The Secret Of The Grain (2007)

You could play a drinking game with Abdellatif Kechiche's "The Secret of the Grain" (2007). Drink up a shot every time someone mentions Couscous! It isn't for nothing though, because at the very heart of Kechiche's film is this signature Tunisian delicacy, the one weapon with which its protagonist hopes to turn his world around.

A veteran shipping yard worker, Slimane (Habib Boufares) finds himself in a desperate career crisis at the age of 61, as modernization and outsourcing threaten to deprive him of his bread and butter. Hope knocks in the form of his big fat family of French Arab immigrants, some old friends, well-wishers and most importantly, the great taste of his ex-wife's home-made Couscous! While bringing down an old abandoned ship, Slimane experiences a straight-faced eureka moment; that of converting the ship into a restaurant that specializes in Couscous.

But the task is not an easy  one, as Slimane, assisted by his lover/landlady's comely young daughter, Rym, comes to realize. Convincing the powers that be to authorize and finance him in his dream project proves to be a gargantuan challenge. After much effort, blood, sweat and tears, a grand party is arranged to do the convincing, perhaps with a little taste of the ol' Couscous! Will his dream set sail and stay afloat in a sea full of bureaucratic sharks who threaten to sink his ship of hope? Will Slimane be able to pull it off or will the ain (curse) hinder his aspirations?

Kechiche's film unfolds in three acts. The first chronicles the beginning of his woes as he loses his job and learns that there may not be anymore work. This segment also introduces us to his extended family with his ex-wife, and his new family with a younger love interest. Various subplots, some central to the events that follow make way into the story, including Slimane's son Majid's torrid affairs. A particular expose that projects a connection between Majid's philandering nature and the pivotal climactic episode is very subtly inserted in a scene that one might blink and miss. 

The second deals with his business brainwave and his attempts to get things moving with his adopted daughter Rym as his aide. It is an interesting choice by the filmmaker to completely omit the details leading to this juncture in the story, including any explicit act of convincing his family to join in into his ambitious venture. In lieu of the drama that could possibly have accompanied this whole scenario, Kechiche spends a lot more time on an extended Sunday meal sequence, quite naturally shot, with glib conversations and intimate close-ups, sometimes uncomfortable to the extent of even showing food contents in the characters' mouths! The details of how he got his ex-wife to help him in his cause is instead explained as part of a conversation of some gossiping old fogies, claiming to be friends of Slimane.

And the final act, which is also the most important one showcases his last-ditch effort in making things work, by giving everyone a taste of his labour of love.  This entire sequence provides most of the dramatic edge to the story, with a lot of suspenseful and tense moments that showcase Kechiche's directorial prowess. There is some delicious icing on the cake, an exotic, sensuous belly dance presented as a surprise act by the gorgeous Rym. This is a very relevant scene and not superfluous as is often the case.

Kechiche constructs his tale beautifully, with a lot of focus on dialog and intimate character interactions. There are a myriad interesting characters, all of them quite likable despite their flaws. The conversation scenes are especially noteworthy in the manner in which they have been shot. They have an organic, casual vibe, almost like a documentary and the actors seem to forget that there is a camera rolling, capturing it all. 

At the center of it all is our brooding, aging hero, Slimane, whose perpetually long face speaks a million words. It is a remarkable performance by Habib Boufares, whose social awkwardness is more than convincing, well supported by Hafsia Herzi, as Rym who tries to use her youthful charm to be the face of the venture by doing all the talking with the authorities.

Special mention must be reserved for Alice Houri as Julia, Majid's wife who chews the entire scene in which she breathlessly rants about her husband's addiction to affairs. It is a strikingly natural act and for a while we forget that it is an act.

A sharp contrast in the immigrant Arabs and the snooty, authoritative French bureaucrats is quite tangible in Kechiche's characterization. This divide creates direct stereotypes in some of the characters and intentionally so, for they serve to prove a point or two towards the culmination, including the hypocrisy of the bourgeoisie and an innate racial trait of wanting to crush the lowly, their merit notwithstanding.

