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"Mountains are old, but they're still green."
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Here is what I have noticed: life is always a little clearer through a lens. That might sound trite, but believe me, it is true.
Movies have been foundational in my life for that reason: life becomes sharper and, often times, more beautiful through the lens. Maybe "more beautiful" is unfair -- it helps to see the beauty that is already present. It works as a highlighter, a spotlight, a corrective lens. A camera lens has the ability to bring to light the wonders all around us. Over and over again, movies show me things that, in real life, are so hard to spot.
Photography has grown to be this for me, as well -- it is a way to see life differently. The more time I spend behind the lens, the more it conditions me to truly open my eyes. Now, when I see something in "real life," I get the same rush of authenticity and beauty. An old building, full of graffiti and broken glass, in "real life" is an eyesore and "something the city shoulda taken care of years ago." An old building, full of graffiti and broken glass, when seen through a lens, becomes a pleasing texture -- a lovely backdrop -- an imperfect treasure.
It may be a subtle shift in perception, a simple difference of millimeters, but the end result is truly life changing. Life affirming. Life defining. I am now beginning to question: which is reality and which is fabricated? Has "real life" been so filtered by prejudice, fear, and selfishness that it is warped and misleading? Perhaps life seen through a lens is more true, more pure, more honest.
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Netflix has been releasing so many "originals" recently, I thought I should chime in.
"Bird Box" has been all the rage lately. I teach high schoolers, and high schoolers love dumb stuff; and they love "Bird Box." Because of all the discussion and hype, I decided it was time for me to watch. It begins with a pregnant woman named Malorie (Sandra Bullock). She, apparently, is a misanthrope and a regular grump. Why? I don't know.
As she is driving with her sister, things get weird. I'm talking W.E.I.R.D. Not like, "Hey, is that pedestrian wearing a 17th century powdered wig?" More like, "Hey, is that pedestrian smashing their (powdered wigless) skull against a parked car until certain death?" That scene goes on and on, people dying everywhere. Malorie watches her sister die then scrabbles into a strange house.
Inside the house we meet Tom (Trevante Rhodes), Douglas (John Malkovich), and an assortment of other motley cliches. After the confusion settles, we all magically understand that this sweep of hysterical-death is caused by sight. By seeing the thing in the wind. Why? I don't know.
After a time, we decide to journey into the unknown wearing blindfolds, or driving a car using only GPS, or putting a thin blanket over our heads, or just plain wingin' it. The destination: some place exempt from the unstoppable-wind-monster-thingy. Why is it exempt? I don't know.
Can you tell if I liked it? I tried to be subtle, but it is just not a good movie. Frankly, it is terrible. The drama is shallow. The gore is predictable. The characters are tired. The dialogue is stock. The ending is straight dumb. Even the horror is random nonsense. If you are in the mood for an unclear and disappointing two hours, go ahead and stream "Bird Box."
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REPORT CARD: "Bird Box"
Grade: D
Comment: Vague in all the wrong places
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Netflix has garnered massive acclaim for its release of "Roma." Alfonso Cuaron's latest picture. This is Netflix's first real shot at winning a Best Picture Oscar. With buzz like that, you know I was excited to see it. I have been a fan of his for years; his rich visuals and masterful composition are inspiring.
"Roma" begins with art. Movement. Sound. Texture. It is nothing more than water being used to clean, but the effect is beautiful. Good start, Mr. Movie.
We are introduced our heroine, Cleo (Yalitza Aparicio), as she cleans a wealthy family's home. Cleo works as a full-time, live-in maid for a doctor and his family of six in Mexico City. Despite her long-standing employment with this family, it is still a picture of class separation and economic disparity. Appreciated, for sure, but loved is a stretch.
It isn't all work, though -- we watch Cleo off-duty: movies, laughter, relationship. We meet her boyfriend Ferman...every part of him, by the way. This would be a scary movie to watch in 3D, if you know what I mean. He seems very genuine, very loving, very sensitive, but turns out to be very selfish in his pursuits and aspiration. There is no room for Cleo any longer; when Cleo attempts to tell Ferman of her pregnancy, he is aggressive in his refusal and violent in his dismissal. Cleo is left to struggle alone.
Will her job accept her pregnancy? Can she create a world fit for a child? Can she balance a baby alone? Amidst all these questions, turmoil surrounds Cleo: political unrest, civilian revolt, violence, instability in the work-home...you name it. All the while, Cleo silently suffers.
Let me begin by saying how beautiful this movie is. The cinematography, which is done by the director himself, is epically full yet intimate at the same time. Every movement and decision seem purposeful and poetic. He has learned well under his old partner Emmanuel Lubezki, my all-time favorite cinematographer. I am beyond impressed by his ability and vision. Not only did he direct and serve as cinematographer, he also wrote, produced, and edited this film. Talk about a "passion project."
Overall, this film is a true masterpiece. Many moments are seared into the viewer, unforgettable. Many moments are glorious in their refined beauty. Many moments are richly-symbolic and unending in their understanding: from water to planes, the meaning is there but the interpretation is personal.
It is so good, you forget that the whole thing is in subtitles. That is the mark of a great movie.
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REPORT CARD: "Roma"
Grade: A+
Comment: Touching, affecting, moving...lots of other "ing" words