THE END WE START FROM (2024)

February 6, 2024

Greetings again from the darkness. In light of the recent torrential storms in California, and other environmental occurrences, this film based on Megan Hunter’s 2017 novel proves quite timely. Mahalio Belo directs the screenplay adapted by Alice Birch (LADY MACBETH, 2016), and we witness just how quickly things can change … and perhaps equally important, we witness how people change in desperate times.

The remarkable Jodie Comer (“Killing Eve”, THE LAST DUEL) stars, and early on she’s pregnant in a bathtub as flash flooding hits the area of London where she lives. The heavy rain blends into childbirth with visual excellence from director Belo, cinematographer Suzie Lavelle, and editor Arttu Salmi. Fortunately, this does not turn into one of those heavy-CGI apocalyptic films, and instead stays grounded, and thanks to Comer’s superb talent, becomes a story focused on the strength inspired by motherhood. It’s a very human story derived from an environmental catastrophe.

Flooding reaches such proportions that the new mother and her husband (Joel Fry, YESTERDAY, 2019) are forced to pack up their newborn and evacuate their home, seeking refuge at his parents’ (Mark Strong, Nina Sosanya) country home. When tragedy strikes, mother and baby are isolated, and the film shifts into a road movie of survival. The mother faces many challenges along the way, and the decisions aren’t always easy, but certainly her commitment to keeping her baby safe cannot be questioned. Along the way, she crosses paths with another new mom (the always terrific Katherine Waterston), who makes a good travel companion, and a loner played by Benedict Cumberbatch who provides the women with a much needed serving of food and momentary distraction.

Mostly what we see is how people react to traumatic situations when desperation takes over. Law and order gives way to human needs and selfishness. Understandably, these reactions take on varying tones and looks … sometimes it’s looters at the shelter, while other times it’s an island community isolated from collapsing society and working together to begin anew. Viewers will experience vicarious anxiety as Comer’s mother and child trudge on, yet again, it must be noted that little here seems over-the-top. In fact, the only scene that fits that is a stunning waterfall shot seemingly included only for its visual beauty. The storms may have caused a power outage, but the real power shown here is the protective nature of a determined mother (and of course, Ms. Comer’s performance).

Available to buy or rent on digital beginning February 6, 2024

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2024

January 31, 2024

Every year I find myself with more appreciation for the Slamdance Film Festival. Celebrating innovative independent filmmaking, the lineup always features creative and unconventional movie projects – often from filmmakers just beginning their journey. Below are brief reviews on some of the films I caught virtually through this year’s festival.

BRANDO WITH A GLASS EYE

This story from writer-director Antonis Tsonis is based in Greece, where we find two brothers in dire need of funds. Luca (Yiannis Niarros) is a talented actor who has just received notice that he has been accepted into a prestigious method acting program based in New York City. He needs money for the trip, the tuition, and living expenses. Alekos (Kostas Nikoulis) has a dream of starting his own business. The two come up with the not-so-brilliant idea of a heist to secure the necessary funds.

Predictably, the heist goes bad for these two (previously) non-criminals, and in the ruckus, an innocent bystander gets shot in the stomach. The brothers manage to get away without being caught or identified. Already burdened with the guilt of his mother’s passing, Luca tracks down the gunshot victim, Ilias (Alexandros Chrysanthopoulos) and visits him at the hospital. These visits are a bit funny and quite uncomfortable – making them intriguing to watch. Soon, Luca and the well-to-do Ilias have formed a strange bond of unexpected friendship.

One of the entertaining pieces here is the Luca is always playing a role. Famed method actor Dustin Hoffman is referenced a few times via MARATHON MAN and DOG DAY AFTERNOON, as is the titular Marlin Brando (thankfully no scenes with butter). Luca’s acting exercises make for good entertainment, as both Nikoulis and Chrysanthopoulos are excellent in their roles. We are told that theater is about giving everything to art, and Tsonis has done that with his first feature-length film.

