Minamata: The Victims and Their World (水俣 患者さんとその世界, 1971)

It is a sad irony that the Fukushima nuclear disaster should occur in the same year that Noriaki Tsuchimoto’s groundbreaking documentary Minamata: The Victims and Their World (水俣 患者さんとその世界/Minamata: Kanja-san to sono sekai, 1971) got its first release on DVD with English subtitles.  For the narrative of corporations and politicians putting financial gain ahead of risks to public health and safety is not a new one in Japan.  History is repeating itself yet again – only the players and the type of poison have changed.

Minamata: The Victims and Their World is the first in a series of documentaries that Tsuchimoto made documenting the plight of the victims of Minamata disease, their families, and their fight for redress.  Minamata disease takes its name from the city in Kumamoto prefecture where the disease was identified in 1956.  The disease is a neurological syndrome caused by severe mercury poisoning.  The local chemical factory run by the Chisso Corporation polluted Minamata Bay and the Shiranui Sea with industrial waste water containing the highly poisonous chemical compound methylmercury between 1932 and 1968.

Noriaki Tshuchimoto’s documentary opens with a series of title cards that quietly lay out the bare facts of how the people of Minamata came to be poisoned by mercury.  The documentary then shifts its focus from the facts and figures to the stories of the victims and their families.  Fishermen talk of how they knew something was wrong when fish began behaving strangely in the sea and local cats that ate the fish started going insane.  Family members share the agonies endured by their loved ones before they died of the disease.  Doctors, teachers, and physiotherapists compare and contrast the illness to other known conditions such as cerebral palsy.  The most chilling legacy is the stories of the children with congenital Minamata disease, who were poisoned while in the womb.  Their physical and mental challenges are so great that there is little hope for rehabilitation.

The interviews are paced throughout the film like the ebb and flow of the tide.  Emotionally harrowing personal testimonies are book-ended by quiet sequences that give the spectator a moment to pause and reflect.  These quiet moments are often montages that capture the natural beauty of the landscape and the sea of the region.  With each new story of pain and loss, the tension slowly builds until the film’s dramatic climax in which the victims and their families go to the Chisso biannual shareholders meeting to confront the company president and demand that he publicly take responsibility for his company’s crimes against humanity and the environment.

The mainstream documentary style in Japan – even today – is one in which an authoritative, voice-of-god narrator tells the spectator how to interpret the images they are being shown.  As authority figures had betrayed the people of Minamata, Tsuchimoto wisely decided to foreground the voices and faces of the victims themselves in this documentary.  According to Sachiko Mizuno in the supplementary material for the DVD release, the victims had resisted the efforts of television documentary crew because of their deeply held suspicions about the media (p.6) It becomes apparent while watching the documentary that Tsuchimoto has won over the people with his friendly, sincere manner.  He occasionally appears in the film, usually partly or wholly off-frame, holding a microphone in his hand and gently coaxing his subjects to talk to him.

The film is particularly interesting for its use of sound.  The lack of synch between the image and the soundtrack is initially distracting.  Sound was a big problem for low budget documentary filmmakers of the day as it was recorded separately from the image.  The asynchronous sound provided Tsuchimoto with the opportunity to play with the soundtrack in innovative ways.  As his subjects tell us their stories, we are treated to montages of images of the dead, their families, and their homes.  The asynchronicity forces us to listen more closely to the words and to study the face of the speaker more carefully.  Although each family has their own individual tale of suffering and loss to tell, taken together one gets the sense of a community of simple, hardworking people who have been unjustly made into outcasts in the town where their families have lived and fished for generations.  The story of their fight for justice is not only of historical import, but their determination against all odds is also inspiring for the many people who are today suffering at the hands of an unfeeling bureaucracy in the southernmost prefecture of Tohoku.  

Minamata: The Victims and Their World is one of four documentaries by Noriaki Tsuchimoto (土本典昭, 1928-2008) released by Zakka Films on DVD this year. It has optional English language subtitles and is accompanied by an essay by Abé Mark Nornes (U of Michigan) and film commentaries by Sachiko Mizuno (Kanazawa U).   Individuals can purchase this DVD for a reasonable price from independent film distributor Film Baby. Institutions should contact Zakka Films directly for purchasing information

Catherine Munroe Hotes 2011

London Film Fest 2011 Day 16 - THE DEEP BLUE SEA

Jolyon Coy (Philip), Kate Ogborn (producer), Tom Hiddleston (Freddie), 
Terence Davies (director and screenwriter), Sarah Kants (Liz), 
Harry Hadden-Paton (Jackie) at the premiere of THE DEEP BLUE SEA

This review is brought to you by Professor007, long missing from these pages, and a dutiful stand-in when reviewsmoviebook was struck down by cine-flu.

It is rare these days to find a movie that captivates one for its length. It is rarer still to find a movie that keeps one in its spell well beyond the hustle of the tube on the way back home.

Terrence Davies' adaptation of Terrence Rattigan's play The Deep Blue Sea is such a masterpiece. It is beautifully set in 1950s London, yet its topic is timeless. Hester (Rachel Weisz), a young and attractive woman of simple background, who is married to William (Simon Russell Beale), a distinguished man of law considerably her senior, falls in love with the young and handsome maverick Freddie (Tom Hiddleston). In Freddie, Hester seems to find the passion, lust, and physicality that she misses in her married life. Some months into the affair, however, William finds out and Hester decides to leave William and move in with her lover. Freddie, however, seems unprepared for such co-habitation: mentally stuck in his life as hero during World War II, he struggles to find a new focus in life, and is unable to emotionally care for anyone else than himself. Despite this lack of attention by Freddie and her husband's continued attempts to win her back, Hester's love for Freddie is unbroken. She does not, however, get the committed and passionate relationship she so desires, and with every increasingly desperate failed attempt to win Freddie over, she degrades herself more and more.

What is striking in its sadness and yet utter plausibility is how the behaviour of three people, of which neither is spiteful or keen to hurt the other ones, can lead to such pain and misfortune. Rachel Weisz beautifully portrays a woman who, in her attempt to find love and passion, knowingly destroys her life. William, excellently played by Simon Russell Beale, tries to win her back, but is too restrained by his upbringing to show the emotions his wife may be longing for so much. Finally, Freddie is a man who struggles with the void of purpose in his life and at the same time is overwhelmed by the passion of his lover.

To me, an oscar candidate for best movie, best actress and best supporting actor. On vera.

THE DEEP BLUE SEA played Toronto, San Sebastian and London 2011. It will be released in the UK on November 25th and the US in December.

