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The Danish philosopher, Kierkegaard once said, “Life can only be understood backwards, but it must be lived forwards”. Such a statement is perfectly expressed in the 60 minute film, Back to Freeport, where a man must confront his past in order to move ahead in his life. The plot of the film follows Jamal (played magnificently by Kyle Daniel Hernandez) as he leaves his life in Port of Spain and returns to his childhood home in Freeport.

The first two thirds of Back to Freeport could be considered as one of the most unique survival movies you’ll ever see. There are large stretches of no dialogue as Jamal attempts to make the abandoned house habitable once more. He returns to Freeport as if it were a deserted island, far from the hustle and bustle of city life. He meets a house that has long been dead. Overgrown grass has to be cut. Weather worn walls cry out for a fresh coat of paint. The furniture is broken. The cupboard is bare. At night, candles must be lit as there is no electricity. Jamal’s main goal is to kick start a rusted portable generator much like it was Robinson Crusoe’s goal to start a fire.

We learn a little about Jamal’s neighbours. There’s Narissa (Anna Marie-John), who becomes a source of comfort to Jamal. The major bump in the road to a potential romance is that she’s married. Both actors have amazing chemistry together. You could feel their friendship blossom and the genuine adoration each had for the other. Then there’s the self proclaimed “entrepreneur, developer and community leader”, Rupert Ramlal (played devilishly by Anand Lalkaran). Ramlal serves as a trickster, attempting to snake his way into buying the old house from Jamal.

Back to Freeport is firmly rooted in Naipaulesque sardonic humour. In fact, the book A House for Mr Biswas is prominently featured throughout the film and serves to expound on the themes of self identity, belonging and isolation that Jamal wrestles with. As the film progresses Jamal is plagued by frighteningly real memories of his past as he teeters along the line of sanity.

During the screening for Back to Freeport audience members actively cheered and laughed. When the film reached its sombre ending, there was a hushed silence that filled the theatre. The directing duo of Jian Hennings and Kyle Sahadeo hit their mark in delivering a truly original piece of Trinidadian cinema that will most certainly resonate with audiences nationwide. So get your ticket and take a trip Back to Freeport.

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There is an understanding in Trinidad and Tobago that all our citizens are born comedians. Our natural talent is finding a way to laugh, no matter how serious the situation. Maya Cozier’s 28 minute film, Short Drop, perfectly illustrates the power of Trini comedy. The plot is simple. Bartholomew, a retired civil servant, takes a drive through Port of Spain in his fossil of a car. He is mistaken for a taxi by a young woman (Shanice) and thus begins his adventure where he meets a colourful cast of characters, all from different walks of life.

Cozier uses the ‘taxi’ ride as a vessel in which themes of classism, homophobia, crime and nostalgia are explored. Whatever character we meet, we learn a little about their motives and reasons for why they are who they are. Despite the heavy subject matter, though, Short Drop is at its heart a comedy. The dialogue is sharp and deliciously executed between the actors, making the jokes hit their mark perfectly.

The most amazing aspect of Short Drop is how effective it was in making us care for characters who, on the surface, could be difficult to accept openly. From a “stush” outside woman, to a cross dresser to a gangster on the block – all characters are given a moment to shine their way into our hearts. At the centre of it all is old Bartholomew, very much able to stand his ground at the banter thrown at him, yet also an older, wiser voice of calming reason to a new generation of Trinis.

Ultimately, Short Drop reminds us that no matter whatever our background is, whatever our race or sexual orientation may be; we all share a common humanity. Everyone has a story to tell in this melting pot of an island. We are all brothers and sisters, bound together in the journey through life. I invite all Trinbagonians to jump into Bartholomew’s “ole car” for this short drop of a film. It is most definitely worth the ride.

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Venezuelan filmmaker Jorge Thielen Armand’s movie La Soledad (Desolation) is about a house that is crumbling, a family that is falling apart, a country that is slowly dying. The plot follows Jose (Jose Dolores Lopez) as he seeks respite for himself and his family from the economic crisis that has befallen his nation. There is an other-worldy feel to the film as it seems to find itself caught between reality and fiction. The crumbling house, which is so central it’s like a major character in the story, was in fact owned by the director’s family. Almost bizarrely, the story is re-enacted by the real life participants – thus blurring the lines between documentary and fiction. Venezuela is very much in ruin. It’s art imitating life imitating art at its very best.

I found myself intrigued by the way three generations of Venezuelan women were portrayed. We have Jose’s grandmother, Rosina (Maria Agamez Palomino), his wife Marley (Marley Alvillares) and his young daughter, Adri (Adrializ Lopez). Rosina is a former maid to the house, and the pillar of the family. However, as with the house, Rosina is also falling apart physically, gravely in need of medicine. Marley is desperate to find a way out, looking beyond the borders of Venezuela for a solution. The adorable Adri is oblivious to the weight of the economic turmoil. She asks her father for milk. He replies, “the cows are on vacation”. Sometimes all one can do is smile through the tears.