DARLA IN SPACE

Original with a big “O” (wink-wink, nudge-nudge), this zany film from co-writers and co-directors Eric Laplante and Susie Moon is offbeat and humorous while making a statement about money and ethics. It also manages to make orgasms as unsexy as possible.

Darla (Alex E Harris, director Laplante’s wife) is on her 18th business. This serial entrepreneur has cut a commercial for her Kitty Kasket, an artsy, customized product for the remains of deceased pet cats. We see the commercial and it’s as cringeworthy as you would imagine. A trip to the CPA reveals Darla owes a tax lien of a staggering (and unusual) $349,002 thanks to the selfish actions of her overbearing and irresponsible mother (Constance Shulman).

In a most head-scratching turn of events, while mopping in the required figure 8 motion, Darla stumbles on a ‘sentient orgasm-granting kombucha scoby’ named Mother (voiced by JS Oliver) that’s been hidden in a warehouse container. Picture a huge flapjack or pancake and then visualize Darla covering up with it and being treated to a Timothy Leary-inspired orgasm. Darla and Mother cut a deal so that Mother will help Darla raise the money to pay off the tax lien, while Darla will assist Mother fulfill the inexplicable dream of going to space.

Of course, we recognize Mother’s speech pattern as a nod to HAL9000 of Kubrick’s classic 2001: A SPACE ODYSSEY, but that’s about all we recognize here. Another character, Dr Brittney St Clair (Jenn Lyon) seems to always be on TV and is Darla’s inspiration, along with the “Yeah, OK” book. For those of us who respect creativity and risk-taking, filmmakers Laplante and Moon deliver a whopper.

THE ACCIDENT

How do we react when it seems the world is conspiring against us? Do we seize the opportunity to cheat the system if it means gaining an advantage that has eluded us? Does it matter if we are a kind and gentle person just trying to stay afloat? Italian filmmaker Giuseppe Garau delivers a film that offers one set of answers, while asking other questions, and reminding us that there is always a price to pay when our decisions skirt the bounds of ethics.

Marcella (a wonderful Giulia Mazzarino) is a stressed-out woman. Separated from her husband, the demands on her time cause her to be late picking up her daughter and ultimately losing her job. She possesses what we used to call a doormat personality – one who just seems to get walked on and taken advantage of at every turn. In hopes of digging herself out of a hole, Marcella goes into debt to purchase a used tow truck. Unprepared for the backlash from fellow “rescuers”, things turn ugly as her truck is vandalized and she is assaulted. Her claim that Italy is a “civilized country” clearly doesn’t apply to all citizens.

Mr. Garau’s unconventional storytelling is accompanied by an even more unconventional shooting style. Much (probably three-fourths) of the movie is shot inside the truck cab with the lens aimed at Marcella’s profile. We as viewers are literally riding shotgun on her daily adventures. We have such empathy for kind Marcella … right up until the tone changes. An opportunity pops up and she can’t resist, despite knowing this crosses a line of morality that she would have never previously dreamt of crossing. Does this decision prove her mettle, or does it cast her in a true light? We want people to be inherently good, and when they prove they aren’t, we can’t help but be disappointed. However, in Marcella’s situation, we (and she) can’t help but wonder if these actions are forgivable … until the moment we (and she) know they aren’t. It’s a terrific thought-provoking film with one of the best final lines you could ever ask for. The film won the Narrative Feature Grand Prize at Slamdance 2024.

INVISIBLE NATION (documentary)

The festival’s closing night film selection was this penetrative documentary by Vanessa Hope (granddaughter of producer Walter Wanger and classic film actress Joan Bennett). Given the state of global geopolitics at the moment, this inside glimpse of Taiwan through the eyes of its first female President, Tsai Ing-wen couldn’t be more timely.