In the end, regardless of the outcome (and we can only hope for the best) of ol' Slimane's endeavours, it is heartening to see all these colourful characters, especially his two families, come together despite their mutual disdain for each other, to lift his spirits up and walk with him to achieve his goal.

Score: 4.5/5

The Bothersome Man (2006)

***NOTE: The following analysis/review may contain MILD SPOILERS regarding some detail in the film, but not to the extent of making the film viewing experience any lesser.*** 

The titular bothersome man by the name of Andreas arrives at a strange looking, isolated location, with a welcome sign put up especially for him at a solitary gas station. He looks around, appears lost, but doesn't question anything outright. His confusion and perplexed stares don't last very long and before he knows it, he has a fine job, a fine apartment and a fine girlfriend in a plush, polished city that looks spectacularly ideal....on the surface at least!

Very soon, Andreas begins to realize that there is something grossly amiss, and a lot is quite sinister in this new place. The food lacks any real taste, the alcohol doesn't get him high, and everyone around him, including his girlfriend, is rather emotionally sterile! So what's really going on here?

Norwegian filmmaker Jens Lien delivers the clues but doesn't give straight answers to Andreas' situation in his "The Bothersome Man" (2006). Lien's film is a darkly comic, surreal meditation on urban alienation and a frightening vision of a society desensitized by a consumerist culture.

Andreas finds himself in an overwhelmingly stoic world that he attempts to adapt to, but can't help but carry a perpetually baffled look. Actor Trond Fausa Aurvåg displays this with an  accurately comical expression of bewilderment and a lost sense of reality, similar to an insomniac Edward Norton in "Fight Club" (1999). Everything around Andreas is rather robotic. A couple at the train station engage in a sloppy kiss with blank expressions, devoid of any real emotional connect. People seem to carry fake plastic smiles all the time, and even when they are joking around lunch or dinner, they are merely discussing what furniture to buy from a catalog (in another nod to "Fight Club").

His girlfriend becomes his girlfriend rather casually, and they engage in a ridiculously mechanical sexual act. All she ever seems to care about is furniture and interior decoration. Every scene she is in, she is either talking about or is around some decorative piece of furniture. And when she isn't doing that, she is seen watching furniture ads on TV! Even when they have guests at home, all they talk about is the home decor.

Andreas begins to get increasingly bored of this single-track mentality and a total disinterest in any other more meaningful talk, or any kind of exchange on a personal level from anyone around. A man who apparently jumps to his death is found stuck to a fence, his intestines sticking out. This scene is received rather calmly by the individuals around. No one seems to care. In a movie hall, during a very sentimental scene, it is only Andreas who seems to be quite touched, while the others look on like zombies!

In a Bunuel-esque exaggeration, fitting to the surreal nature of the narrative, Lien does not keep the lack of soul limited to the people. He extends it to the environment and practically everything contained in it. The food they consume is bland; the alcoholic drinks they down seem to lack any effectiveness. And shockingly, all this seems to bother only a handful few, Andreas being one, and one other mysterious individual rambling away in the toilet.

When another girl at his office, who initially seems warmer, reveals herself to be just as insensitive, Andreas gets weary and realizes that he doesn't belong there. But there seems to be no escaping his situation, as is illustrated in a hilariously freaky, but disturbing sequence involving a subway train. The subway scene, and the central theme of a man who finds himself in a nightmarish universe is reminiscent of Adrian Lyne's brilliant psychological thriller "Jacob's Ladder" (1990).

So what is this peculiar place, really? One way to look at it is that it's a myth-breaking representation of paradise, a paradise that everyone seeks, but one that isn't really the most ideal place to be. Or perhaps it is what Andreas achieves as a result of his quest for a personal utopia. It is the manifestation or the final shape attained by his desires, although it doesn't quite turn out to be in tune with his envisioning. What he got instead, was a tasteless world, a world with life sucked out of it.