Momotaro’s Sea Eagle (桃太郎の海鷲, 1942)

World War II inspired many governments around the world to sponsor animated propaganda to rally support on the home front. Some, like the films of Norman McLaren in Canada, were aimed at encouraging people to support the war financially – see V for Victory (1941), Five for Four (1942) , and Dollar Dance, 1943 (NFB Overview). Disturbingly in the United States (see Ducktators), Japan, and Germany (see Der Störenfried), propagandists decided to target children for their campaigns by using characters from popular folk tales and movies. 

   

In Japan, the legend of Momotaro, the Peach Boy, was commandeered by propagandists as a patriotic hero. In the original tale, Momotaro was found by an elderly couple floating down the river in a peach. When he grew up, he became unusually strong. One day, Momotaro decides to Demon Island in order to defeat the demons that are terrorizing the people there and the elderly woman who adopted him gives him millet dumplings to take with him. Along the way, he encounters a dog, a monkey, and a pheasant and he gives them millet dumplings so that they will join him on his mission. They defeat the demons and return home with wonderful treasures. 

Momotaro’s Sea Eagle (桃太郎の海鷲/Momotarō no umiwashi, 1942) reframes this story in a manner designed to encourage people to celebrate the December 1941 attack on Pearl Harbor as a victory against evil forces. Unlike the original tale where Momotaro actually engages in battle with the dog, monkey, and pheasant, in Momotaro’s Sea Eagle, Momotaro assumes the role of a military leader who orders his troops of dogs, monkeys, and pheasants into battle while he follows the action from the battleship. “I, your captain,” Momotaro pronounces, “will await your return.” Momotaro towers above the animals who are quite childlike in both appearance and behaviour. 

The film sets up a number of gags to endear young audiences on the side of the Japanese forces. The ground crew are rabbits who use their floppy ears to make signals. On one of the planes, a dog and a monkey play with building blocks that are in danger of collapsing. The Japanese, the film suggests, are on the side of all that is good and natural in the world. At one point, they even befriend a baby sea eagle and his parent in a bizarre sequence that takes place on the wing of one of the aircraft – as if there would be no wind while in flight! 

The conceit is that Hawaii is Demon Island and that the inhabitants there are the demons of legend. When the attack commences, we are disturbingly shown events from the point of view of the people on the ground. The Americans are depicted in human, not animal form, but the horror of the event is subverted into slapstick comedy. The central American character resembles Bluto from the popular Fleischer Studio’s Popeye series. These films were well-known and loved by Japanese children in the 1930s and the character would have been immediately recognizable as Popeye’s nemesis. In the unlikely circumstance that a child did not recognize him as Bluto, he is clearly demarcated as “bad” because he has demon horns and a tail and is associated with heavy drinking. 

Apart from the fact that it is disquieting to see an event in which 2,402 Americans were killed and more than a thousand wounded depicted as if it were an extended slapstick comedy routine, there are a number of historical inaccuracies promoted by the film. Two of the most obvious are the suggestion that some Japanese troops were on the group and set airplanes on fire by hand (a chain of monkeys, like the S-shaped Barrel of Moneys toy game, descends from an airplane window to do this with matches) and worse, the suggestion that all the Japanese returned home safely. In actuality 55 Japanese airmen and 9 submariners were killed in action that day. 

The attack on Pearl Harbor  with Americans depicted as fat demons.

A great deal of the film is taken up with showing off Japanese military might. It takes many minutes for action to get underway because the opening scenes are so concerned with instilling a sense of awe and pride in the technology of war.  The film was billed at the time as being Japan’s first feature-length animation – which was a bit of a stretch considering that the film is only 37 minutes long. The true recipient of this title was the sequel to this film Momotaro’s Divine Sea Warriors (Mitsuyo Seo, 1944). 

Momotaro’s Sea Eagle is the centrepiece of Zakka Films’ DVD The Roots of Japanese Anime which also includes a bonus extra of posters from the time advertising the film as “A thrilling, unparalleled naval battle that makes the red and blue demons tremble!” The posters also suggest that Momotaro’s army will not only be fighting Bluto but also Popeye and Betty Boop, declaring: “Roosevelt and the American gangster Popeye are no match. They face Momotaro’s troops and end up all wet.” Popeye and Betty Boop do not appear in the film itself.  Most disturbingly, the ads proclaim that the film is not only sponsored by the Naval Ministry but recommended by the Ministry of Education “as a living textbook for your children.” From today’s perspective it is certainly a valuable film to watch in order to teach about how propaganda is produced and disseminated. 

Apart from the troubling nature of the subject matter, the film is historically significant in terms of demonstrating how sophisticated cel animation had become in Japan by the 1940s.  It is important to note that the politics of the film do not reflect that of the director, Mitsuyo Seo (瀬尾 光世, 1911-2011), who actually had left-leaning political sympathies and was pressured into making propaganda films.  Tragically, due to historical forces beyond his control, Seo was saddled with these beautifully animated but deeply propagandistic films as his legacy to animation history.  Seo does at least have the distinction of being the first Japanese animator to use multiplane camera and his work is said to have influenced Osamu Tezuka.  It was also interesting to see puppet animation pioneer Tadahito Mochinaga listed in the credits for this film.  

The Zakka Films DVD includes informative historical information by Jasper Sharp (Midnight Eye) and Aaron Gerow (Yale U) which help contextualize the film. The Roots of Japanese Anime has optional English subtitles and comes with an informative booklet featuring an historical overview by  and film notes by  Individuals can purchase this DVD for a reasonable price from independent film distributor Film Baby. Institutions should contact Zakka Films directly for purchasing information

Film Credits:

Sponsored by the Naval Ministry 

Production Company: Art Film Production (Geijutsu Eigasha) 

Producer: Einosuke Omura 

Director and DOP: Mitsuyo Seo 

Music: Noboru Ito Animation Technique and Composition: 

Tadahito Mochinaga, Toshihiko Tanabe, 

Tamako Hashimoto, Shizuyo Tsukamoto 

Special Effects: Hajime Kimura

.

Catherine Munroe Hotes 2011

London Film Fest 2011 Day 15 - THIS MUST BE THE PLACE

Rabartu Smitu, Rabartu Smitu, 

tashiwa ga suki Rabartu Smitu

THIS MUST BE THE PLACE is a visually inventive but often frustratingly slow-paced film that bravely tries to juxtapose whimsical comedy and serious history with problematic results. 