It’s tough to decide which is more heartbreaking: watching high school students proclaim their identity through a Taiwan they view as an independent nation, or China President Xi Jinping stating, “Taiwan is China”, and that reunification is inevitable. Taiwan has been a democracy for decades, but it’s also a de facto country, one that isn’t even allowed to use their own name at the Olympics (Chinese Taipei).

We immediately gain respect for President Tsai Ing-wen as an exceptionally smart and wise and tough leader. On a daily basis, she deals with suppression from China, and has to walk a fine diplomatic line between supporters and detractors. We learn a bit more about The Sunflower Movement, a student-led rebellion and what role that has played in recent history. Unfortunately, this well-made and informative documentary reinforces the dread we feel towards the future of Taiwan as an independent nation.

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Posted by David Ferguson

JUNCTION (2024)

January 25, 2024

Greetings again from the darkness. Actor Bryan Greenberg’s (PRIME, 2005) first feature film as writer-director could have been subtitled, “those who suffer vs those who profit.” Most of us can agree that businesses providing a desired product or service are entitled (not guaranteed) to turn a profit. And on a seemingly unrelated note, most of us can agree that those suffering from addiction deserve and need assistance in breaking the cycle that is destroying their life. The road where these two intersect is when drug companies produce an effective yet addictive product that is prescribed by doctors. The issue arises when profits soar due to the spread of addiction.

The story focuses on the Opioid crisis, and evidently, it’s a topic that filmmaker Greenberg feels strongly about. He serves up three perspectives so that we better grasp the full reach. Greenberg himself plays Michael, a restaurant owner in desperate need of a refill on his Oxycodone prescription. Ashley Madekwe (“Revenge”) plays Mary, a doctor whose practice has grown due to her willingness to write these prescriptions. Griffin Dunne (AFTER HOURS, 1985) and Ryan Eggold (“The Blacklist”) play CEO father Lawrence and ambitious son Jacob, who run one of the drug companies producing and marketing Oxy.

The three-tiered approach works as we see Michael, divorced from Allison (Sophia Bush), is no longer attentive to his work or family, Mary has good intentions but carries the guilt of the drug’s effect on her patients, and the heads of the drug company are facing an FDA hearing to determine their level of guilt and damages. It’s a bad day for everyone. Perhaps Greenberg over-complicated the story unnecessarily with some additions like Mary’s afternoon delight with the drug rep, Jacob’s planned corporate coup over his dear old dad, and Michael’s, umm, digestive issues at his son’s basketball game. Of course, all of these elements are meant to show the progression of cause and effect when it comes to addictive drugs. One subplot that I couldn’t make work was that of the doctor having financial troubles with patients lined up for the next prescription. It makes sense that she wants to escape the oxy world, but with her practice booming, why the financial woes?

Familiar faces appear throughout, and include Dash Mihok (“Ray Donovan”), Jamie Chung (“The Gifted”, married to Greenberg), Josh Peck (THE WACKNESS), Yara Martinez (“True Detective”), Michaela Conlin (“Bones”), Hill Harper (“CSI:NY”), and Dascha Polanco (“Orange is the New Black”). The cycle of addictive drugs presents itself as causing money issues, trust issues, personal and marital issues, health issues from addiction, kids that can’t count on parents, and political ramifications that lead to corruption. While it has the look and feel of one to stream, the film’s message is quite clear and powerful.

The film will be in theaters and on demand on January 26, 2024

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Posted by David Ferguson

BAD HOMBRES (2024)

January 25, 2024

Greetings again from the darkness. January releases are always a bit of a gamble – not just for filmmakers, but also for viewers. A few gems are often buried in the indie dump, so an open mind is especially beneficial and necessary this time of year. Landing somewhere in between the hidden gems and the muck is this B-movie crime thriller from writer-director John Stalberg Jr, and his co-writers Rex New and Nick Turner.

