ttff/17 rbc future critics

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.

A week before the national budget, and on Republic Day, on Sunday at the Hyatt Regency hotel in Port of Spain, two persons with experience working in, and with profitable creative industries internationally, clamoured for Trinidad and Tobago to tap its creative industries, as a low-hanging fruit, for economic diversification.

Costa Rican Ambassador to T&T Lilly Edgerton Picado said she finds T&T’s creative industries so enormous it is “mind-blowing”. She was sharing tips at the Inter-American Development Bank (IDB) event at the 2017 Trinidad and Tobago Film Festival, on what T&T could do to make money from its creative industries, based on her experience in her own country.

Costa Rica was one of the countries featured in the August-released IDB paper “The Orange Economy”. The “orange economy” covers the creative industries, including the arts.

NOW nearing the end of its annual two-week run, the Trinidad and Tobago Film Festival 2017 has once again brought to light more than 100 fabulous works of the creativity and the artistry of Caribbean peoples on screen, demonstrating the great capacity for story-telling across this region.Trinidad Express Newspapers_ Editorial _ Film festival treasury

Among this year’s offerings were three features on the importance, the relevance and the meaning of this country’s national instrument, the steelpan, to communities where they exist.

To Be A Renegade, a documentary directed by film-maker James O’Connor and produced with significant sponsorship and involvement of bpTT, is a story about the birth, the beginnings and the endurance of the band, known for decades now as BP Renegades.

From its birth in the heartland of the depressed East Port of Spain district, the band grew into a compelling force for positivity, headquartered on upper Charlotte Street.

Great focus was placed in this story, on the work of the band in nurturing young talent, with the existence of a junior band, which has captured the Junior Panorama title on four successive occasions.

It is the band management’s philosophy in action, of playing its part in coming between the energy of the area’s youth, and the possibility of falling into the society’s social cracks.

The members and the leadership of this “young Renegades” outfit tell their own tales, in their own words, about acknowledging the challenges, and equally about helping to provide alternatives for their peers. They learn the elements of leadership, of organisation, of social structure and of focus and discipline.

The 12th T&T Film Festival closes with a spectacular bang today, with a terrific and groundbreaking film selection that was not picked before only because of the limitations of programming schedules. For many people, this will be the film of the festival.

All Caribbean films must start with the waves, the sea. It’s a rule that Bogotá-born director Samir Oliveros isn’t about to break in his crowdfunded debut Bad Lucky Goat.

To be fair, his opening is novel. A decapitated goat’s head floats peacefully by.

This was one of two films made on the same Colombian island screened at the TT Film Festival which ended yesterday.

Keyla was the other. Isla de Providencia’s population of just 5,000 might be forgiven for wondering when the big guns in Hollywood will discover this sleepy patch of paradise.

Apart from a tame Carnival, horse races on the beach and clandestine jet-ski drug-running, not a lot happens here.

Which is why a missing goat is enough to rouse the excitement of Oliveros’ fictional Port Paradise police force.

ttff/17 rbc future critics

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. 

ttff/17 rbc future critics

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.

ttff/17 rbc future critics

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.

ttff/17 rbc future critics

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.

Green Days by the River, T&T filmmaker Michael Mooleedhar’s film adaptation of the Michael Anthony novel, premiered at the T&T Film Festival on September 19. In this essay, Caribbean visual arts scholar Patricia Mohammed examines the film’s style and substance.

CONTINUED FROM LAST WEEK

In his film adaptation of the Michael Anthony novel Green Days by the River, Michael Mooleedhar is not just interested in the remembrance of things past but in documenting the identity of a society in the making, locating the many parts that accumulate to the collective identity of this nation.