Sean Penn plays an ageing, bored and depressed former goth rock-star called Cheyenne. His high-pitched voice and Robert Smith clothes mark him as a man-child, trapped in his adolescence, but anchored by the love of his down-to-earth wife, Jane (Frances McDormand) and the friendship of emotionally scarred fan-girl, Mary. The death of his father forces Cheyenne back to America. Almost on a whim, he sets off on a meandering road-trip, searching for the Nazi that had tormented his father. But despite a very moving late scene of confession and humiliation, this is not really a revenge movie at all, but rather a character drama about an estranged son breaking beyond that emotional vacuum in order to become a man.

The casting is strong - with Sean Penn and Frances McDormand complemented by strong cameos from Harry Dean Stanton, Judd Hirsch (as a Simon Wiesenthal cipher) and Heinz Lieven as the Nazi. And the script, by Umberto Contarello, contains many belly-laughs, and superlative dramatic set-pieces. But as with all Paolo Sorrentino movies, the true stars are Luca Bigazzi's fluid, deliberate, elegant camera-work and the flamboyant use of the musical score, this time, by the legendary David Byrne. Technically, this film is flawless and imaginative. 

But it didn't grab me, fascinate me, in the same way as Sorrentino's previous films - IL DIVO and THE FAMILY FRIEND. This is partly because the character of Cheyenne is, however sympathetic, also rather slow and whimsical, and after a while this started to grate. It's partly because the road-trip in the second half is so random and slow. I know that this is the point - that is should have the kind of magic and wonder of THE STRAIGHT STORY - but I did become very impatient with it. And finally, I guess I just felt too uncomfortable with the deliberate juxtaposition of the Holocaust with the character of Cheyenne - the man least likely to come to mind as a Nazi hunter. Something about the man using the hunt for the Nazi as a kind of distraction from a life of satiety, and then as a kind of agent toward self-knowledge, felt weird and exploitative. I know this was a deliberate provocation from Sorrentino - but for me it just didn't work. 

THIS MUST BE THE PLACE played Cannes 2011 where it won the Prize of the Ecumenical Jury. It opened earlier this year in France and is currently on release in Italy. It opens in Germany on November 10th, in Sweden on November 18th, in the US in December, in Australia on December 26th, in Poland on February 3rd, in Spain in March and in the UK on March 9th. 

London Film Fest 2011 Day 15 - ANONYMOUS

The use of the interrogative tense in the poster for ANONYMOUS is misleading. Director Roland Emmerich and writer John Orloff aren't asking whether Shakespeare was a fraud. They are telling us, without doubt, with complete certainty, that he was. Their theory is that it is inconceivable that a poorly educated provincial dolt could have written plays of such genius and erudition. Rather, they posit that the Earl of Oxford, Edward de Vere, a man of great wealth and learning, wrote the plays. But at a time when theatres were next to brothels, and plays seen as seditious, it would have been degrading for Oxford to be publicly acknowledged as an author.  He therefore allowed the boorish, illiterate actor, Will Shakespeare, to take the credit, and the cash, with Ben Jonson as the unwilling go-between.  If this weren't scandalous enough, the movie further raises the stakes by positing that Oxford was at the centre of a conspiracy by his enemy, the puritan Cecil family, that involved the line of succession, incest and bastards. 

Taken on its own terms, ANONYMOUS is a great success. Indeed, I was quite amazed that Roland Emmerich - director of such dubious, mainstream disaster movies as 2012; 10,000 BC; and THE DAY AFTER TOMORROW - could direct something with such elegance and beauty. Because, make no mistake, ANONYMOUS is a brilliantly directed film. The way in which Emmerich deftly handles the transitions between different periods in Oxford's life is elegant and never confuses.  The conspiracy is woven with great delicacy so that even in the final act, we are genuinely surprised and saddened by the turn of events.  In front of the camera, Emmerich coaxes a career best performance from Rhys Ifans as the older Oxford, and uses CGI to create a completely engrossing and compelling Tudor London.  I was absolutely delighted to see Southwark and the Tower recreated, complete with squalor and grandeur.  Kudos to cinematographer Anna Foerster, shooting with the Arri Alexa (the first feature to do so).  She manages to create a colour palette of warmth and depth, beautifully capturing candelit pageants, and snow-covered country mansions. Most importantly, I cared. I deeply cared about the battle between Oxford and the Cecils - I cared about the fate of young Essex, the Queen's bastard son and pretender to the throne - and I cared about the Queen herself, wonderfully portrayed by Vanessa Redgrave as frail and vulnerable and hounded on all sides. 

Of course, when I stand back from the film, the whole thing seems a bit pointless. I've always thought that these debates - who wrote Shakespeare; was Shakespeare a crypto-Catholic; was the Dark Lady really a boy - pretty pointless, as there simply isn't the documentary evidence to decide it either way. So you're just left with dogmatic people using thin supposition.  In particular, the idea that Shakespeare couldn't have written the plays because they required great education strikes me as peculiarly class-ist. Just because someone is provincial and working class doesn't mean they aren't capable of genius - I mean, isn't the whole point of genius that it's like a lightning bolt. And anyway, according to Rene Weis' superb book "Shakespeare Revealed", Shakespeare attended a local grammar school and was taught by a string of Oxbridge graduates in all the subjects and to the very same standard that the movie suggests Oxford was tutored in and to....

But as I said, there's no point quibbling about the truth. I am perfectly happy to believe Will Shakespeare was indeed Shakespeare.  That didn't stop me having a cracking good time watching ANONYMOUS.  To that end, this movie falls firmly in the same category as SHAKESPEARE IN LOVE - a pleasing fiction.

ANONYMOUS played Toronto and London 2011. It is currently on release in Portugal, Finland and Norway. It opens on October 28th in Canada, Ireland, the UK and the USA. It opens on November 3rd in Germany; in Spain on November 11th; in France, Russia and Singapore on November 17th; in the Netherlands, Mexico and India on December 1st; in Sweden on December 16th; in Hong Kong and Hungary on February 2nd.

London Film Fest 2011 Day 14 - HUNKY DORY

Minnie Driver is the only recognised name in Marc Evans' musical drama HUNKY DORY.

Welsh director Marc Evans (SNOWCAKE, MY LITTLE EYE) bravely takes on a "concept" film with his new musical coming-of-age flick, HUNKY DORY. Minnie Driver (with impeccable Welsh accent) plays a teacher in a Welsh school, putting on a musical version of Shakespeare's The Tempest that incorporates the popular music of 1976 - David Bowie, Nick Drake, The Beach Boys - the year in which the movie is set. And while Driver is the only recognised name actor, she's actually not the person carrying the film. Rather, the young cast of talented kids steal the show, with the lead schoolboy Aneurin Barnard making an impressive debut. 

