Gotta watch Das Leben der Anderen. And Del Toro's Labyrinth, which I haven't had the chance to watch yet. Both films seem to be fairy tales in which the evil of absolute power is portrayed; in the former as a gentle (unintentional) metaphor of what is to come for Western democracies under the self-imposed burden of global war; in the latter as a crude war of fantasy versus reality when reality is found intolerable.
The horror of Del Toro's small piece of reality is so seemingly unreal that is taken as fantasy, as an exaggeration, when not as pure exhibitionism of cruelty and madness. The actual reality of after (Spanish) civil war cruelty and madness can easily be taken thus as a casual background and not as the direct consequence of its (untold?) context; the fears and persecutions of a totalitarian regime and the paranoid surviving games peasants are forced to play within it. Del Toro's seeming inability to make his story translatable to actual terms, or to make the viewer identify himself ideally within the story, is probably due to his falling for tricks and monsters, which seem to have gained the protagonist role.
On the other side, the gray world of Florian Henckel depicts a scary, easily adaptable portrait of puppets in a play whose very activity represents the passive acceptance of horror. A passivity that "begins to crack", as Amir highlights, thus allowing the players to move away from the horror that has provoked it in the first place. The message is atemporal; the metaphor unintended. But Florian Henckel does not want to leave the viewer at a point of indefinite hope; he resolves and resumes the opened crack by giving color to the gray world: Es ist für mich. The abysmal difference among both realities arrives as a slap on the face.
But well, I never write as much about films that I have actually seen. Among those, Little Miss Sunshine is an unpretentious masterpiece that no one should miss. And Javier Fesser's short film, Binta and the great idea, is an extraordinary African tale, just a bit moralistic for picky sensibilities, but definitely worth the half an hour it takes to find out about the great idea that Binta's father carries on in a piece of paper. The link goes to the original version, in French, with Spanish subtitles (sorry about that; anyway, don't miss it if you can get it in any understandable language). The other Spanish nominated short movie, Éramos pocos (We were a few), probably even harder to find with English titles, constitutes an incredibly funny fifteen minutes shot of just three characters; a young guy, his father and his grandmother: When the mother leaves the house, tired of the tyranny of the men, they rescue grandma from a geriatric asylum and bring her home with them. The title itself is a humorous description of the movie as well as an untranslatable game of words: the familiar ironic saying "Éramos pocos y parió la abuela" -we were a few and grandmother got pregnant- may need though no further translation. Watch it -if you can.
And last, being in love as I am with Forest Whitaker -since the times of Smoke to Ghost Dog-, it is just a pity Peter O'Toole had to let go his chance of getting the gold after his impressive work in Venus; if anyone should ever want to know what acting is all about, O'Toole's interpretation is a must.
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