He ended up with an outcome of a pursuit that was really meaningless and empty; a pursuit of a false happiness through worldly desires, materialistic gains, something that doesn't really spell happiness in the end. While most others in this society, thrive on a false sense of security achieved through these very material gains, content that they have found their utopia, our protagonist is awakened, and seeks to escape to find his own utopia which perhaps, doesn't exist anymore. In the process of chasing the so-called good life, he has left behind the actual good life, which he now longs to go back to.

And therefore, does the discovery of a mysterious hole in the wall give him new hope? A crack that oddly resembles a vagina, an opening that emanates a pleasant smell and lilting music, and somehow seems to give vibes of life. The hole is perhaps symbolic of a gateway to the womb, back into a quaint little motherly kitchen, with the golden sun shining bright, sounds of chirpy children in the background, and a sweet tasting cake lying on the table. What's more, the location of the hole is an apartment building occupied mostly by old timers; suggestive of the last link to the old school! Perhaps Andreas yearns to go back and start over; reclaim the lost paradise, taste the real good life again.

But is there a way back? Or is he trapped in a state of no return, in a never-ending search for a paradise that he may never see? Another journey commences, another transportation, ending up in a world that seems to be a lot more colder than this; and a blizzard seems to await him! Will it ever end for Andreas?

"The Bothersome Man" is a challenging but fun film that is entertaining, visually enticing as well as thematically rich, enough to please any hardcore cinephile. Screenwriter Per Schreiner and filmmaker Jens Lien give us lucky viewers a lot to chew on and a lot to admire in this finely crafted, enigmatic gem.


Score: 9/10

Samaritan Girl (2004)

***NOTE: The following analysis/review may contain SPOILERS regarding some detail in the film, but not to the extent of making the film viewing experience any lesser.*** 

Now this one seemed like a straightforward evening watch, even for a Kim Ki-Duk film. But trust the guy to completely overthrow your expectations and take you on a journey you may never have experienced before. "Samaritan Girl" (2004) is yet another exotic dish from the Kim Ki-Duk kitchen, made from a recipe that is entirely his own. You just need to have the palate for it, and you will find yourself wholly appreciating what the South Korean auteur dishes out.

"Samaritan Girl" tells an unusual tale of sin and redemption that is both disturbing and sensitive at the same time. Two teenaged girls, resort to prostitution in order to raise money for a trip to Europe! Of course, they are very young and far too naive to realize the gravity or the consequences of their deeds. In a sordid arrangement, one of the girls, Jae-yeong (Yeo-reum Han) actually engages in the act, while her best friend Yeo-jin (Ji-min Kwak) does the job of setting her up with clients and acting as a lookout in order to warn about possible police raids. An incident with one of the clients, however, proves to be a watershed event that would change their lives forever.

For a plot premise that may seem like it would tread familiar grounds, "Samaritan Girl" changes its course significantly, at least twice, thereby totally subverting viewer expectations. It unfolds in an episodic fashion, over three parts with title cards: "Vasumitra", "Samaria" and "Sonata". The symbolic connection of these titles to what transpires in each episode serves as a means to comprehend the central thematic content of the film. 

On a broad level, "Samaritan Girl" is all about carrying the burden of another; of paying for the sins of others. It is a direct biblical reference to Jesus Christ bearing the cross, also depicted literally in how in one scene, Yeo-jin carries an injured Jae-young on her back. It is no coincidence that Yeo-jin's father (Eol Lee), the cop mentions the story of a rotting crucifix which bears a bud almost miraculously.

The first episode talks about Vasumitra. In an old Indian legend, Vasumitra was a prostitute, whose clients all became Buddhists after sleeping with her. A carnal act, considered sinful, had somehow brought about a spiritual awakening in them. Jae-yeong, fascinated by this legend is practically obsessed with Vasumitra, and aspires to be like her. Sure enough, she manages to make an emotional connect with each client, ever smiling after each job and doing much more than just sex by engaging in some actual heart to heart talk!