I found the movie earnest, joyful, but uneven and unsure of what it wanted to be. French writer Laurence Coriat (WONDERLAND) has penned a script that isn't an out-and-out big dance number musical in the manner of GLEE or HIGH SCHOOL MUSICAL. Indeed, it seems to want to be one of those authentic realist teen flicks of the US indie movement - AMERICAN GRAFFITI or DAZED AND CONFUSED. And even then it can't resist one of those plot devices that seems totally out of scale with all that preceded it - stupidly clumsy deus ex machina. Combining social realism and musical numbers is a hard trick to pull off, and HUNKY DORY is no BILLY ELLIOT.

HUNKY DORY had its world premiere at London 2011 and has no commercial release date yet.

London Film Fest 2011 Day 14 - THE AWAKENING

Dominic West (Robert) and Rebecca Hall (Florence) star in THE AWAKENING.

THE AWAKENING is an intelligent, adult horror movie that sees Florence (Rebecca Hall), a notorious debunker of spiritualism, invited to a boy's boarding school by Robert (Dominic West) to investigate an apparent haunting. This sets up a classic haunted house movie, in the manner of Alejandro Amenábar's The Others - but with the refreshing site of a clever, independent woman as the protagonist, and the pervasive air of  post-war mourning hanging heavy over proceedings. The resolution is satisfyingly complicated and there were enough genuinely unexpected scary moments to make this good horror - particularly the pivotal bathroom scene. Admittedly, there is nothing particularly innovative in the set up (Nick Murphy and Stephen Volk), but first time feature director Murphy creates and sustains a genuinely tense and morbid atmosphere that completely sucked me in, largely thanks to superb cinematography from DP Eduard Grau (A SINGLE MAN, BURIED) and a desaturated colour palette.

THE AWAKENING played Toronto and London 2011. It opens in the UK and Ireland on 11th November.

London Film Fest 2011 Day 14 - WUTHERING HEIGHTS (2011)

Andrea Arnold (RED ROAD, FISHTANK) is an exceptional British director - a woman whose films take us under the skin of the characters she is portraying. She isn't a director of dialogue but a director of sensory perception. We hear the wind; dogs scuffling; kisses. We can almost feel the texture of worn clothes; curled hair; ruffled blankets; the mist on our face. We feel the relationship between two people from the way they are in each other's presence, not from the dialogue. And every emotion felt by the characters is mirrored in nature, brought to us with startling clarity by Robbie Ryan's award-winning cinematography. In short, Andrea Arnold echoes the authenticity and heightened sense-perception of Terrence Malick - high praise indeed - but justified. All these qualities make Andrea Arnold the perfect director to take on Emily Brontë's Wuthering Heights - a movie whose characters are so much embedded in the wild beauty of the Yorkshire Moors. Working in collaboration with screenwriter Olivia Hetreed (GIRL WITH A PEARL EARRING), Arnold has taken a bold approach to the source novel. She only portrays the first half of the novel, takes away the framing device of Nelly recounting the story to a traveller, as well as the gothic vision that opens the novel.  What this does is allow her to take her time over establishing the central characters and conflicts.  

The Earnshaw family live in a ramshackle farmhouse on the Moors in the early nineteenth century.  The puritanical father brings home a poor young black boy, later baptised as Heathcliff, throwing the elder son, Hindley into brutally violent jealousy and contempt and the young daughter Catherine into a kind of selfish, selfless profound love.  When the father dies, Hindley brutalises Heathcliff; and his poor, rough person stands in sharp contrast with the smooth refined Linton family.  And so, when Edgar Linton proposes, Cathy accepts, though feeling she is betraying both herself and Heathcliff, who overhearing, runs away. So ends the first hour of the film.  In the second hour, Heathcliff has returned a rich man, and Cathy is now married to Edgar.  Their love is hemmed in by Edgar sending his sister, Isabella, as chaperone, and when Heathcliff learns Cathy is pregnant, he returns this apparent "betrayal" by seducing Isabella, so setting off a nervous reaction in Cathy.

The story is, then, powerful, passionate, violent - filled with supposed and real slights, revenge, and a love so painful to bear it results in self-destructive behaviour.  For it to work on screen, we have to feel that visceral connection between Cathy and Heathcliff - we have to believe that their every breath and decision is coloured by the connection.  In the first half of the film, I absolutely believe that thanks to some exceptional casting, the portrayal of young Cathy and young Heathcliff sets a new benchmark among the tens of film adaptations. Shannon Beer and Solomon Gave quietly, powerfully, portray a real and charismatic connection - they are quite simply magnetic. Sadly, the movie is let down by indifferent casting in the later scenes, with Kaya Scodelario (Effy in TV's "Skins") and James Howson.  I didn't buy into their relationship - Howson was too milksop, too little darkly enjoying his revenge on Hindley, not malicious enough with Isabella - and Scodelario simply didn't have the look of a wild bird tamed, caged - she looked to Isabella-ish!   Also, I know we are meant to suspend our disbelief, but the two Cathy's look utterly dissimilar. One feels that better casting would've provided the continuity seen in the Young and Teen Kevins in Lynne Ramsay's WE NEED TO TALK ABOUT KEVIN.

WUTHERING HEIGHTS played Venice (where Robbie Ryan won Best Cinematographer) and Toronto 2011. It opens in the UK on November 11th; in Spain on November 25th; in Slovenia on January 26th; and in Poland on March 23rd.

Danemon Ban – The Monster Exterminator (塙団右衛門化物退治の巻, 1935)

One of the reasons that animation really took off in Japan is the wealth of Japanese folklore that lends itself well to the medium. While Japanese ghost stories adapt well to live action movies, animation is the ideal medium for bringing to life the monsters and shapeshifting animals of Japanese legend.

The animated short Danemon Ban – The Monster Exterminator (塙団右衛門化物退治の巻/Ban Danemon – Shojoji no tanuki-bayashi, 1935) brings together both folklore and historical legends. The central character, Danemon Ban (塙 団右衛門), is an historical figure from the late Sengoku / early Edo period. Born Naoyuki Ban (塙 直之, 1567-1615). He was a samurai general legendary for his enormous strength and leadership qualities. Danemon Ban – The Monster Exterminator has fun with the legend of Danemon Ban using his rumoured love of drinking and fighting to set up amusing gags. He strides confidently onto the screen on his extra-tall geta (wooden sandals) and pushes through a gaggle of men to read a sign posted at the foot of an oversized, pagoda-like castle and reads that there is a reward of 1000 ryo for the man who defeats the monster in the haunted mansion.

