned her for a lead actress nomination instead of supporting.  Unlike Gyllenhaal, she never recovered from it. Oh well.

My opinion of Nine has been relatively generous; I think it is an unfortunately uneven film that nevertheless has its moments. One aspect that was top-notch through and through, though, was Marion Cotillard’s acting. As the long-suffering wife, Cotillard proved she’s the real deal. She also gave the film a much needed emotional center. At least we will hopefully get to see her perform at the Oscar ceremony come March, where “Take it All”  will be vying for Best Original Song.

Mary & Max
It was an extreme long shot to begin with, but I held out hope that if enough Oscar voters saw this movie we could have a surprise nominee in the Best Animated Film category. There was a surprise nominee but, alas, it was not Mary & Max. Instead, The Secrets of Kells received a nomination out of nowhere, making Mary & Max’s snub a little harder to swallow. I have not seen Secret, but somehow I doubt it is better than Mary & Max (my #2 favorite movie of 2009).  My only hope is that the movie finds the audience it deserves with time. So what are you waiting for?  Go see it as soon as you can.

500 Days of Summer

After being  THE  indie film of the summer last year, 500 Days of Summer found itself without a single nomination this morning. It was a long shot in most categories, but a nomination for its winningly original screenplay was predicted by many. Even Best Picture seemed possible at one point with the field expanded to ten nominees for the first time in over 60 years. Neither materialized. Disappointing, it might be, but after a month of steady DVD rental business following an already healthy box office intake, I somehow think it will be just fine. With or without Oscar.

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2009 had its share of great moments in cinema, but ultimately I have managed to narrow  down my list  to fourteen films which I consider essential viewing. I, of course, have no time to watch every movie released in any given year and so there are a few, mostly smaller, films that I have yet to watch. Among them Summer Hours, 35 Shots of Rum, The White Ribbon, A Prophet, A Serious Man, The Beaches of Agnes, and The Headless Woman.

I also saw a handful of very good films that came close to making my list, but just missed out. They include The Princess and The Frog, A Single Man, An Education, and Good Hair.

On to my Top 14.

14. Avatar
You’ve probably heard everything there is to say about this film at this point. It’s true that it might not be storytelling at its best. On a visceral level, however, I can think of only a few movies that I have enjoyed more over the last few years. That’s pretty hard to come by, so why whine?

13. Coraline
The first animated film on this list is the wonderful, imaginative and visually stunning Coraline. It adheres to the classic fairy tale format close enough for comfort and somehow still ends up being an altogether original experience with  just the right amount of  spooky horror.

12. Star Trek
Leave it to J.J. Abrams  to bring a previously dying franchise back to life with such force. This is how summer action blockbusters should be made. A must-see for Star Trek fans and non-fans alike.

11. District 9
This politically charged faux documentary might have been made at a fraction of the budget of most other summer blockbusters, but towers head and shoulders above pretty much everything else.  This is a movie for moviegoers seeking an edge-of-your-seat great time but who don’t  feel like checking their brains at the door when entering a theater.

10. Up
While Up is a slight step down for Pixar after last year’s brilliant WALL-E, it in no way breaks its more than decade-long winning streak. The first ten minutes are brilliant, and the rest of the movie is still winning enough that I was sure it’d end up as the year’s best animated film. I was wrong, but that speaks more to the wonderful year it’s been for animated films than the quality of this movie.

9. The Fantastic Mr. Fox
The Fantastic Mr. Fox might, for the most part, lack the emotional wallop of other animated film this year, but it more than makes up for it with witty, quirky dialogue and gorgeous animation.  From a strictly technical point of view, it doesn’t get much better than Mr. Fox.

8. Up in the Air
Following Thank You For Smoking and Juno, Up in the Air proves that Jason Reitman is nothing if not consistent. The movie might have benefited from perfect timing following massive corporate layoffs, but would still be a gem any other year thanks to a trio of great performances and  a biting but compassionate and ultimately moving screenplay.

7. The Cove
This thrilling documentary is the rare piece of activist filmmaking that might actually manage to make a difference for the cause it fights (the slaughter of dolphins in Japan).  Wrenching and unforgettable, this passionate little film appears to be a lock for an Academy Award this year. It will be well-deserved, although score and editing nominations are also worthy.

6. (500) Days of Summer
Like a past love, 500 Days of Summer seems to have somewhat faded from people’s memories as time has passed. But what a treat it was when I first saw it last summer! Here we have a romantic comedy that fully embraces love, along with it’s many ups and downs. And in a realistic manner!  The defining romantic movie of a generation? Time will tell, but just maybe.

5. The Maid
A character study about a lonely maid in Chile, The Maid is one of those small gems that prove that a great film does not require a multi-million dollar budget.  While the theme of social class is not avoided, this is not a simple story of rich versus poor.  The household which employs our lead character is compassionate, while the latter at some points seems to border on psychosis as a result of the isolation that has resulted from more than two decades of servitude to the family. By turns heartbreaking, terrifying, and hilarious, Catalina Saavedra delivers what is, in my opinion, the best lead performance of 2009.

4. Bright Star
While every year a handful of small, brilliant films go completely unnoticed by award groups, I can’t think of a more perplexing scenario in recent memory than Bright Star. Yes, the film , as directed by Jane Campion,  might ultimately be too understated for mainstream groups. The same could be said for Abbie Cornish’s career-best performance as Fanny Brawne. But what about the costumes? The cinematography? I can’t think of a reasonable explanation why they have gone unnoticed. The beauty of some of the scenes have to be experienced, not heard about. At any rate, this is the odd piece of art befitting of its subject (John Keats). And, sadly, the most underrated movie of the year.

3. Precious
The early, deafening buzz might have set Precious up for an inevitable backlash, but that in no way takes away from its accomplishments. Tough, but not off-putting, it is the type of unflinching movie that few filmmakers would dare make.  Recognition should also be handed out to its cast,  led by Gabbourey Sidibe in one of the most stunning acting debuts this side of Jennifer Hudson and an eerily pitch-perfect Mo’nique as the mother from hell. Without them the film would not work nearly as well.

2. Mary & Max
Capping off an extraordinary year for animation, this woefully underseen pic is the perfect example of the level of sophistication the medium has achieved. Perfectly combining laugh-out-loud comedy with pathos, Mary & Max is a tale about the true meaning of friendship. It might sound like the perfect recipe for an overly saccharine, been-there-done-that cliché fest, but writer-director Adam Elliot takes it to surprising, emotionally resonant places. To say nothing of its technical achievements. Those with proper emotional range might find themselves tearing up from laughter one minute, heartbreak the next. Even the odd grinch in the audience might find their heart has grown a size or two by the end of the film.

1. The Hurt Locker
Portraying war in a realistic manner is quite possibly one of the most challenging obstacles a film director faces. You can argue that no film has managed to get it down 100% right, and that The Hurt Locker doesn’t change that. Perhaps. The reason I am placing the movie at the top of my list is not for the way Kathryn Bigelow portrays war itself, but the way she portrays the harrowing effects of it on the human psyche.  It is an uncompromising, far-from-idealistic view of war as a drug, complete with its devastating aftermath.  Expertly acted by Jeremy Renner and a supporting cast led by Anthony Mackie, The Hurt Locker is easily, in my opinion, the best movie of 2009.

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As always you can view additional photos, in their full size via Flickr.

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