Jae-young feels practically no remorse and in fact enjoys what she is doing, more so because of the connections she makes with her johns. Yeo-jin, however, reels under the guilt of being party to her friend's exploitation, and is the only one to feel the moral weight. Yeo-jin's jealousy is palpable as well, but Kim Ki-Duk keeps it deliberately ambiguous as to what kind of jealousy it is. While Yeo-jin obviously yearns for sex, she is perhaps morally bound, at least at that point of time. But her open admittance to Jae-yeong that she can't stand to see any guy touch "something this beautiful", and their naked baths together, hint at a definite homo-erotic attraction and a sense of possessiveness on Yeo-jin's part.

So where does Vasumitra fit in? Only after the baton is passed on to Yeo-jin in a dramatic turn of events, when she embarks on her path of supposed redemption. One of the outcomes of her actions is a visible change in the clients, as they either feel shame or regret their actions, experiencing a moral awakening and rekindling bonds with their daughters or loved ones! From filthy beasts to humans experiencing a kind of spiritual awakening; the Vasumitra legend mirrored! In a way, now Yeo-jin plays dual roles, of Vasumitra and of a Samaritan (Samaria), in her act of repentance.

The decision to sleep with each of Jae-young's client's is somewhat of an arbitrary move, that initially seems to be a product of a lack of maturity at a vulnerable age like that. Her twisted ideology is questionable, but perhaps this is her way of indirectly experiencing physical pleasure with Jae-young; a vicarious means of seeking sexual gratification from her best friend; that she desired but could never bring herself to seek out.

This inability to confront or speak out one's feelings is a trait that would continue further with Yeo-jin's father, a cop who inadvertently discovers that his daughter is out prostituting herself. The tough detective, himself investigating the killings of teens in shady motels, is now reduced to a broken, helpless father. A shattered man, he ultimately turns into a sort of watch dog, following his daughter's clients, and intimidating or shaming them. The incapacity to break the ice with his daughter on the matter, turns into a violent rage that the clients have to bear rather than the daughter, who is in fact the one inviting them on her own free will. Subsequently, these men find themselves at the receiving end for the sins of Yeo-jin!

The first few frames show a computer chat session, where it all starts and the girls fix meetings with their clients. Kim Ki-Duk perhaps aims at showing the ill effects of advanced technology and how they have created distances between human beings. It is alarming how the girls don't even know who's on the other end and yet agree to give themselves to them. The comfort of being bold from behind a screen has perhaps caused this inability to connect on a direct, personal level, directly reflected in Yeo-jin's dad's reluctance to confront her. It all stems from the advent of technology and the way it is gradually establishing its roots in our environment. The scene in which he puts headphones around here ears to wake her (and also in a surreal sequence later) seemed a little off-kilter initially but finds a significant overlap from this angle.

And therefore, what better place to connect, than the countryside, at one with nature and away from industrialization and technology? Maybe this is why, in the final chapter "Sonata", when Yeo-jin's father decides to take her on a trip to the country to her mother's grave, they are finally able to actually connect with their spiritual selves and to each other on an emotional level, without even bringing up anything that happened prior to the trip. The outing turns out to be a turning point in the lives of these two tormented souls; a moment of moral awakening, a means of catharsis and the ultimate gateway to salvation. Tears of regret are shed, sins are washed off, and there are realizations that enable both of them to attain their peace, in a culmination that is heartbreaking.

That final frame is bound to leave an indelible mark in your memory much like the rest of this haunting story. It's amazing how much meaning is conveyed merely through symbols, gestures and body language of these characters that you can't help but empathize with.

This is gold standard Kim Ki-Duk with his signature storytelling style with somber music, great images and a strong communication of his usually rich themes in his unique visual language.