In order to read the sign this legend of old amusingly squints and pulls out some spectacles because it turns out that Ban is short sighted. Then he announces that he will defeat the monster not in order to be a hero, but to pay for his sake. The gags continue inside the haunted castle. Danemon Ban discovers a beautiful woman with a Betty Boop-esque face dressed in a kimono and bound with rope. When he tries to free her, she reveals herself to be a monster and her magic causes him to fall asleep. A one-eyed serpent monster descends from the ceiling and licks his head so that the woman can shave him bald. A humiliating ritual, which I suspect is a reference to the tradition of a samurai’s hair being shorn off in defeat.

In the next scene it is revealed that these two monsters haunting the mansion are actually tanuki (raccoon dogs) in disguise. In Japanese legends, tanuki are shapeshifters who are notorious for causing trouble in the human world. When Danemon Ban wakes, they transform themselves into human beings, with the head tanuki turning himself into the popular one-armed ronin Sazen Tange announcing “I am the tanuki movie star!” (read previous review of Chameko’s Day for more on Sazen Tange). Danemon Ban must defeat the tanuki in order to win the 1000 ryo reward.

Animated by Yoshitaro Kataoka (片岡芳太郎), Danemon Ban – Monster Exterminator was written by Kazumitsu Masuda and partly inspired by the song “Raccoon Dogs on a Moonlit Night” (Shojoji no tanuki-bayashi) by Ujo Nobushi and Shinpei Nakayama. Kataoka uses some wonderfully innovative techniques in this film. For example, when Danemon Ban approaches the mansion, he hears the woman crying for help and Kataoka animates her words as they travel to Ban’s ears. The way in which Ban’s horror at seeing the woman transform into a monster is depicted by using the shadow of her hand over his shocked face and the vortex depicting his dizziness as the magic puts him to sleep reminded me of the special effect techniques that Alfred Hitchcock would use many years later in films like Spellbound (1945), Psycho (1960) and Vertigo (1958). Simple, but highly effective ways of visually depicting extreme emotional states.  I also really liked the overhead shots of Dan taking down circle after circle of disguised tanuki with his club.  In reminded me of a phenakistoscope.  

There is a shorter benshi cut of Danemon Ban – Monster Exterminator extant and available on the Digital Meme Japanese Anime Classic Collection Box Set. The benshi performance on this version is done by  Midori Sawato. It is not as good as seeing her perform live – which I did at the First Benshi Performance that I ever attended back in 2006 – but it’s the next best thing. 

The sound version of Danemon Ban – Monster Exterminator appears on the Zakka Films DVD The Roots of Japanese Anime: Until the End of WWII. Of the 8 works appearing on this DVD, Danemon Ban is in the worst condition. The years have not been kind to early Japanese animation and cinema – with the vast majority of films produced pre-WWII being either lost or existing only in fragmentary form. Despite the heavy scratching and flashing on this extant print of Danemon Ban, the beauty and originality of Kataoka and his animation team still shines through. We are indeed lucky that the efforts of Japanese archivists have at least managed to preserve this delightful film.

The Roots of Japanese Anime has optional English subtitles and comes with an informative booklet featuring an historical overview by Jasper Sharp (Midnight Eye) and film notes by Aaron Gerow (Yale U). Individuals can purchase this DVD for a reasonable price from independent film distributor Film Baby. Institutions should contact Zakka Films directly for purchasing information.

Catherine Munroe Hotes 2011

London Film Fest 2011 Day 13 - A DANGEROUS METHOD

A DANGEROUS METHOD is a deeply disappointing movie - dull, vacuous, with a desperately poor central performance by Keira Knightley - little sexual or emotional tension - it rolls through its scenes until it comes to a sudden halt. Frankly, the most exciting that happened during the Gala screening at the BFI London Film Festival was some poor sod having a seizure. Fans of Cronenberg's dark, dangerous films will be underwhelmed, I suspect, and those of us looking for Christopher Hampton's trademark elegant screen-writing will feel let down.  And if you want to see Michael Fassbender in psychologically challenging material, look no further than SHAME.

The central conflicts of the movie are almost bourgeois in their banality.  The first conflict is between Dr Carl Jung (Fassbender) and his one-time mentor Dr Freud (Viggo Mortensen).  Jung thinks not all neuroses have sexual origins, and that psychiatry should also embrace spiritualism.  Freud thinks Jung is discrediting an already embattled new field of research with his mystic nonsense.  Moreover, the poor Viennese academic resents Jung's rich wife.  The second conflict is between Jung and Sabine Spielrein (Knightley), Jung's patient, lover and finally his academic peer. Initially traumatised by her father, whose spankings excited her, Sabine progresses to become a psychiatrist of greater skill than Jung. Moreover, in the Freud-Jung conflict, she sides with Freud. She also escapes their love affair a stronger woman, whereas we are asked to believe that engaging in sado-masochistic sexual practices precipitated Jung's nervous breakdown.  

All this should have made for an intellectually challenging, daring, complex film.  But it does not.  The almost sterile production design; stilted camera-work; and almost coy treatment of the sexual material make for what can only be described as a kind of TV afternoon movie biopic.  I am hard-pressed to think of less erotically charged sex scenes, and a movie about overcoming sexual repression where the actors faces seem so wooden.  Worst of all, in the early scenes of most acute neuroses, Keira Knightley acts "at" being mad, rather than portraying the emotional truth of the scenes. Her physical contortions are mannered rather than real - the part was simply too challenging for her.  Still, the movie could've survived this had the script been more profound, the conflicts mined more fully, and the camera-work more innovative.  I wanted to see more of the anti-semitism and mistrust of psychiatry in Vienna. I wanted to see more of the reaction to Otto Gross' (Vincent Cassel) breakdown.  This film desperately needed widening out. 

A DANGEROUS METHOD played Toronto and Venice 2011. It opened earlier this year in Italy. It opens in Germany on November 10th, in the Netherlands on November 17th, in the USA on November 23rd, in Spain on November 25th, in France on November 30th, in Denmark on January 12th 2012, in Sweden and the UK on February 10th and in Hungary on March 8th.

London Film Fest 2011 Day 13 - W.E.

