Otto and Ana are kids when they meet each other. Their names are palindromes. They meet by chance, people are related by chance. A story of circular lives, with circular names, and a ... See full summary »
Hallam's talent for spying on people reveals his darkest fears-and his most peculiar desires. Driven to expose the true cause of his mother's death, he instead finds himself searching the rooftops of the city for love.
A retired legal counselor writes a novel hoping to find closure for one of his past unresolved homicide cases and for his unreciprocated love with his superior - both of which still haunt him decades later.
Juan José Campanella
Max is on his way to Tokyo. He lives in Paris and likes to flirt but has decided to get married. By chance, he seems to have seen Lisa, his greatest love, in a cafe. Max forgets everything,... See full summary »
Otto and Ana are kids when they meet each other. Their names are palindromes. They meet by chance, people are related by chance. A story of circular lives, with circular names, and a circular place (Círculo polar) where the day never ends in the midnight sun. There are things that never end, and Love is one of them. Written by
Otto jumps from his plane at 66°33"40' North, 02°55"05' East. These are the geographic coordinates that Ana wrote on her letter to Otto, to mark the location where she was staying in Finland (Rovaniemi). But if he really would have used these coordinates he would have jumped right into the Atlantic Ocean. The (almost) correct location of the cottage where Ana was staying is 66°33"40' North, 25°55"05' East. That is also the same location that the old Otto points out on his map when he and Ana meet each other for the first time in his apartment in Rovaniemi. See more »
Do you always sleep under your bed, naked? Give me a good morning kiss.
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"En el recuerdo de mi padre" - In memory of my father. See more »
It is a lacy filigree in what it is, essentially a story about longing, urges and space. But that filigree extends to the nature of the space that surrounds the story on screen. And the motion of weaving extends further to the shape of the narrative threads which present the story and urges.
Some viewers will be put off by the structure. It may seem contrived or mechanical, though hardly more so than the usual way which rigidly starts at the beginning and rolls in only one direction. To others it may seem like a lot of unnecessary work. Well, it does require some engagement, but that's the nature of poetry. And unlike "Irreversible" and "Mememto" there's more to it than merely sharing the discovery of knowing with the main character.
I'm convinced that there is a mode of storytelling, the deepest, richest, most rewarding mode... a manner of structuring narrative in such a way that we are "folded" into the story, both watching and participating.
I further believe that the most powerful of folds have geometric structure. We are after all geometric thinkers at root. We think we live in a world of shape and form and reason about that world in the same way. All this is underscored in cinema, which reshapes that real world in ways that we can handle and examine. I'll go so far as to posit that the best art has a story, a presentation of that story and an annotation of the nature of art and presentation, all using the same strokes and shapes.
Geometric folds, cosmologies, readable structure.
Medem is our current master of this. His "Sex and Lucia" goes much further than this in the complexity of structure and the circularity of urge weaving future pasts. But this has an appeal in its simplicity.
As with "Lucia" (a scrambled "Alice" story), you can start anywhere "Hopscotch" -wise and build from there on reflection after leaving the theater. Were the lovers related? Was the girlfriend his mother? Did they even ever meet on the plaza? Did he die in the trees after weaving a happy virtual life? Or was it one circular boyish ejaculation under his bed? Along the way, look for airplanes: starting with a zillion paper airplanes thrown out a window with a message so dear that it changes everyone it touches. Overlap that with the image of having the courage to come back in through the (same) window and touch someone with love.
There are a few patterns in the lace here that you will take with you for the rest of your life. And anything that can do that, and do it using the language of dreams in such a way that makes love more lucid if it can do that, you'll want to see it, handle it, co-invent with it turn it over in your mind, a golden woven solid of wires as geometric urges.
And it is so much richer if you know the story between the filmmaker and his father to whom this is dedicated. And that Medem's own son plays the boy. Start with "Lucia." Its a masterpiece. Then absorb this.
Ted's Evaluation -- 3 of 3: Worth watching.
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