Like so many immigrants to the United States, Felix (Diego Tinoco) is a bright-eyed man, desperate to work and save enough money to relocate his family from Ecuador. At a local convenience store one morning, Donnie (Luke Hemsworth) offers a job (digging a hole in the desert) to Felix and another day-laborer named Alfonso (Hemky Madera, “Queen of the South”). While Felix seems eager and friendly, Alfonso is grumpy and hardened, but it’s Donnie and his cohort who turn out to be psychopaths and criminals. Things turn violent with a blast of gunfire and a pickax to the chest. Felix and Alfonso find themselves knee deep in a botched drug deal and are forced to become partners in order to survive.

Alfonso’s secret past as ‘God Killer’ works to their advantage, and soon enough he has called in a favor from a skittish scumbag (Thomas Jane) who runs a junk lot with a car crusher. He also has a contact for a local veterinarian (Nick Cassavetes) who is on-call for, um, non-pet medical emergencies. On their tail is a fixer (Tyrese Gibson) who works for the “gringos” on one side of the drug deal gone wrong. Working to the film’s advantage is that the actors are all fully engaged and never distract from a situation that most of us can’t exactly relate to (thank goodness).

Felix has a dream of bringing his family to the states and opening a restaurant that features his specialty: chicken with pumpkin. While I will likely never try his signature dish, I found this little movie surprisingly easy to watch – despite the violence and low budget (and inconsistencies with Hemsworth’s arm).

Opening in select theaters and VOD on January 26, 2024

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Posted by David Ferguson

THE TEACHER’S LOUNGE (2023, Germany)

January 24, 2024

Greetings again from the darkness. The intensity and stress of everyday life and of everyday people are on full display in this film from writer-director Iler Catak and co-writer Johannes Duncker. They have brilliantly crafted a terrific suspense thriller from the most unexpected setting and group of characters … a junior high school and the faculty and students.

Teacher Carla Nowak (Leone Benesch, THE WHITE RIBBON, “Babylon Berlin”) is new to the school, originally hailing from Poland. She’s the type of teacher who motivates students by having them think creatively and from different perspectives. We can immediately tell she’s as idealistic as she is passionate about her profession. When one of her students is accused of stealing money, she’s at odds with school principal Dr Bohm (Anne-Kathrin Gummich) on the interrogation of students, as well as the conference with the accused student’s parents.

It turns out there is quite an epidemic of theft and dishonesty at the school, and it extends to the titular teachers’ lounge where Carla herself witnesses an occurrence. Carla decides to set a trap using her laptop’s camera and her unattended wallet. When the camera ‘catches’ the sleeve of an unusual blouse print, Carla confronts the ‘obvious’ culprit, school administrator Ms. Kuhn (Eva Lobau), who adamantly denies the accusation. Further complicating matters, Carla shows the video to Dr Bohm, who promptly suspends Ms. Kuhn, who also happens to be the mother of Carla’s favorite student, Oskar (Leonard Stettnisch).

Carla’s best intentions seem to backfire at every turn. She believes in right and wrong, and also in forgiveness and second chances (especially for kids). Her anxiety heightens at each misstep, whether by her, the administration, or students. Soon, even Oskar is lashing out and threatening her, despite Carla’s attempt to shield him. Many find Carla’s use of the laptop camera more offensive than the actual theft, and the student newspaper journalists seize on this opportunity to incite rebellion and independence.

Much of what we witness on screen is the result of actions taken out of our sightline – we are left to make assumptions right alongside Carla. Film Editor Gesa Jager deserves special recognition for keeping us just a bit off balance. Emptying the teacher’s coffee fund, cheating on a test, defying the truth … all of these (and more) actions are used by filmmaker Catak in delivering a snapshot of a society where we no longer trust one another. Morality, integrity, misplaced concern, racism, classism … these all play a role here in delivering the message. Leone Benesch is exceptional in the lead role, and Eva Lobau goes full throttle in her attempts to show she was wronged. It’s a Rubik’s Cube that serves up our final message, as well as providing some hope that good intentions do sometimes pay off. Yesterday, it was announced that the film has been Oscar nominated for Best International Feature Film. A well-deserved honor.