It would be all too easy to write off W.E.  - a biopic of Wallis Simpson and King Edward VIII - as a self-financed vanity project from Madonna, a highly successful musician who has serially failed to translate that success to celluloid.  However, if one is able to forget who has directed the film, and review it on its own merits, a far more nuanced and fair-minded discussion can ensue.  Because, much to my surprise, W.E. is a beautifully photographed, acted, and directed film, let down only by the concept of intertwining the story we all care about with the story of a modern bored housewife called Wally Winthrop.  This unnecessary, unenlightening contemporary drama frustrates us - it comes off as an hour long PR stunt for Sotheby's New York - and takes precious time away from Andrea Riseborough's charismatic and sympathetic portrayal of Wallace Simpson.  If this movie had just had the courage to stick to the source material, it could've been truly great.

The contemporary story is bland and predictable.  Abbie Cornish plays the bored and abused houswife of a financially successful but cheating husband.  She obsessively visits an exhibition of Wallace Simpson's personal artefacts, envisioning Wallace's life and desperate to know what it feels like to be loved that much.  It is a "way in" to the story that is completely unnecessary and not helped by a completely cliched "rich woman meets poor man with a soul" love story between Wally and the security guard Evgeni (Oscar Isaac).  

The Wallace Simpson-King Edward story is told in a far more balanced and sympathetic manner than most retellings.  Madonna briefly and deftly essays her unhappy first marriage in Shanghai, with a powerful bathroom scene.  Wallace (Riseborough) then turns up in London, breaks into the royal circle, and we see her evident intelligence and wit win over the less impressive but again, sympathetically portrayed, King Edward VIII (James D'Arcy).  Once again, with elegance and economy, Madonna shows Wallace's talents for throwing parties, refusing to pander to the King - her complete understanding of her own limitations and attractions - and her foreboding at the life she would lead post-abdication.  She does not come across as grasping or materialistic but as a vibrant woman hoist by her love affair -  a truly tragic tale. These scenes beautifully portray her dilemma, and give the low budget of the film, are stunningly well produced.  The costumes, hair, the very look of that era is brilliantly captured, and DP Hagen Bogdanski (THE YOUNG VICTORIA, THE LIVES OF OTHERS) captures the crisp light of the Cote d'Azur as well as the dank, claustrophobic interiors of the royal palaces.  In the supporting roles, Natalie Dormer is particularly waspish as the jealous and manipulative future Queen Mother. I wanted to spend far more time in this story, and particularly to know more about Wallace's life post-abdication.  But sadly, that was not to be.

Andrea Riseborough (Wallis Simpson); Madonna (Writer-Director) and 
James D'Arcy (King Edward VIII)at the UK premiere of W.E. 
at the BFI London Film Festival 2011.

W.E. played Venice, Toronto, Hollywood (where Andrea Riseborough won the Spotlight Award) and London 2011. It will be released in the US on December 9th; in the Netherlands on December 22nd; in the UK on January 20th and in Sweden on March 16th.

London Film Fest 2011 Day 12 - SURPRISE FILM - DAMSELS IN DISTRESS

Carrie MacLemore (Heather); Megalyn Echikuwoke (Rose); Greta Gerwig (Violet);
Analeigh Tipton (Lily) and Adam Brody (Charlie) in Whit Stillman's
charming DAMSELS IN DISTRESS.

In recent years, the Surprise Film at the London Film Fest has swung between the uncontroversially superb (THE WRESTLER) to the uncontroversially bad (CAPITALISM: A LOVE STORY) to the boringly undiscussed (BRIGHTON ROCK). But with this year's selection, the Festival's Artistic Director, Sandra Hebron, threw a stick of dynamite into the audience.   Her valedictory choice, DAMSELS IN DISTRESS, is like the cinematic equivalent of Marmite - you either love it or you hate it.  And, dear readers, I absolutely adored it!  It's a movie with a very particular visual style, and a very particular type of dialogue - but its concerns are relatable, touching and occasionally hilarious.   I simply floated out of the screening, and to my mind, this is the *real* stand-out feel-good movie of the festival, even surpassing THE ARTIST.  I defy anyone who has seen it not to have a wry smile when thinking about Cathars, to introduce the phrase "player-operator" to their vocabulary, or to try The Sambola. This is simply a hands-down wonderful movie that is an absolute delight to watch.  Not to mention the fact that it's a worthy successor to Whit Stillman's iconic early 1990s flick, METROPOLITAN, and the Sally Fowler Rat Pack.

What's the movie about?  Stuff everyone can relate to.  It's about going to college and trying to reinvent yourself. It's about deciding what kind of person you want to be - what ideals you want to pursue - and how to cope with sharky boyfriends, frat-house idiots, bad break-ups, and what happens when the person on whom you have a crush likes your best friend instead.  It's about how good friends can get you out of an emotional tailspin.  And it's fundamentally an uplifting tale of good friends trouncing the mean blues - and how simple things like a wonderful song or a dance craze can make a big difference. Yes it's earnest, yes it's sunny, but it also doesn't shy away from some really serious stuff - handled with a light-touch and comedic air that belies their truth - towit, the "Cathar" incident.....

I simply loved the casting.  Greta Gerwig (GREENBERG) is simply charming as "Violet", the emotionally fragile, but outwardly self-assured leader of the group of girls who see their mission as civilising the male-dominated great books college that they attend.  As Lily, Analeigh Tipton (CRAZY, STUPID LOVE) perfectly captures the way in which new kids try on a new group of friends before having the self-confidence to pull back. In the smaller roles, Megalyn Echikunwoke (CSI MIAMI) steals scenes as Rose, with her deliberately cod English accent and catchphrase about "player-operators". By contrast, Carrie MacLemore, as Heather, is rather short-changed.  And before you think this is an entirely female affair, be assured that the guys garner plenty of laughs too, particularly Billy Magnussen's hilarious dumb frat-boy, Thor. But even more than the performances and the classically deliberate, almost archaic, and yet bitingly acerbic Whit Stillman dialogue, I just loved the look of the film. All crumbling college buildings, pastel pretty dresses and sunlit dance routines in gardens.  

I'm not denying that DAMSELS IN DISTRESS is a very unique and particular movie. I can't deny that it's unique look, dialogue and style will be anathema to many a mainstream audience member, and particularly men.  But for anyone who delights in the quirky, unique Stillman style, this movie is a welcome return to our screens.  For anyone who welcomes a darkly comic look at universally relatable material, DAMSELS IN DISTRESS is a pure delight.