Score: 9/10

The Uninvited Guest (El Habitante Incierto) (2004)

And so we stumble upon yet another less known Spanish gem of a mystery thriller; one that, from its title may give off the air of your average home invasion story. But rest assured, any similarity to past home invasion flicks ends after the stranger enters the house. Thereupon, Guillem Morales' "The Uninvited Guest" (2004) is one hell of an unpredictable ride into its twisty narrative that will suspend you in a state of constant anxiety.

It all begins one fateful evening, when a man whose face we do not see, enters the plush home of Felix (Andoni Gracia) on the pretext of making an urgent phone call. Felix is living alone ever since his girlfriend Vera (Mónica López) breaks up with him. The stranger requests privacy as he attempts to make the call, and Felix obliges. As the call appears to stretch longer, an impatient Felix returns to the living room to find the stranger missing and the door shut. An inherently paranoid Felix begins to believe that the stranger never left, and is still inside the house, inhabiting it in secret, hiding from plain sight! His fears begin to magnify as he starts to experience sporadic occurrences of strange noises from some corners of the house.

Guillem Morales turns the familiar home invasion genre on its head by making the supposed perpetrator disappear early in the film. Thereby, the stranger isn't physically present in sight, but makes his presence felt; invisible, but tangible enough to mess with the protagonist's psyche, making him restless and giving him sleepless nights. An occurrence such as this, makes way for several questions that give the film its greatest strength. Is there really a presence in the house? Or is Felix just obsessed with the idea, unsatisfied that he never actually saw the stranger leave?

It is common knowledge, that the mind plays tricks, especially when one is alone in a large house. A sound heard quite close by could actually be an amplified version of something far away or in the opposite corner. Sometimes it's the plumbing, and other times, the hollow areas in the construction. Sometimes it is the neighbours upstairs moving their furniture, and when there's a sudden thud, it is only natural to check to see if something fell in the adjacent room. Likewise there are visual false alarms; a shadow here, a reflection there. Foreign presence? Or figment of imagination? 

Morales' play on the matter from a psychological perspective is brilliant and wholly believable considering Felix's personality and the condition of his nerves. But just as we wonder where this would head or how Felix would get out of this situation, another huge surprise is thrown in the unsuspecting viewer's lap as Felix practically walks the footsteps of the invisible stranger in another situation that mirrors his! It's an amazing example of a circular narrative, the kind attempted by the modern master of surreal psychological thrillers, David Lynch. Through these unforeseen events, a lot is revealed about the inner workings of the minds of some of the primary characters, their basest instincts, and morbid ideas of thrills. It is like the whole range of the shades usually associated with an archetypal psychological thriller are explored within a single narrative.

A predominant theme in the film is that of duality. There are recurring events, and sometimes there are shadows of certain occurrences. Events mirror themselves or follow in succession. There's even a doppelganger of one character thrown in. Mónica López plays two characters, Vera and Claudia. This brings to mind the Patricia Arquette dual role in Lynch's "Lost Highway" (1997). It is possible that the purpose of casting the same actress to play these characters is to accentuate the psychological aspect of the story. This doubling up along with the fact that we are perhaps dealing with an unreliable narrator, and the claustrophobic elements associated with an indoors setting, a la Hitchcock, make "The Uninvited Guest" a very interesting mash-up of Lynchian and Hitchcockian ideas.

The result is satisfying enough to keep the viewer enthralled and sufficiently breathless throughout, until some cats are let out of the bag. It is true, that some big revelations give rise to more questions. There is one instance of a gaping contrivance which didn't go down too well with this reviewer either, but it was a necessary evil for Morales to further the plot and compound the intrigue. Not that Morales gets excused, he does lose a point for it, but it isn't any cause for alarm and doesn't reduce the weight of the film to an extent to disappoint the viewer. Moreover, some of the withheld information works in the film's favour, thereby leaving certain bits to interpretation. It's a good move by Morales to not wrap just about everything up in a neat package, which perhaps, would've done the film some disservice.

Credit must be given where it is due, and there is no denying that Guillem Morales has delivered a highly original feature length debut that is brimming with confidence and his command on the craft shows. Well done!

Score: 8/10