Opens in theaters on January 26, 2024

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Posted by David Ferguson

DRIVING MADELEINE (2024, France)

January 19, 2024

Greetings again from the darkness. This film surprised me with two clear and valuable reminders. First, with a bit of effort, we can always have a positive impact on others – sometimes to the degree that we change their life. Second, everyone has a life story, and we only learn it if we take the time to ask and listen. Writer-director Christian Carion is known for THE GIRL FROM PARIS (2001) and the superb Oscar nominated JOYEUX NOEL (2005). With co-writer Cyril Gely, Carion delivers a heartfelt story of two people with seemingly nothing in common, crossing paths and making a difference.

Charles (Dany Boon) is a Paris-based taxi driver who feels his life crumbling ever so quickly. His marriage is on the rocks. His financial woes seem insurmountable. He’s one more traffic violation from losing his driver’s license, which means no driving a taxi, and of course, more money problems. His dispatcher calls and offers him a fare that would take him cross-town. At first Charles balks, but quickly remembers he needs the cash. Extremely annoyed when he arrives, Charles repeatedly honks his horn until an elderly lady assures him that she’s ready for the ride. In fact, it’s to be Madeleine’s (Line Renaud) final ride. A trip to the nursing home to live out her final days.

Appearing years short of her 92-year age, Madeleine requests Charles to drive her through the areas that were key to her life. It’s a life that has a shocking past and one that slowly emerges as her charms and warmth thaw Charles’ previously irritated demeanor. It’s fascinating to watch a bond … even a friendship … formed from this unusual day trip around the city. These two should share little common ground, but what we find is that people tend to respond to kindness and listening and sincerity. These two help each other in ways neither could have imagined.

Comparisons to Best Picture Oscar winner DRIVING MISS DAISY (1989) are understandable, yet Madeleine and Charles carve out their own movie niche, and we find ourselves liking each of them. Dany Boone starred in director Carion’s history-based JOYEUX NOEL (2005), and although he is best known for his comedic work, that film and this one proves his dramatic chops. Line Renaud began performing in the 1940’s and is a well-known singer in France. As a ‘sometime’ actress, she lights up the screen here as our beloved and spirited Madeleine. The ending may be a bit of a stretch (even though we see it coming), but the real joy here is watching these two connect as flawed human beings.

Progressive theatrical openings on January 12, 19, 26, February 2, 2024

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Posted by David Ferguson

MEAN GIRLS (2024, musical)

January 11, 2024

Greetings again from the darkness. High School is a challenging time. High School girls can be mean, especially to each other. Those two points were made quite clearly in the 2004 film MEAN GIRLS, written by the brilliant Tina Fey and directed by Mark Waters. The film struck a chord with that generation both emotionally and through vocabulary. Society has seen many changes since 2004, but evidently High School is still challenging, and High School girls are still often mean. That film was adapted for a musical stage production in 2017, and now that Broadway musical has been adapted back to the big screen for a new generation. Tina Faye returns as screenwriter (and as math teacher Ms. Norbury), and the new film is co-directed by Samantha Jayne and Arturo Perez Jr.

This is my first sojourn into MEAN GIRLS territory. Of course, I have come across ‘mean’ girls in real life, but I have not watched the 2004 film, the 2011 sequel (a TV movie), or the live musical production. Angourie Rice (THE NICE GUYS, “Mare of Easttown”) plays Cady Heron, the home-schooled girl who transfers to North Shore High when she and her mother (Jenna Fisher) relocate from Kenya. Excited for her new adventure, yet uncomfortable as the new kid, Cady is schooled on the social hierarchies (cliques) by artsy Janis (Auli’I Cravahlo, the voice of MOANA) and proud gay Damian (a talented Jaquel Spivey). Most of the education revolves around “The Plastics”, a trio of snooty girls: the not smart Karen Shetty (Avantika), the desperate to be seen Gretchen Wieners (Bebe Wood), and their leader and school villain, wealthy diva Regina George (Renee Rapp in the role made famous by Rachel McAdams).