DAMSELS IN DISTRESS played Toronto and London 2011. It does not have a commercial release date yet.

London Film Fest 2011 Day 12 - LAWRENCE OF BELGRAVIA

LAWRENCE OF BELGRAVIA is about a real British musician called Lawrence - no sirname - who had a glimmer of success in the underground rock scene in the late 80s and early 90s but never really troubled the charts and has since faded yet further into obscurity. Living on the poverty-line, a recovering addict, scrabbling for a gig, and yet still convinced he has that one great record - Lawrence is a tragicomic figure. It's quite astonishing to see how far a man can fall - and yet still have a complete sense of self, and a righteous indignation about the fame the world owes him. The result is that Paul Kelly's documentary is at once terrifyingly specific - rooted as it is in Lawrence's particular personality - but also a cliché. The intimacy and access afforded to the director, and an editorial style that focuses on an unwitting punchline, gives the movie flashes of SPINAL TAP humour. We like Lawrence, but we also laugh at him. 

The problem is that the movie has little to offer other than the innate charm and comically monstrous ego of Lawrence - and that begins to bore after a while. I also felt that the movie, which assumes the audience already knows and loves Lawrence, lacked context and objectivity. I would have loved to have seen people other than Lawrence describe why his bands - Felt and Denim - were significant (or otherwise). I also wonder whether a non-British audience will understand the significance of Lawrence claiming that he was never a success because John Peel didn't like his music. Without context, will they know the importance of the BBC Radio 1 DJ in championing new bands? And I would have liked Paul Kelly to press Lawrence on his years of addiction, rather than just coolly presenting it as fact. Because in a sense, where this documentary could have been really great - could have had an impact beyond hagiography - would've been in presenting Lawrence as a warning to all young aspirant musicians who want it all, never get it, and whose frustrations leads them into a downward spiral. Sadly, Kelly chooses to play it for laughs - albeit fond rather than nasty - instead.

LAWRENCE OF BELGRAVIA has no release date.

London Film Fest 2011 Day 12 - TAKE SHELTER

Writer-director Jeff Nichols's psychological drama, TAKE SHELTER, has been winning rave reviews, and with screeners already sent out to the Oscar electorate, I am sure Michael Shannon (BOARDWALK EMPIRE, BUG) will be receiving Oscar buzz for his performance of a man conscious that he is losing his mind.  But to be frank, I found this movie near un-watchable - so languorous was its pace, so obvious was its plot trajectory.   

Shannon plays Curtis, a hard-working man, whose nightmares of violent storms and biting dogs start to seep into his waking life.  Convinced that a violent storm is coming he puts himself in financial jeopardy to extend and stock up a storm shelter in his garden, at the same time alienating himself from his sweet wife Samantha (Jessica Chastain).  Shannon is always committed and convincing in his performances, but has become typecast as the sympathetic insane person. I also feel that Chastain needs to move beyond roles where she is just an archetypal sweet wife to be adored and put on a pedestal. She needs to break free of this typecasting. I feel that I have yet to see her really act. But the story just moves at such a slow pace, and doesn't really go anywhere. Over-hyped tedium.   

TAKE SHELTER played Sundance, Cannes where it won the Critics Week Grand Prize, and Jeff Nichols won the SACD award for Best Feature.  It also played Hollywood 2011 where Jessica Chastain won Breakthrough Actress, and London 2011. It opened in September in the US and opens on November 11th in the UK. It opens in France on December 7th.

London Film Fest 2011 Day 12 - BERNIE

“It’s not as bad as people say; he only shot her four times, not five.”

Bernie Tiede was a good, god-fearing man, who went out of his way to please.  His patient, caring manner was an asset as a funeral director, and his willingness to throw himself into small-town life made him beloved by his fellow residents of Carthage, Texas.  So much so, that when it was revealed that Bernie had shot Marjorie Nugent, four times in the back, none of the townsfolk believed him guilty. Oh, they knew he shot her dead, for sure.  But they figured that someone as mean-spirited as Marjorie must have incited Bernie to take leave of his senses for a moment.  Tragically for Bernie, prosecuting attorney Danny Buck, knew full well that despite a full confession, four bullets in the back, and Bernie’s ample use of Marjorie’s money, he wasn’t going to get a conviction. And so, he got the trial moved a mere 44 miles away to Saint Augustine.

The wonderful thing about Richard Linklater’s new fictionalized retelling of Bernie’s true story, is that he allows us to fall in love with Carthage, its quirky inhabitants, and with Bernie himself. So that by the end of the movie, even though we’re sitting in an urban art-house cinema, we too can’t quite believe that any humane jury would convict Bernie, and sit fearful that those no-good inbred St Augustinians won’t do him right.   Because this movie isn’t so much a character-driven crime drama as a Coen Brothers style love-letter to small-town Southern life.   We luxuriate in the broad accents, marvel at the cast-iron certainty of the town gossips as they declare that Bernie FOR A FACT was or wasn’t this or that, and laugh at their incomprehension of Austin hippies.  It’s hard to think of any recent use of faux-documentary talking heads that was as successful and hilarious as Linklaters use of  the Carthage townsfolk – narrating, commenting on, and judging the story at each twist and turn. 

Because I warmed so much to these people, and started to identify so strongly with them, the movie turned from what could’ve been a real downer into effectively a rather heart-warming experience. On one level this was a movie about really nasty aspects of human nature – a man so wanting to be liked that he wills himself into an emotional prison, and a woman delighting in his pain.  But rather than being brought down by the depiction of a bizarrely, horribly, sado-masochistic relationship (emotionally, not sexually, that is!), I left the cinema positively full of faith in humanity. Because Carthage was a small town where ordinary townsfolk new just what was what, and a good guy was  a good guy, even if blighted by a sudden act of rage.

All of which tells you that native East Texan, Richard Linklater, is pretty much in love with Carthage, and doesn’t really make much attempt to give a balanced view of Bernie. Or maybe he does, but the truth really is that Bernie was a good guy, despite the slightly suspect love of the high life that Marjorie bought him. By now, I’m so complicit in the “free Bernie” campaign I can’t even tell. All I know is that Linklater somehow managed to capture both the black humour and the tragedy at the core of Bernie’s need to please.  I laughed a lot, I was fascinated, and I won’t soon forget the tale. Massive praise also to all three leads.  Jack Black gives a more modulated performance than is typical in his mainstream films, as the gregarious, needy Bernie. Shirley Maclaine as mean old Marjorie is just an acting masterclass. Look at the scene where she listens to Bernie sing a duet in a theatrical rehearsal, imagining him singing a love song to her. Her face shows a cynical old woman melting.  And finally, you have to hand it to Matthew McConaughey, an actor who is brilliant in inverse proportion to his screentime.  Banality in mediocre rom-coms turns into piquant cameos – first in TROPIC THUNDER, and now as the fame-hungry prosecutor Danny Buckland. 

