David O'ConnellMIFF 2010: Lebanon/The Wind Journeys/Symbol
August 10th 2010 06:33
Lebanon
One of the most tense, claustrophobic experiences you’ll ever have in a cinema, Lebanon depicts the traumatic journey of four young Israeli soldiers into war-torn territory in 1982. Nearly all of the film is shot from inside the tank in which these mentally fragile young men view the world and assess the many dangers it poses.
Director Samuel Maoz, inspired by his own experiences, has created an electrifying, utterly unique piece of cinema. Riveting from the opening moments, Maoz sets about reducing to shreds the staunch declaration pinned inside the tank that informs its inhabitants that “man is steel, the tank is only iron”. Nothing could be further from the truth as the four distinctive personalities take on a life of their own the deeper they wade into enemy territory and confront their brutally magnified shortcomings.
Possibly the most remarkable facet of Maoz’s film is its sound design which works like a drill on your nerves; from the deafening, monstrous roar of the tank itself to the distinctive 'popping' of the viewfinder as it constantly adjusts to focus on the ravaged, threatening world beyond the tank and its confines which parallel that of a prison cell.
Lebanon deservedly won the Golden Lion for Best Film at Venice last year and ranks as my personal favourite film of the Festival. It’s one I’ll be watching again and again in the years to come.
The Wind Journeys
A rich and meditative trawl through remote Columbia, The Wind Journeys is one of the most surprising success stories of this year’s Festival. It’s a kind of road movie – except with a donkey as the means of transport.
A surly but legendary accordion player, Ignacio (Marciano Martinez), lugs his uniquely horned instrument around on his back but refuses to play it, believing it to now be cursed. He thus sets out on an epic journey to return it to its original owner and is joined by a young upstart, Fermin (Yull Nunez), who has pretensions of being musician one day himself.
Together they cross vistas both barren and speckled with natural beauty. The range of stunning sights captured by director Ciro Guerra include the mountaintop home of Ignacio’s brother which is nestled amongst a scattering of clouds. Another standout scene is an accordion “duel” held in a small town the pair encounter in which Ignacio can’t resist an attempt at dethroning the reigning champ.
The final wordless, lingering shots of this soulful film exemplify its ability to achieve potent statements about the human condition through deceptively simple means. The Wind Journeys has a mythical power to it, with the richness of a forgotten, secluded culture subtly embedded in its methodically strung out narrative arc. It ends on an almost perfect note, with a sublime grace that dialogue isn't required to explain.
Symbol
Symbol is the kind of cinematic oddity only the Japanese are capable of producing. This wacky, initially random comedy from director Hitoshi Matsumoto features two seemingly unconnected strands. The first is set in Mexico and details the daily routine of a wrestler on the day of his next bout.
The other half provides the real hilarity as a man in pyjamas (played by the director himself) wakes up in a gigantic room devoid of any features. Is he in some bizarre dream? When tiny protrusions begin appearing all around him he plays along and begins toggling them, only to be amazed at what begins to materialise out of secret compartments behind the walls.
Symbol is one of the funniest films I’ve seen in a long time. The segments reverting back to Mexico are intriguing but work best as brief respites from the lone man's side-splitting quest to uncover the true nature of his imprisonment and somehow find an exit.
How are these two worlds connected exactly? The answer finally arrives in hilarious fashion towards the end and the loopy randomness of it is inspiring in its sheer audacity. It may be far-reaching in more ways than one, but you have to hand it to Matsumoto for ultimately providing a deliriously entertaining way of confirming one of the most widely held suppositions about the true nature of life itself. Symbol is a mad, irreverent masterpiece.
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Comment by Kwenton Bellette
Wind Journeys certainly was a film I didn't hate, and your points about it, have me sort of second-guessing it, but spot on with Symbol. I REALLY need to see Lebanon.
Comment by Anonymous
Comment by David O'Connell
Screen Fanatic
Anon, there is a bit of mad genius about Symbol. I can't wait to see it again. Same with Lebanon and The Wind Journeys. The former, being so widely acclaimed, is bound to get a limited release in Australia at some stage. The latter will be one to track down on DVD in the near future (I believe Madman have it actually which is always a great thing).
Comment by Matt Shea
20/20 Filmsight
I've been hanging to see Lebanon for some time now - I find that particular conflict fascinating, and it's good to see another film using it as its basis (after Waltz With Bashir).
Comment by David O'Connell
Screen Fanatic
Comment by JohnDoe
Film & TV on DVD
The other two also sound worth a look.
Thanks for the heads up.
Comment by David O'Connell
Screen Fanatic