18 April 2010

Dolls

A film by Takeshi Kitano

Three contemporary, interwoven stories inspired by the everlasting emotions expressed in Bunraku theatre, the Japanese traditional art of stage puppetry, and the works of the 17th century Japanese dramatist Monzaemon Chikamatsu. Three visually stunning and deeply touching stories of undying love in which the 'human puppets' play out a story conceived by the Bunraku dolls. The film begins during their working hours, their performance. And after their day's work is done, they rest alone and start telling stories, manipulating the humans who become the 'living dolls', pulled by the strings of fate. Three tales of love bound to one another with a piece of red cord.

Matsumoto and Sawako were once a happy couple who seemed destined for marriage. But the age-old pressures of meddling parents and success force the young man to make a tragic choice. He is selected by the president of his company to marry his daughter, a match that will ensure him a bright future. During the wedding ceremony he is told by a friend that Sawako, his true love, has attempted suicide, surviving with brain damage, and Matsumoto leaves his wedding to take Sawako from the hospital. She now wanders the countryside in a mindless daze, bound safely to Matsumoto by a long red cord. On a journey that will cover the four seasons passing from cherry blossoms and summer beaches, to autumn foliage and winter snows, their love becomes stronger and more enduring. To curious eyes, they roam aimlessly. But Matsumoto and Sawako are on a journey in search of something they have lost.

Hiro is an ageing yakuza boss in constant fear of assassination. Although surrounded by respect and affluence, Hiro is alone and his health is failing. Thirty years ago, he was a poor factory worker with a loving girlfriend who brought him lunch in the park. But he abandoned her to search for his dreams of making it big. Throughout the years that have passed she has returned every week in the hope of finding him again. Now, thirty years later, Hiro is drawn back to the park where they used to meet.

Haruna Yamaguchi spends a lot of time on an isolated beach, looking at the sea. Her beautiful face is half-covered in bandages. Not long before the car accident, Haruna was a successful pop star who lived alone in a glamorous world of TV shows and autograph sessions. Millions adored her, longed to be close to her. Now Haruna refuses to be seen again in public. But Nukui, who is probably her most devoted fan and wants so desperately to be with her, finds a way to make Haruna agree to see him in order that he can prove his undying love for her.

Chikamatsu's works are distinct for adding human elements to the theme of the conflict between social pressure and personal desire. His dramas often revolve around the tragedy that can arise when one blindy chooses the importance of loyalty (to one's feudal lord, family, etc) over personal feelings. A great many of Chikamatsu's plays are about shinju, or love suicides. 'Making a choice' means that you have two or more options to choose from. But all the protagonists in these stories are possessed with their own selfish idea of which direction they should take and they act accordingly. They aren't really making choices because they can't see the other options. None of the events in the stories would have happened if the characters were well-balanced enough to make real 'choices'.

A stunning and emotional meditation on love, commitment, conscience, and the consequences of choice. Expressed through visual rhyme and startling adjustments of perspective which draw us deep into the characters' inner worlds, the three stories explore themes of regret, sorrow, loss and sacrifice and the idea that one's destiny is inescapable.

5 April 2010

Esma's Secret

Grbavica
a film by Jasmila Žbanić

A moving story about life in contemporary Sarajevo and of a mother's struggle to provide for her rebellious teenage daughter in the wake of the civil war. Esma wants to grant her daughter Sara's wish to participate in a school trip. A certificate proving her father is a war martyr would allow her a discount. But Esma continues to avoid Sara's requests for the certificate. She would rather find a way to pay full price for the trip. She believes not telling the truth about Sara's father is a way to protect both her and her daughter.

Single mother Esma lives with her twelve-year-old daughter Sara in Sarajevo's Grbavica neighbourhood, where life is still being reconstructed after the 1990s Yugoslav wars. Unable to make ends meet with the meagre government aid she receives, Esma takes a job as a cocktail waitress in a nightclub. Working all night is difficult for Esma physically and it also forces her to reluctantly spend less time with her daughter. Still haunted by violent events in her past, Esma attends group therapy sessions at the local Women's Centre. In addition to relying on her best friend Sabina, Esma also finds a kindred spirit in Pelda, a compassionate male co-worker from the nightclub.

Feisty tomboy Sara begins to put soccer aside as she develops a close friendship with classmate Samir. The two sensitive young teenagers feel a strong bond because both lost their fathers in the war. But Samir is surprised to hear Sara doesn't know the details of her father's noble death. Sara's father becomes an issue when she requires the certificate proving he died a shaheed, a war martyr, so that she can receive a discount for an upcoming school trip. Esma claims acquiring the certificate is difficult since his body has yet to be found. Meanwhile, Esma searches desperately to borrow money to pay for Sara's trip.

Confused, Sara becomes violently upset when some classmates tease her for not being on the list of martyrs' children. Realising her mother has paid full price for the school trip, Sara aggressively demands the truth. Esma breaks down and brutally explains how the girl was conceived through rape in a POW camp. As painful as their confrontation is, it is Esma's first real step towards overcoming her deep trauma. Despite Sara's hurt, there is still an opening for a renewed relationship between mother and daughter.

Focusing upon the female experience of post-conflict 'ordinary' life, writer/director Jasmila Žbanić describes her award-winning debut feature as being primarily a story about love. About love that is not pure, because it has been mixed with hate, disgust, trauma, despair. It's also about victims who, though they did not commit any crime, are still not entirely innocent in relation to future generations. Grbavica is also about truth, a cosmic power necessary to progress, and very much needed by society in Bosnia and Herzegovina who must strive to reach maturity.

A universal tale of pain and struggle, Grbavica is a heartbreaking story about the violence against women in the recent Balkan War. It explores in a very genuine and delicate way how these victims of war crimes will still be living in a war of their own emotions for the rest of their lives. But it is also a story about hope, as they attempt to pick up the pieces of their shattered psyches and somehow move on with their lives.