This is the first feature film from the director, Armand, and he displays great assurance in his craft. La Soledad relies heavily on the use of symbolism and visual storytelling. Roman Polanski’s The Pianist seems to be a significant influence on Armand. There is also a supernatural element to the film that is paid off by clever and subtle foreshadowing. Each line of dialogue is carefully crafted and it shows.

Cinematographer Rodrigo Michaelangeli also does an exceptional job. There is a bleak, hollow honesty with each shot; characters often find themselves lost within a wilderness of rubble and debris. Scenes take their time, lingering to the point of making the viewer feel its weight. We see the fear and desperation in Jose’s eyes as he searches for food, medicine and money for his family. It is a slow burn of a film, but one whose flames sear into the soul. 

La Soledad is truly a bleak but honest reflection of Venezuela that needs to be seen. And seen again. 

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Adama, voiced by Azize Diabaté Abdoulaye, is a French animated film of a 12 year old boy from a secluded village in West Africa. After his brother, Samba (Jack Mba) goes missing, he makes it his responsibility to bring him home safely. Directly defying anyone that stands in his way, Adama goes on the classic hero’s journey, beyond the feared Cliffs, through “the land of breaths,” meeting interesting characters along the way.

The year is 1914, and they are in the midst of the first World War. Don’t worry, prior context is not necessary in order to enjoy this film. The film’s gorgeous animation pulls you out of it for a moment making it challenging to shift your eyes downward to read the subtitles. The animation style can easily be perceived as Adama’s childlike interpretation of the world around him. Establishing shots of his village are bright, picturesque and welcoming. As the film progresses, the lighting is slowly darkened, people turn into mere squiggles and sounds enhance. It also acts as a window to the mindset of Adama as he follows his brother into what is revealed to be no man’s land.

Adama is young and maybe not the smartest of the bunch but you’re rooting for him regardless. Whatever mistakes he makes, you may see them coming from a mile away and yet, you hold on to the edge of your seat and hope that maybe the fallout won’t be too bad. That maybe everyone he meets on his journey is lovely and kind. But alas, the world does not work like that.

For all its luster and charm, the film does not satisfy all of the senses. As the universe that contains this story expands, so does your curiosity. However, that thirst won’t get quenched. Expect to become a little parched when the subplot (for those with no knowledge of WWI) and a certain side character rears its head, and for a moment these appear to be more interesting than the main story. No spoiler here, I promise, but it ends on what can almost be considered a cliffhanger. The hero’s journey is complete but is it really? Realistically? After being taught to fear what is beyond the cliffs that border their village, would acceptance from fellow villagers come freely? Is the ending truly happy or does it reflect the naivety of the protagonist? Putting that aside, for a film with war as a major plot point, the tone still remains hopeful and buoyant. The film’s fast pace, sympathetic characters and amazing animation earns it a spot on the re-watch list, despite its minor flaws.

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A simple errand for their mother saw Corn and his sister Rita in the middle of a dilemma where they were now running behind time to pay their family’s debts. What would you do if you were going on your merry way and a goat crippled your plans? Yes a GOAT; called Vincent Van Goat no less.

Set in one of Colombia’s San Andres islands the beautiful picturesque landscape shows the island’s beaches and coastal area. It reminds you of our very own Maracas and its winding North Coast road.It’s interesting that this film is set in a Colombian territory but the entire story is conducted in Jamaican English, with English subtitles. The film underlines the notion of the intertwined histories and cultures of the Western Hemisphere. The San Andres islands, where the film is set, has strong historical links to Jamaica, and in fact, these islands are located in the Caribbean Sea closer to Costa Rica than they are to the South American continent.

Be prepared to do some reading with the subtitles if you are not familiar with Jamaican English/Creole. This film is a lot about sibling rivalry. Where the older sister cannot stand the mere sight of her brother but eventually would risk it all for that very said brother just to make him happy.

Bad Lucky Goat captures the story behind the so called curse of the duppy (malevolent spirit) or jinx that has derailed these siblings and their plans. Corn who is an aspiring artist sees himself as someone who is yet to be discovered but his sister clearly doesn’t share his sentiments and she prefers other singers over her brother’s harmonica music, which annoys her sorely. The tumultuous relationship between these two is what carries the film and makes it watchable and engaging.

The accident which claimed the life of the goat and also damaged the front of their father’s truck, is where the journey begins for these two. Although you can clearly see that Corn was the star of the show, Rita’s personality often showed her as the stronger character, bolder and taking risks in order to secure the money they needed to have the truck repaired.