BERNIE played Los Angeles and London 2011.

London Film Fest 2011 Day 10 - TRISHNA

Freida Pinto stars as Trishna in Michael Winterbottom's loose
adaptation of Hardy's Tess of the Durbevilles.

TRISHNA is a fascinating, intelligent film about a relationship turned sour on the back of withheld secrets and unequal material power, centred on Freida Pinto's first performance of real merit. 

She plays a poor, naive village girl called Trishna - who in her society is simply a commodity to earn to support her family, and conditioned to obey. A chance meeting with a rich young man, Jay (Riz Ahmed, FOUR LIONS), prises her away from her family and strict values. They approximate the life of two lovers in the freeing atmosphere of big city Mumbai. Given the differences in their social status, it is a measure of Jay's belief that he loves Trishna, that he's willing to broach the subject of marriage, but the revelation of secrets and the return to a cloying small-town hotel serve to subtly alter their relationship, step by step, into one of master-servant, and sexual exploitation, with alarming results. 

What I loved about the film was how it was able to show the drastically increasing imbalance of power in the relationship with a few elegant, economical scenes. There is very little straightforwardly scripted dialogue. Characters' actions, positions, tell us everything. Jay is rarely shown other than supine on a chair or bed, waiting for his dinner to be served to him. Trishna seems to turn within herself, visibly shrinking as the film progresses, trapped in her material dependence on Jay and her shame at her sexual history. I also loved how writer-director Michael Winterbottom didn't feel the need to show Trishna's accusers as a gaggle of villagers or hotel workers scandalised by her situation. Her emotional distress, her shame, her sense of betrayal and entrapment, is all in her own mind, and expressed by Freida Pinto in a quiet, sensitive performance. I also loved Winterbottom's willingness to simply observe everyday Indian life - a side of India rarely shown in glitzy Bollywood movies. DP Michael Zyskind's (28 DAYS LATER) evocative images of Rajasthan and Mumbai show what can be achieved with high quality DV (in sharp contrast to yesterday's MARTHA MARCY MAY MARLENE).

That said, there are some small quibbles. In the Mumbai section, I'm not sure what the cameos of director Anurag Kashyap and actress Kalki Koechlin really add. Also, I'm not sure this film should be marketed as an adaptation of Hardy's "Tess of the Durbervilles". I spent the whole film being teased into believing that a Hardy character or situation was being introduced only to realise that Winterbottom wasn't going to take the film in that direction. His adaptation contains clever elisions and contemporarises the story intelligently. But what you end up with is a quite different beast - particularly in the character of Tess/Trishna. I would suggest that by far the best way to enjoy and appreciate this film is, then, to take it on its own terms.

TRISHNA played Toronto and London 2011.

London Film Fest 2011 Day 10 - GUILTY - Guest review by George Ghon

Philippe Torreton stars in Vincent Garenq's docudrama, GUILTY.

This review has been provided by George Ghon, stylist, writer, editor and friend of the blog. 

Early one morning in 2001, when it was still dark, the police came knocking on the door of Alain Marécaux, a successful bailiff. Without much explanation they searched the house, separated him from his wife and three children and put him in custody. What followed was a biased police interrogation; information embargo; and no contact with the world outside the prison walls - a nightmare trip for Mr Marécaux, who was accused of child molestation, a crime he always strictly denied committing. Asserting his innocence, and the conspicuous lack of hard evidence supporting the arrest, did not stop the legal machine from rolling in the wrong direction, in turn causing one of the biggest judicial errors in French history. 

Director Vincent Garenq turned the true story, based on Alain Marécaux’ memoirs, into a docu-drama that stays close to the facts, but provides a subjective angle on the case, following the lead actor (Philippe Torreton) from start to end. Information is dispensed only scarcely, making the claustrophobic lack of it a viewing experience, too. Garenq puts us through the same process of indignation that Marécaux must have gone through at the time of his arrest. ‘I wanted to keep the anger that I felt when I read the book’ the director said during a Q&A session. He didn’t make an objective study of the Outreau affair that Marécaux was part of, but zoomed in on his take of it, and shows the disastrous implications that the judicial system can have on the citizen’s life when it steers off its correct path. 

After going through several suicide attempts, a body wrecking hunger strike, and desperately appealing to the justice minister himself, Marécaux was eventually acquitted in 2004, but the case left a stain on a nation that prouds itself being built on the republican values liberté, égalité & fraternité. In 2006, a special parliamentary enquiry looked into the case, after president Jacques Chirac called the affair a ‘judicial disaster’, but the commission hardly acknowledged any erroneous behaviour within the judiciary corps. In 2009, finally, the Conseil Supérieur de la Magistrature issued a reprimand for the judge Burgaud, a minor penalty, which he, in turn, appealed. The case reveals how stubbornly one-directional the bureaucracy apparatus can work in so called advanced western democracies. Not one of all the magistrates involved in the case dared to reassess the initial judgement lacking any solid evidence in a fleeting spell of individual brain activity. Besides, it wasn’t only laziness or intellectual inertia that caused the magistrates to lose their objective eye. 

Europe was shocked by the Dutroux case in Belgium, where girls got abducted, sexually abused in a dungeon, later drugged and eventually killed. The general policy, quite understandably, was to go hard on child molesters. Police officers, magistrates, psychologists, prosecutors and judges became biased, so much so that they evidently lost their sense of good judgement. All this shows the Janus-faced correlation between a moral codex, of what we deem to be right or wrong, and the judiciary system in a civil state, which is based on equal rights. The former is necessarily subjective and demands an individual assessment of the situation according to the values of the society we live in. The latter, however, needs to be unambiguously bound to the law. In other words, it requires the inhuman objectivity of a system that does not deem an individual guilty before proof of his wrongdoing has been found in order to safeguard the pole of humanity where the European flag is hoisted. 

Garenq’s GUILTY is an eye opener for Europeans who tend to proud themselves for their moral superiority. It also staggeringly unveils how an all too human emotion that abhors child molestation can bias a supposedly fair legal framework and torques the objectivity of the law. 

GUILTY opened in France in September and played Toronto and London. It was released earlier this year in France.