Regina takes an interest in Cady (a near clone of Amy Adams) and high school life devolves into the mess that it too often is. Cady falls for hot boy and fellow Calculus classmate Aaron (Christopher Briney, DALILAND). This immediately changes the dynamics since Aaron is Regina’s ex. Petty jealousies intensify and personalities shift wreaking more havoc on relationships that were never very deep. Brief supporting roles are covered by Jon Hamm as the clueless coach and health teacher, Ashley Park (“Beef”) as a teacher, an over-the-top Bijou Phillips as Regina’s mom, and Tim Meadows as the fed-up Principal. Meadows is the only actor to appear in all three MEAN GIRLS movies, and he and Tina Fey each nail a couple of zingers. And yes, you can expect a couple of cameos.

The intended message is valuable and delivered clearly, however, for a musical, it’s the songs that often seem weak and sometimes forced. A couple of the songs land, but most miss the mark. Renee Rapp nails her song at the Halloween Party, and Auli’I Cravahlo is truly a standout when she gets the opportunity to showcase that voice. “Gruel” and “fetch” are recycled here for effect, and though the songs are a bit disappointing, we do hope the message is received by a new generation (even if most of these actors look like they should be out of college, rather than clunking through high school).

Opens nationwide in theaters on January 12, 2024

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Posted by David Ferguson

THE BEEKEEPER (2024)

January 11, 2024

Greetings again from the darkness. For those who take pride in their ability to keep track of body counts in movies, I can only say, best of luck with this one. Boom. Bang. Punch. Kick. Stab. Choke. Flip. Our hero, acting alone, uses every available attack to neutralize armies, SWAT teams, trained security teams, and greedy scumbags … all in the name of “protecting the hive”. OK, it’s mostly for revenge for causing the death of “the only person who took care of me.”

Director David Ayer (END OF WATCH 2012, SUICIDE SQUAD 2016) and screenwriter Kurt Wimmer (SALT, 2010) are very much at home in the action-violence genre, and adding the king of cinematic hand-to-hand combat, Jason Statham, to the mix can only mean more action and more fighting and more violence. There is no reason to critique a movie that delivers exactly what it sets out to deliver to an audience that expects exactly that.

Statham is in prime form as Adam Clay, a beekeeper on a farm owned by retired teacher Elise Parker (Phylicia Rashad, CREED). When a phishing scam drains her bank accounts, including that of the non-profit she administers, Clay reacts to the subsequent tragedy by tracking down the culprits of the scheme. Tech fraudsters are easy targets because we all despise them, and the film plays that up by exaggerating the obnoxious nature of those involved. A miscast Josh Hutcherson (THE HUNGER GAMES) plays Derek Danforth, an entitled little bleep who skateboards in the office to his next massage and wears outlandish outfits befitting a person desperate for attention. Adding to the psychological drama is FBI Agent Verona Parker (Emmy Raver-Lampman, “The Umbrella Academy”), the daughter of Elise, the woman who put Clay on his mission of reckoning.

Additional supporting roles include Bobby Naderi as Verona’s FBI partner, Jemma Redgrave as the President, a brief appearance by Minnie Driver as the FBI director (she takes three quick phone calls), and Oscar winner Jeremy Irons as Wallace Westwyld, the retired agent charged with keeping douchey Derek safe. The hook here is that beekeeper Clay is actually a retired secret agent known as “the Beekeeper”, and in one of the oddest sequences, his replacement (a wild character inspired by Prince?) brings a Gatling gun to try and end Clay once and for all. The film is silly and absurd, and right up the alley of those who embrace Statham’s stoic bulldozer of a man.