This Caribbean tale is one of adventure, suspense, and even a bit of local myth. The film also gives us a greater appreciation for those who are close to us, especially our siblings. Siblings can all face the same consequences for their actions as the wrath of their mother or father seems to be greater than any duppy, jinx, or bad lucky goat.

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Le Gang des Antillais (Gang of the Antilles), based on a true story, is an ambitious film that explores the rise and fall of its flawed but relatable protagonist Jimmy. Jimmy is a Martiniquan who was persuaded to go to mainland France for its promise and opportunities. Instead of meeting a land of hope and honey, he has to precariously navigate the waters of a racially charged 1970s France. Adding to Jimmy’s challenges are the relationships with the women around him and his involvement in a world of crime.

This film hinges on themes such as colonialism and the sense of exile, alienation, and racism that colonials feel in the imperial ‘mother’ land. Le Gang des Antillais stands tall among top notch crime movies as it is loaded with action, riveting conflict, scenes of violence, bullets flying, double crosses, twists and turns and a protagonist that gets in way over his head. They are hints of ‘Scarface’ (an immigrant trying to make a life for himself), ‘American Gangster’ and also Tarantino styled ‘blaxploitation’.  The costumes and set design were wonderfully executed as I felt transported directly to 1970s Europe. Director Jean Claude Barney certainly did an amazing job with his limited resources.

The story of Jimmy, though familiar, is given considerable depth. We see him as he tries to escape his criminal association with the gang Bumidon; we hope for him as he tries to live a normal life with the woman he loves, Linda, as well as provide for his young daughter, Odile. But when times are hard and the promise of fast cash is ever present, Jimmy seems doomed to give in to the temptation of straying from the straight and narrow.

As the film progresses we see that the true conflict Jimmy faces lies deeper, as he is a man at war with his own violent nature. It’s a struggle that is exacerbated by the hard hearted French society at the time; racism was more mainstream than it is now, and Jimmy and his Caribbean contemporaries were fed a daily diet of hate.

With so many ‘gangster movies’ inhabiting the growing collection of films today, Le Gang Des Antillais is a welcome addition to the often overlooked Caribbean territory. If you’re a fan of these types of films Le Gang is a perfect selection for you. Personally I was riveted throughout and I am sure you will feel similarly thrilled by what is an excellently executed crime thriller.

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Co-directors David Maler and Andres Cubelo deliver a heart-warming, modern fairy tale with their film Reinbou (Rainbow). The year is 1965. The Dominican civil war has erupted. American troops hunt down rouge rebel fighters, their leader – the valiant Puro Leon (played by Hector Anibal) is the main target. Years later a good natured and inquisitive 7 year-old boy Maceta (played by Erick Vasquez) discovers a rainbow covered book that sends him on a quest for treasure. As the story of the book unfolds, Maceta discovers the truth about his past and the power of one’s imagination.

Reinbou serves as a piece of historical fiction with touches of fantasy elements. There is a definite Pan’s Labyrinth quality that runs throughout the film (though not nearly as dark). When Maceta discovers the mysterious book, the pages come alive (with beautifully animated images no less). A rainbow guides the wide eyed boy to discover past items buried beneath the ground. As Maceta learns later on in the film, “It does not matter how much you bury the past. It always comes back”.

A major scene that caught my attention occurs early on in the film. It happens when Maceta finds a red marble buried deep inside the muddy earth. He washes it, holds it up to the sky and sees the beauty in his discovery. One man’s trash is another’s treasure and these items, though worthless to some, are treasures to Maceta.

Editor Nino Martinez does an amazing job piecing together Reinbou. Past and present are blurred together and fantasy is merged with harsh reality by means of the film’s seamless editing. The result demands that the viewer pays close attention. As the book comes to its climax so does the film itself.  The payoff is both heartbreaking, yet hopeful.

Overall, Reinbou is a magical experience that reignited the joys of discovery and a sense of optimism that often resides in childhood. It reminds the viewer of the importance of the seemingly innocuous actions they make in life and how they will resonate through time, forever changing the future in one way or another. With such deeply moving themes emanating from the film I would recommend anyone to discover this treasure of a movie for themselves.

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Directed by Sérgio Machado, The Violin Teacher is a touching drama set in contemporary Brazil that revolves around Laerte (Lázaro Ramos), a middle aged, talented violinist who, after failing at his audition with the São Paulo Symphony Orchestra, sees his bills and debts piling up. An offer to teach a high school violin class in São Paulo’s notorious Heliopolis neighborhood cannot be turned down as he is struggling to make ends meet. This is not an easy task especially with his intense, perfectionist nature but the transforming power of music and the friendship which eventually forms between the teacher and the students make it possible for things to change.

However, trouble threatens some of the boys in the band as they are drawn to an easier life. This rough life leaves a tragic mark on his class. At the beginning of the film the story seems as predictable as its title, but then the director skillfully reminds us of present day Brazil and the hardships and dangers of living there.

