Weekly Review -- Around the world

One of the most seductive aspects of cinema is the budget-free time travel. Think about it. You can go from 1999 outback to 19th century Norway to 2002 Florida. Those are the places I went to this week, anyway, although... well... I think I fared better than most characters in the films I saw.


Wolf Creek (2005) -- As a cinematic representation of human nature's worst side, this film is a success. As a promo for Australia's tourist destinations... not so much. The film tells the story of three friends whose trip of a lifetime to the outback's Wolf Creek crater turns into a neverending nightmare. There is one thing about this film that always frightens more than any Freddy or Jason, and that is human cruelty. The film's villain, Mick, is someone who manages to lull the travelers, as well as the audience, into a false sense of security. His crudeness aside, he seems friendly enough; that is, until bodies start piling up. The acting achieves its purpose -- the villain manages to disgust us and the likeable leads manage to endear us. The film's low budget feel, home video format and the appealing main trio succeed in putting us in the characters' shoes. It is easy to judge and blame Kristy, Liz and Ben for trusting a complete stranger; if we were stuck in the middle of nowhere, with no one around for miles, we would also have to trust the first person on the scene. Still, even if we take into account the wrong-place-and-time dimension, the three are outrageously free of any informed judgment, which brings me to the film's little ironies, all nicely woven into the slasher theme. At one point, the two British girls compare Mick to the Crocodile Hunter, giving free license to the film to mock long-standing stereotypes, while being cartoonishly naïve. Throughout the film, the three characters exchange UFO stories, not realizing until it is too late that the real monsters are usually normal-looking. The fact that the film is based on a true story only adds the ultimate dose of reality to the proceedings. Apart from the obvious brutalities -- and be warned, there are some truly horrific scenes -- it is details like these that create in Wolf Creek an overview of the unlimited capabilities of a soul's darkness.

7/10


I am Dina (2002) -- A symphonic drama on a luscious postcard is how I would describe this gem. Dina (Amanda Jean Kvakland) accidentally causes the death of her mother. This tragic and unbelievably grisly moment influences the rest of her life. Burdened with guilt but fascinated by death, she grows up to become a passionate and unpredictable young woman (now played by Maria Bonnevie), who does not take no for an answer and whose fierce independence defies the ways of her 19th century Norwegian village. After her husband dies, she occasionally gets sexually involved with Tomas (Hans Matheson), her only childhood friend, and falls in love with mysterious stranger Leo (Christopher Eccleston). The frosty, moody hues of the cinematography correspond well to Dina's wild spirit, as well as to the contrast between her expected position in the society and her rebellious streak. Marco Beltrami's rich musical score colors the on-screen events and taps into the tortured soul of the principal character. As Dina, Bonnevie is perfection. She is an emotional storm, raging from one phase of Dina's life to the next; she is a wild animal who breaks out of her cage over and over again. I am Dina is not only a story about a woman's search for love and acceptance, but also about a woman attempting to resolve the inner conflict that threatens to tear her apart. Love or guilt? Life or death? Which one prevails? It is up to you to find out.

9/10


Secretary (2002) -- An unusual love story at heart, this film had attracted a fair share of controversy months before its release. Although the film is independent, it brings the phenomenon of S & M into the mainstream. It tells the story of Lee Holloway (Maggie Gyllenhaal), a mousy young woman who, after her release from a mental hospital, finds work as a secretary for E. Edward Gray (James Spader), a seemingly cold and socially inept lawyer. Edward and Lee's working relationship quickly turns to that of an experienced master and willing slave, respectively. Not only does Edward awaken Lee's sexuality with his eccentric tactics, he also opens her eyes to possibilities outside her introspective existence. Slowly but surely, Lee gains control over her life. She gradually starts taking care of herself, becoming more and more independent, but also more and more attracted to Edward. Will she be able to reconcile her desires with her newfound freedom? This film would fall apart without the connection and chemistry between the two leads; thankfully, Gyllenhaal and Spader are a match made in kinky heaven. Gyllenhaal in particular is fascinating to watch, imbuing Lee with tenderness while avoiding any clingy attributes and providing her with intuition and power without veering off into feminist territory. Spader's Edward balances between love and experimentation, unable to deny his affection for Lee even as he keeps her at a certain distance, showing this affection with deceptively distant body language and rare longing glances. Steven Shainberg's direction is delicate and eloquent, treating what many would consider perverse as a natural step for these two outsiders. Secretary is a look at an unconventional, raw and honest love affair. It not a film that will suit everyone's taste; however, those who understand it will be rewarded by a meaningful lesson in the language of eroticism.

8/10