Opens in theaters on January 12, 2024

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Posted by David Ferguson

ROLE PLAY (2024)

January 11, 2024

Greetings again from the darkness. The spouse living a double life is territory covered many times by many movies over many years. When done well, it’s an intriguing premise and fertile ground for a fascinating character – one who can flip the switch between a ‘normal’ family life and one of intense danger. What’s rare is for the oblivious spouse to be the more interesting character, yet that’s exactly what happens in this film from director Thomas Vincent and screenwriter Seth W Owen.

Kaley Cuoco stars as Emma Brackett, and David Oyelowo co-stars as her husband, Dave. Ms. Cuoco shot to fame with her role as Penny on the long-running TV series “The Big Bang Theory”, which she followed up with leading roles in “The Flight Attendant” and “Harley Quinn”. This is her latest shot at establishing herself as a movie actress. Mr. Oyelowo is best known for his dramatic turns in SELMA (2014) and THE MIDNIGHT SKY (2020), and the new series “Lawmen: Bass Reeves”.

Emma is a contract assassin who works all over the world using disguises (mostly wigs) and aliases, while telling Dave, the nicest, most trusting man on Earth, that she is off to yet another generic work conference in Nebraska or some other unexciting locale. When home, Emma is a good mother to their two kids, and clearly enjoys their life in suburban New Jersey. When work beckons, Dave unwittingly accepts her reason for travel, having no clue that she’ll return with blood on her hands.

On their seventh anniversary, Dave suggests they spice things up a bit with some role play. Their planned ‘happenstance’ meeting as strangers at a hotel bar goes sideways thanks to the intrusion of an unwelcome third wheel named Bob Kellerman. The always fabulous Bill Nighy plays Kellerman, and we find ourselves wishing he had more screen time. It turns out, this encounter leads to Emma being outed, which sends Dave into emotional turmoil (a terrific scene) … and an ill-advised meetup at her latest job.

Additional support work is provided by Connie Nielsen as the demented woman who raised and trained Emma, and their final meeting provides the impetus for the third act. Other than Bill Nighy’s too-brief role, the best part of the film is seeing rare comedic chops from David Oyelowo. It’s a joy to see such a well-respected and talented actor show yet another side on screen. Kaley Cuoco doesn’t fare quite as well, as her TV sitcom approach defies believability. For those in search of some mindless entertainment with a side dose of action, the movie should work just fine.

Opens nationwide in theaters on January 12, 2024

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Posted by David Ferguson

THE ETERNAL MEMORY (2023, doc)

January 5, 2024

Greetings again from the darkness. Augusto and Paulina are a real couple facing real challenges in the real world. Their challenges aren’t related to where to head for dinner or whether Augusto will leave the toilet seat up or down. No, their daily challenges are whether Augusto will wake up and recognize his wife, or even know his own name. Chilean Documentarian Maite Alberti climbs inside this relationship to show us the real impact of Alzheimer’s Disease, and does so expertly and intimately.

Augusto Gongora was a professional News Reporter/Journalist during the Pinochet regime, and Paulina Urrutia was a successful actor … both well known in their country. We even see clips and archival newsreels of Augusto’s work. However, filmed during COVID, almost the entirety of the film is focused on these two people taking each day as it comes … the good days and the not-so-good days. And perhaps ‘moments’ is a better measure than days, as this cruel disease can shift quickly. Paulina handled much of the camera work so the director and crew could keep safe distance during the pandemic, and the result is a few blurry shots, none of which detract from what we are meant to see.

Paulina helps Augusto with his memory of work and kids. She helps him take a shower. She reads to him when they take walks, and she cringes as he rides a bicycle. She helps him with his eye protection as they view the eclipse. They even treasure the time they can dance together. There are many times they share a laugh, and there are times Paulina cries alone or Augusto appears lost. Mostly they have their tender moments which define the relationship that they so want to hold on to … all while surrounded by Augusto’s lifelong collection of books that fill the house – most of which he can no longer read.

Theirs is a love story. And it’s real.

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6 Comments | Documentary, World Cinema/Foreign | Tagged: | Permalink
Posted by David Ferguson

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