Cinema Guild

24 City

admin — Tue, 18 Aug 2009 23:25:00 +0000

24 City, a film that expertly mixes documentary footage and fictional reenactments, follows several generations of women living and working in Chengdu City for Xinda Machinery’s Chengfu Group. Factory 420, a not-so-well-kept state secret, has since been turned into residential housing. The film chronicles the lives of several women whose personal and professional lives are inextricably linked to the longstanding behemoth factory cum apartment complex, a throwback to Mao’s communism.

Director Jia Zhangke is perhaps best known stateside for his 2004 film, The World. He is also one of the leaders of Chinese cinema’s Sixth Generation movement, a loosely connected group of independent filmmakers responsible for some of the more innovative works coming from China’s underground and state-sanctioned mainstream.

To add to the striking archive footage in 24 City, the film stars several well-known actresses, including Joan Chen. Best known for her role in TV’s Twin Peaks, Chen also starred in 2007 films Lust, Caution and The Sun Also Rises. Zhao Tao, Zhangke’s longtime muse and frequent star of his films, also has a leading role.

As beautiful as 24 City is, it overwhelming appeals to film buffs and cinema theorists. It’s also helpful to have working knowledge of Chinese history and communist labor. The necessity of knowing so much back story left me and my viewing partner a bit confused at times, as though we’d missed an introductory interview or establishing footage. The film was nominated for the 2008 Palme d'Or at Cannes, and knowing this going in, I hesitated to find fault. Yet 24 City moves slowly and sometimes lacks audio precision. It is a truly gorgeous film, expertly framed, but no one should expect an action-packed adventure from the docu-narrative piece.

More than mainstream appeal, or relying on special effects, the film offers a meditation on dystopian modern life in post-Mao China. After 4,000 workers were laid off from the factory, many tried to make ends meet with odd jobs. One seamstress profiled explains that more than income, she believes, “If you have something to do, you age more slowly.” One unemployed worker illegally sold flowers on the street. Another tells of gathering old work gloves from the factory, only to unravel them and send the thread to her sister so new clothing could be made from the remnants.

An important, visually stimulating film, 24 City tells a meditative, multi-layered story about work, personal space, home, and gender across generations. Its uneven pace likely won’t charm mainstream movie lovers, but it’s worth a viewing for cinema geeks.

Written by: Brittany Shoot, August 18th 2009

La Corona

admin — Wed, 25 Mar 2009 10:52:00 +0000

Directed by Amanda Micheliand Isabel Vega

Cinema Guild

La Corona, which translates to "the crown," is a short documentary centering around a beauty pageant which takes place every year in the largest female prison in Colombia. One of the judges jokes early on that Colombia has a pageant for everything, except cocaine. The prison warden, when interviewed, says that she doesn't like the pageant very much, but it is the only time of the year that there is some peace and quiet around the prison because all of the girls look forward to it so much and want to participate.

Girls are nominated from each of the four cell blocks to represent their block in the beauty pageant. The first contestant we are introduced to is Maira Alejandro, a girl about five foot four inches in stature who was put in jail for murder. She explains in an interview that she has killed many times, which is unbelievable taking into account her size. The second contestant, Viviane Busto, was convicted of guerrilla activity. She laments her time in prison, because she has a son who she would like to eventually reunite with and teach him everything she knows. Angela Valoyes, convicted of robbery and assault, is a lesbian whose eyes sparkle as she describes passages from the Bible "that God told us to love, but he did not tell us who specifically to love." The newest convict, Angie Jimenez, has only been in jail for eighteen days. She hasn't gotten used to life in jail, especially since she also has a son on the outside.

Each of the girls chosen to compete must be prepared at all times. Meaning, they must be wearing high heels and full makeup. They also have to attend dancing and runway walking classes, like a real beauty pageant. In participating in the pageant, they become minor celebrities among the inmates. Hand-washed laundry hangs from every steel bar that covers the windows in the jail, but for the competition, the women are given designer dresses.

It seems absurd that women would have to conform to gender standards in something like a beauty pageant while they are in prison, and toward the end of the documentary you wonder who the pageant is really for: the women inside, or the great hordes of reporters who cover the pageant?

The competition only takes up about ten minutes of the documentary. The girls dance and sing with traditional Colombian songs, and there is even a swimsuit competition. When the winner is finally announced (I won't ruin it for you), she gets a full spread in the newspaper. By the end of the film, girls in other blocks complain that the competition was rigged or blame racism for why their contestant didn't win. Things go back to normal for the most part, until one of the prisoners is released. The ending is abrupt and leans hard on the idea that the pageant, while entertaining, doesn't teach the girls how to change and adapt for the better. But, as Vivianne Busto tearfully explains, "It gives us something to look forward to."

Written by: Chrissie Thornburg, March 25th 2009

Egypt: We're Watching You

admin — Thu, 26 Feb 2009 18:06:00 +0000

Directed by Jehane Noujaim, Sherief Elkatsha

Cinema Guild

A window into a world unavailable to most, Egypt: We're Watching You, is as much a depiction of a nation in jeopardy as one of a people actively pursuing progressive change. Documenting the 2005 Egyptian Parliamentary elections, the viewer gets a glimpse of the torrid corruption through the eyes of the people and the activists of Shayfeen.com.

Shayfeen.com is dedicated to sharing the true story of what is happening in the streets of Egypt to the Egyptian people and the outside world. They use a variety of multimedia (including this very film). Its main vehicle though is its website, which is used to disseminate information and share video clips of everything from election proceedings to political demonstrations.

Started by three women with experience in journalism and marketing, Shayfeen.com was envisioned as an alternative media source. The videographers document hours of waiting at the polls during the three-phase electoral process. Individuals share their frustration and lack of faith in the process freely with the camera. They understand the elections are rigged, but refuse to lose faith in their country. Over and over again a prideful-yet-worn populous is shown. It's not a new system they want, just an honest, democratically chosen regime.

Beyond the powerful first person accounts of voters and demonstrators, there is this fascinating behind-the-scenes look at the activists' circle. One scene takes us to a meeting where people are discussing the decision for the group to continue, spurred by their lack of funds and potential need to shut their doors. The women, in turn, discuss their personal commitment not the organization, but to the cause—simply to build a better Egypt. There was no politicking or games, just people sharing their burdens and desires, or lack thereof. Such an honest picture of an activist, a caricature that rarely is seen to have multiple levels, was incredibly refreshing.

Running fifty-two minutes, it is a quick look at Egypt not seen on American television. Its honesty and tentative positivity is a sobering yet inspiring look at a nation in peril.

Written by: Nicole Levitz, February 26th 2009