Tom of Finland (2017)

Tom of Finland is a likeable but hastily drawn sketch of the Finnish soldier and artist whose work is responsible for many a gay man’s wet dreams.

Tom of FinlandFinland
3*

Director:
Dome Karukoski
Screenwriter:
Aleksi Bardy

Director of Photography:
Lasse Frank

Running time: 115 minutes

Pencil sketches of muscle men, leather uniforms and enormous penises. These works of art, long produced underground before finally making their way to gallery exhibits and then even onto a few of Finland’s stamps, are the creations of Touko Laaksonen. “Tom of Finland”, as he would later be known, came of age during the Second World War and put his fantasies on paper in order to forget about his miserable experiences as a soldier and as a man trapped in an ultra-conservative and very anti-gay society.

Some of the early scenes in Dome Karukoski’s Tom of Finland take place in Helsinki ahead of the 1952 Olympic Games and show the police clearing out a park that has become a popular cruising spot for the city’s gay community. When they catch men doing the old in-out against a tree trunk or kissing in the shadows of heavy foliage, they gang up to beat the victim with their truncheons until he can no longer offer any resistance. It is a chilling reminder of how backward and intolerant some Western societies were – and not long ago. Finland, where same-sex marriage only became possible in March 2017, had taken until 1971 to decriminalise homosexuality, although Tom of Finland (perhaps purposefully) neglects to tell us this and thus sketches a conservative Finnish society forever threatening to people like Laaksonen, portrayed by Pekka Strang.

Dome Karukoski’s biopic of arguably Finland’s most famous artist snaps from one narrative block to another as it scrambles to cram around four decades of life into two hours while pretending to take its time. The first 10 minutes alone cover four separate periods in Laaksonen’s life, and over time, we return to almost all of them in the same fitful, fragmentary manner.

The scenes have room to breathe, but the transitions between them are abrupt and often leave us scratching our heads about the missing amount of time. In addition, the two hours are rather awkwardly framed by a major leather event that, while it offers a powerful culmination and affirmation of Laaksonen’s life, feels rushed and tacked on without any proper groundwork.

There are very few narrative threads that cut across the entire film, although one of the most important (albeit, regrettably, one of the weakest) involves Laaksonen’s sister, Kaija, who never manages to accept his sexuality. Throughout their lives, she lives in bitter denial that homosexuality even exists. We gather that she wants to ignore the tragedy of her own life as a spinster by focusing on her brother’s life, even as he ends up spending most of it with a loving partner, Veli “Nipa” Mäkinen (played by the gorgeous Lauri Tilkanen).

Unlike in another biopic of a gay artist (Julian Schnabel’s glorious depiction of Cuban poet Reinaldo Arenas in the inimitable Before Night Falls), the society portrayed in Tom of Finland is one of binary oppositions. The only person who does not fall neatly into the “gay = good”/”straight = menacing” categories is the quiet wife of an army captain who tolerates her husband’s meetings with other men. It is a real pity we do not get to see more of her, or of her kind, in this film.

As far as “Tom” himself is concerned, it remains unclear whether he ever feels like he fits in. Certainly, on his first trip to California, in the late 1970s, the warm weather and the men holding hands in public immediately signal a break from the frigid confines of Helsinki, where people still give him a dirty look if he is too intimate with Nipa. Towards the end of his life, Nipa has a persistent cough, and although his death is ultimately ascribed to throat cancer, the film’s ambiguity suggests he was very likely an early victim of the as yet undiagnosed AIDS virus.

Laaksonen, whose graphite sported members the size of baseball bats, also had a thing for leather, but we never get any indication of where this fixation originated. Perhaps it goes back to his early focus on men in uniforms, although we can’t be sure. His muse, a leather-clad biker with a prominent moustache and a police cap, is the imaginary Kake (Niklas Hogner), who becomes a central character in his work. Laaksonen says he is only satisfied with his own work if it makes him hard, but we never see him hot and bothered, even in the company of an imagined Kake, nor, for that matter, do we see anyone else getting horny from his pictures. This is a truly mystifying omission, as the film would have benefitted immensely from showing how Tom of Finland’s works offered pleasure to the gay community at large – or to himself.

Tom of Finland is more a patchwork of moments in the title character’s life than an engaging story of his life, his struggles and his motivations. By the end of the film, we still don’t know much about him, and while his Second World War trauma revisits him from time to time, these flashbacks are too scattered and superficial to add much to our understanding of his emotions. Karukoski’s film is unprovocative and doesn’t dig very deep. And although we get one or two vague notions of the life of a ground-breaking artist, the story leaves us unaffected.