This film seeks to bring into our experience a lifelong lesson that too many people learn the hard way; for every action there is a consequence, whether it is negative or positive. Laerte’s tries to choose a positive path for himself. His way of dealing with his pain and disappointment leads to him impacting the lives of many children for the better.

The film contains a remarkable level of violence yet never establishes a tone that would make it seem truly shocking, or even to a perverse degree, comic. For sometimes in this film, the characters extract light moments from the dimness that surrounds them; which strikes a life affirming note in the hearts of the audience.

The Violin Teacher is a winner. It is a crowd-pleaser with a conscience. 

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If your fancies are tickled when sheer bacchanal unfolds, this thirty minute short film is a must see! Be sure to walk with a napkin or two, as this exciting, drama-filled rom-com, The Weekend, explores on several levels, the contemporary issues of family life and relationships in Trinidad and Tobago.

From the onset, viewers are confronted with the struggles of being gay as well as the disputes that usually come from promiscuity or infidelity in any relationship. What adds to the energy of the storyline however, is the diversity of the characters, both in their personalities and in their ethnicities. The melting pot of Trinidad and Tobago is obliquely celebrated, as the film takes an open minded, liberal approach to issues that are still very thorny in “outwardly” conservative Trinidad and Tobago

At least, this appears to be what director, Sean Hodgkinson, attempts to do in the comedy laden scenes which help to mellow out what is still quite a homophobic society. Perhaps, Hodgkinson subscribes to the view that it is difficult to discriminate while having a good time and laughing.

Tucked away in the north coast of Blanchisseuse, the villa and its setting, evidently fuels the desires of those bent on mischief during the weekend to celebrate Greg’s birthday. Moreover, aptly done by main bachannalist, Ganesh, conflict is injected in almost all scenes with his unique delivery of gossip and confusion. This leads to those living secretive double lives to be exposed hilariously and poignantly. 

Belly stitches are inevitable, as characters, Claire, Christina and Heather all fall victim to Ganesh’s gimmickry and manipulation. Insomuch as conflict resolution goes, a voice of reason is heard among the madness which leads to an ending that you would not have predicted.  If you don’t like getting caught up in drama in your real life, but still like hearing and seeing other people’s drama, “The Weekend” will leave you feeling like you’re in the inner circle of all the bacchanal. 

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Lipstick Under My Burqa is an unconventional, highly controversial Hindi language work of art. This is the second feature film of director Alankrita Shrivastava; it was initially denied release in its place of origin because of censorship issues, however, her film has already garnered ten awards at several international film festivals.

The setting is in modern day Bhopal, central India. The scene opens with narration of the tantalizing tale of a lustful character named Rosy. This sultry narration serves as the backdrop to the riveting story of four women, each at a different stage in life but all sharing one common quest.

Rihanna, a young beautiful Muslim, graces the screen, hidden behind her burqa. She is wandering around in what appears to be an “American styled” cosmetic store and a red lipstick captures her attention. Rihanna quickly hurries out, lipstick in tow, to a ladies room, where she stuffs both her burqa and her inhibitions as a Muslim woman into her backpack. Rihanna, youthful and vibrant, is roaring with rebellion. All she wants is to discover her femininity. But this is patriarchal India.

Leela, betrothed to a chaste Hindu man, is a beautician who makes no excuses for her amorous appetite with her photographer Muslim boyfriend. An expert subject in front of the camera, she is the driving force behind a business idea she believes has immense potential. Leela is unafraid of risks and unashamed of who she is.  But there is little if any space for Leela’s spunk and prowess. And this is restricted India….. restricted and stifling for many women.

Shirin is the epitome of the typical, devoted Indian wife. Superwoman by day, she is armed with her homemaking abilities, natural maternal patience and superb sales skills at her secret job. Sexual object by night, she is pounded beneath the weight of submission by her husband, reduced to a mere fragment of her true self. Unbeknownst to her, but soon to be revealed, she can lift equal or more weight than any male counterpart. But this is gender biased India…and women are only just women.

Usha-Ji, is in her mid-fifties, widowed and looked upon by her extended family as a revered member and head of the family property. She is highly sought after for final family decisions. But in the comfort of her bed, she reads steamy romance novels, and slowly finds the courage to embrace her femininity and sexuality. Usha is looking beyond the confines of religion, tradition and societal expectations. A need that eluded her in her youth is beckoning now in her early silver streaked prime. It is alive, breathing and yearning, and on the brink of heated explosion.

But this is conservative India.

In a highly anticipated climax, Rehanna, Leela, Shirin and Usha, all struck down by a society unaccepting of female liberation and deeply steeped in religion, lift their burqas of constraint and apply dreams of a red lipstick. Because while Rosy, the narrator, may have misled them, she gave them the courage to dream!