By Roger Costa
POP AYE
Losing his senses and exhausted, walking a long journey back to a relative’s place, a man is encouraged by the elephant he just acquired, as the animal invites him to sit on top of its head, lifting his arm in order to help the struggling man accommodate himself. This mesmerizing singular moment, subtly observed from a distance by director Kristen Tan’s camera, is sort of a metaphor for the film’s central conflict and a reflection of humanitarian values: in a world suffocated by uncertainty, everyone needs a hand of reassurance. Mr. Thana is a wealthy modernized architect going through a personal crisis in Bangkok; his masculinity is provoked when he becomes upset by the fact his wife’s been hiding a vibrator; his working partners are careless, neglecting his participation in the firm’s meetings; he finds some relief as he buys an elephant off the streets, which he believes to be Pop-Aye, his very own childhood’s pet, and decides bringing it home. His wife leaves him, shortly after the animal invades the house, and feeling broken and hopeless he takes Pop-Aye and goes on a journey on foot to reunite with his uncle. The chemistry between them is so convincingly admirable, that it will make you want to bring Pop-Aye home too. Along the way, Mr. Thana will face obstacles to maintain Pop-Aye at his sight and protection, and will meet intriguingly awkward people at the same condition as he is. A different, lovely, contemplative road-movie, winner of the Screenwriting Award at Sundance, director Tan’s debut confirms her as a skillful promising filmmaker. She depicts the affecting, nostalgic connection between man and animal with incredible insight and natural sensibility the same way she does with the complicated relationship among human beings. As Mr. Thana recklessly ventures the road with his pet, he’ll exchange lessons with some imposing cops, a group of hookers and a depressive transvestite, a hobo who can read the stars and claims to be a tree, and some peasants observing a corpse on the road. All these eccentric figures are the reflection of Mr. Thana himself: they all need a lift up. Director Tan absorbs each interaction with tremendous accuracy and immediacy on its social issues, creating a highly inspiring soft comedy about reconciliation, and how to practice harmony among men and Nature. (A Kino Lorber Release. Now Playing at Film Forum, NYC.)
THE ORNITHOLOGIST
Portuguese Director João Pedro Rodrigues’ new film follows a man isolated at a mountainous area, studying some exquisite birds species. As he explores the forest, the river and the caves, spying on curious details of the bird living, sometimes talking on the phone to someone who insists he must take his pills, he suffers an accident and is rescued by two mysterious Chinese so-called Christian girls, who give him the taste of an ancient tea, putting him in a risky, tumultuous runaway for survival. On the loose, and missing his bag and medicine, he comes to the encounter of a deaf-and-mute shepherd, with whom he explores the depths of his sexuality. A prolific artist who’s been developing an authentic narrative aesthetic of homo-erotic themed, metaphorical, allegorical surrealistic stories of desire, social standards and violent impulse, as well as a favorite among gay cinephiles, Rodrigues continues to shock and intrigue with the symbolic elements also shown here, dividing reactions regarding the profane references. Different in narrative pace from his more consistent previous works (“Macao”, “To Die Like A Man”, “Two Drifters” and “O Fantasma”), Rodrigues promptly delivers his subversive material with creative elements and ambiguous metaphors, as well as the provocative sex scenes and the attentiveness to gruesome natural wounds. Paul Hamy exceeds in sensuality as the protagonist Fernando, an incendiary force of endurance and sex-appeal. The stupendous landscapes enormously contribute to the film’s beauty, glorious mountains and rivers by the border of Portugal and Spain, though the camera sometimes appears to be searching for directions. A smaller, yet enriching piece of art by one authentic storyteller. (A Strand Releasing Release. Now Playing at Film Society of Lincoln Center, NYC.)
Comments