Milada (2017)

First biopic of Milada Horáková, who resisted the Nazis but was executed by the communists in Czechoslovakia, is an utter disappointment.

MiladaCzech Republic
2.5*

Director:
David Mrnka

Screenwriters:
David Mrnka
Robert J. Conant
Robert Gant

Director of Photography:
Martin Štrba

Running time: 125 minutes

Milada is about one of the most heroic characters of the 20th century and among her native Czechoslovakia’s most tragic figures under the country’s decades-long totalitarian rule. Filmmakers had avoided telling her story for a long time, but nearly 70 years after a show trial staged by the country’s communist regime and a decade after new footage of the excruciatingly biased nine-day trial was discovered, we finally have a film meant to share the full story with us. It is painful to watch – but for all the wrong reasons.

The film depicts nearly two decades in the life of Milada Horáková, an outspoken Czechoslovak lawyer who came of age at the same time as her country and was active in the resistance during Nazi occupation. Despite an initial death sentence, she was eventually imprisoned until the end of the war and elected to the Constituent National Assembly, but after the communist coup in February 1948, which she vehemently and vocally opposed, she was arrested and ultimately executed.

And yet, despite its basis in real life, Milada is an atrocious piece of filmmaking. First-time director David Mrnka clearly made an effort with period costumes, but whether because of a lack of money, of creativity, or of filmmaking experience (likely all of the above), the film commits one sin after another.

At a very basic level, the transitions between scenes are laughable. Mrnka seems to believe he has only two tools at his disposal: the spinning newspaper headline (to provide wider historical context, the way films did at the time) and the fade-out (to indicate the passage of anything from hours to years). Both of these processes are sorely overused and suggest an editor asleep behind the console.

The intention was never to borrow filmmaking techniques that were in use in the 1930s and 1940s, however, as we get five almost identical sequences of Horáková’s family in the car in 1948/1949, driving along the same road in the Czech countryside to visit family close to the border, while many of the shots are obtained by drone. Now, obviously, drones have no business in a historical film unless they are used, as in Milada’s final minutes, in the context of a shot whose existence is not tied to a specific moment in time. The use of the drone – not one, but FIVE times – is nauseating, onanistic and entirely inappropriate.

There is little to say about the copious use of the fade-out – a shake of the head and a deep eye-roll will suffice. But sometimes the fade-outs are so obtrusive that they terminate a scene before its emotional climax. The scene in which Milada is taken away by the State Security is staged in such a way that her husband, Bohuslav Horák, watches her being driven away as he hides behind a corner. When the car passes, we get a point-of-view shot from inside the car, which implies Milada sees Bohuslav’s shocked face. But before we get a reverse shot from Bohuslav’s POV, the editor presses the “fade out” button, ending the scene prematurely and completely forgoing a shot that would have taken our breath away.

Ayelet Zurer, an Israeli actress with a Czechoslovakia-born mother, stars in the lead. The entire cast is made to speak in a Czech-inflected English, but only the Czech players can do this convincingly. In addition, Zurer likely didn’t have enough time to prepare, as her accent is not only generally bad but also inconsistent: Sometimes within a single sentence she can’t decide whether to roll her r’s or to pronounce them the American way (Czech only has rolled/trilled r’s). Other non-Czech actors also struggle mightily with the accent, and Robert Gant, who plays Bohuslav, settles on something akin to a Russian accent, which, considering that his character is wholly opposed to Soviet influence, is very unfortunate.

Even the bookends, which feature Horáková’s daughter, Jana, collecting her late mother’s letters to her from the newly elected democratic government shortly after the collapse of communism, miss the mark completely. We are told that Jana fled to Washington, D.C., in 1968, where she has lived since then. And yet, when actress Taťjana Medvecká speaks English, there is not even a hint of an American accent in her speech; on the contrary, the accent is entirely oriented towards British English.

But what is most jarring in this production is the lack of introductions to major characters. Jan Masaryk, the son of Czechoslovakia’s founding father and a long-time diplomat, is shown on the night of what is widely assumed to be his murder (although oddly enough, the film presents his death in a very ambiguous way). But he is barely introduced, and those unfamiliar with Czech history are unlikely to know what or whom they are looking at. Other characters, from Alois Schmidt, who appears to be an associate of Horáková’s, to the callous state prosecutor Ludmila Brožová-Polednová, right up to the slightly comical Prime Minister Klement Gottwald, are either not introduced by name or sketched so superficially that the uninitiated will struggle to understand their role in the events.

Most bizarrely, Horáková’s alleged co-conspirators appear out of nowhere at the trial. We have never seen them before, and we can easily assume she had never met them before, but that is not historically accurate. The film ignores the fact that five of them had the same party affiliation as her. Nonetheless, there is absolutely no contact – not even a sympathetic or a fearful glance exchanged – between them.

Finally, the staging of the show trial does not make anything dramatic of the vulnerable position in which Horáková is placed: a slightly raised podium in front of a long row of judges and Communist Party officials, where the defendant is made to stand awkwardly in full public view. There is no creativity to the camerawork or the composition of the visuals. Instead, we basically get a colourised version of the original television footage. 

Perhaps the only thing Milada does right is to suggest that, in some respects, the communists were far worse than the Nazis. This comparison remains a sore point in present-day Czech society. Nazis, and Germans more generally, were thrown out of the country after the Second World War; by contrast, the communists stayed and remained part of society after the collapse of their regime. But when we learn that Milada Horáková was allowed to see her family when she was imprisoned by the Nazis, while the Communists refused any and all contact, it is impossible to ignore the contrast. The film’s courage to speak the truth in this regard is commendable.

Despite the exemplary life and tragic death of its titular character, the film is an utter failure. It provides a vague outline of events, but the myriad fade-outs are simply farcical, and the mediocre performances and the badly structured narrative keep us at arm’s length from the flow of history that should have swept us off our feet.

Tambylles (2012)

By deliberately avoiding all forms of confrontation, this very uneven hourlong graduation film turns its main character’s already undramatic existence into rigid stasis.

TambyllesCzech Republic
2*

Director:
Michal Hogenauer

Screenwriters:
Michal Hogenauer

Markéta Jindřichová
Director of Photography:
Adam Stretti

Running time: 58 minutes

Tambylles (a title that translates as Therewasaforest), a one-hour film that Michal Hogenauer made as his FAMU graduate film, is as uncomfortable to watch as its main character, an anonymous young guy from a small Czech town who has recently been released from a juvenile detention centre. Stripped down to very minimalist scenes and a lead actor who always has to contain his emotions, this film is not particularly viewer-friendly.

At first, we seem to be watching a documentary: An increasingly annoying filmmaker is interviewing people and asking persistent, provocative questions. But slowly, as the credibility of the staging becomes more and more suspicious, we realise this is a film within a film, with the fictional filmmaker presented inside more static, well-composed images. Luckily for us, director Hogenauer’s preoccupation with form is done away with more or less as soon as this fictional filmmaker’s attempts to provoke confrontation fail to deliver and he leaves the central plot.

These well-composed images are certainly one of the highlights of the experience of watching Tambylles, although I found myself tuning out very often because there is so little to tune into. Though the fictional filmmaker tried to construct the first 15 minutes of the film in a way so every interview is interrupted in order to create a cliffhanger, our anticipation constantly heightened, we find out very little about the central character and the events that sent him to the Big House. “Everyone one should know what he did”, says one character. Yes, they should, but what is it?

Given the fact this central character says so very little, becomes more and more isolated from society and from us and isn’t even given a name, he does not represent something universal – rather, he fades out in every scene to which he is supposed to bring some substance, or interest.

Nonetheless, actor Ivan Říha has captivating eyes that pull the viewer toward the screen. Despite his character’s visible solitude, a completely unbelievable domestic situation – not just the lack of chemistry between him and his parents but a lack of any feeling whatsoever – and a lack of much to hold on to in terms of character traits, we certainly want to find out more, and he offers the promise of something more. Unfortunately, he never fulfils that promise.

It is difficult to become involved in the development of a film that is going nowhere. We keep waiting for confrontations that Hogenauer instead chooses to avoid. The confrontation (provoked by the fictional filmmaker) between him and the mother of his victim is wordless and actionless; the confrontation between him and the fictional filmmaker consists of him grabbing the camera and storming off, though this action is elided by means of a cut; the confrontation between him and his boss, who discovers his secret, is avoided when he storms off, again; and a final suicidal confrontation is shown without any sound.

Minimalism is one thing, but deliberate obstinance is another. Říha’s face (the only thing the character has going for him) can only interest us for a limited time, and that time is much shorter than the film’s 58-minute length.

Hogenauer shows great promise with his camera, but the images he creates cannot inspire us to sympathise with a character who encounters resistance everywhere he goes. Moreover, we have no real clue about his past and don’t get an insight into his feelings in the present. Along the way, a character played by Hogenauer himself steals away the girl who might have brought this guy out of his shell. A fitting metaphor.

Star Wars Episode IV: A New Hope (1977)

The first (i.e. the fourth) Star Wars changed the space film forever, and while it makes a few missteps, the strides it took have enriched mass entertainment to an incalculable degree. 

Star Wars Episode IV: A New HopeUSA
3.5*

Director:
George Lucas

Screenwriter:
George Lucas

Director of Photography:
Gilbert Taylor

Running time: 125 minutes

Alternate title: Star Wars Episode IV: A New Hope

This is one in a series of reviews including:
The Phantom Menace (Episode I)
Attack of the Clones (Episode II)
The Revenge of the Sith (Episode III)
The Empire Strikes Back (Episode V)
– The Return of the Jedi (Episode VI)
– The Force Awakens (Episode VII)

“It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire.

During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet.

Pursued by the Empire’s sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy….”

This is where it all started: in the middle. In 1977, George Lucas, who had turned 33 just a few days earlier, released his third feature film, the first part of what would become a trilogy, and ultimately the first trilogy of three. It featured three main characters – Luke Skywalker, Princess Leia and Han Solo – and would become not just a cult science-fiction but also an incredibly popular film overnight, racking up more than $300 million at the time. For a film made for just $11 million (around $46 million in 2017), that is quite an achievement.

Star Wars has gained a major following over the years, even though its status as a foundational piece of blockbuster entertainment was slightly tarnished by the “origin trilogy” (the so-called prequels: Episodes I, II and III) released 1999–2005. In Star Wars Episode IV: A New Hope (originally released as “Star Wars“), the cornerstone of the series, the story starts in medias res, and there are frequent reminders of events the viewers of 1977 had no knowledge of. Mentions of the Clone Wars or dramatic irony would only be revealed with the release of the prequels many decades later. Thus, while the film slots well into the overarching story, it can also be rather frustrating for the uninitiated.

But that is quite beside the point. Those unfamiliar with the back story might be slightly misled, but the result is slight mystery instead of confusion, and the effect is a desire to know more. By contrast, Star Wars fans who have seen the earlier episodes will be up to date on the details of the Empire, but the mystery will turn into an appreciation of why certain kinds of information are being misrepresented or withheld. And the experience is at times incredibly moving.

Such is the case with Obi-Wan Kenobi, whom we get to know here as “Uncle Ben”, a solitary individual who has lived for decades deep inside the rocky region on Tatooine called the Jundland Wastes. At the beginning of Episode IV, the small but chirpy R2D2 unit is given a hologram message by Princess Leia of Alderaan to deliver to Obi-Wan. Thus, this droid, along with its gold-plated humanoid robot companion C3PO, arrives on Tatooine, where it is promptly abducted by the tiny cloak-wearing Jawas and sold to the Lars family, to whom Obi-Wan had delivered Luke as a baby.

Luke’s family is his uncle and aunt, and whenever his father comes up in a conversation, usually very obliquely, Luke is all ears, but there is no mention of him beyond his death. Thanks to earlier episodes, we know something the character does not, which is very effective in setting up expectations and creating tension. Viewers of the film back in 1977 did not share this knowledge, and thus the revelation of Luke’s heritage in Episode V would come as a complete surprise. At last, watching this film in the correct chronology (after the earlier episodes), we immediately understand why Obi-Wan responds with such a chilling silence when Luke tells him: “I wanna learn the ways of the Force and become a Jedi, like my father.”

Episode IV reveals what an important role the droids, R2D2 and C3PO, play in Luke’s evolution. An orphan raised on an isolated farm somewhere on the dusty planet of Tatooine, he appears to be stuck in a rut until the family needs a new droid. When he and his uncle go shopping, they buy C3PO, but instead of his trusted companion, they opt for R5D4, a red-coloured droid. Fortunately, this R5 unit malfunctions (the film doesn’t show this, but there is widespread suspicion, based on subsequent novelisations and radio performances, that R2 sabotaged the droid on purpose), and R2 ends up in the hands of the Larses.

Arguably, without R2D2, Luke would not have seen the hologram destined for Obi-Wan, in which Leia begs the old Jedi master for help and requests that he go to Alderaan to deliver the plans hidden inside the droid. Taking a fancy to Leia, hearing about the Force from Obi-Wan, receiving his father’s lightsaber and losing his adopted family, he decides to set off for Alderaan. In no small measure, all of this is thanks to R2D2.

But to get there, they need a spaceship and someone desperate enough for money to steer it. They manage to persuade Han Solo, a full-time smuggler (emphasis on the “smug”), who brings along his giant hairy companion, Chewbacca. While Han Solo’s gift of the gab ensures a constant volley of good-natured insults that he lobs with both charm and admirable dexterity, he should not be underestimated. Inside the Mos Eisley cantina, shortly after Han strikes a deal with Obi-Wan, he is confronted by Greedo, a bounty hunter who has come to collect him dead or alive. Han shoots Greedo point-blank without blinking.

Now, it’s worth pointing out that, in the version released in 1977, Han Solo shot first. It is clear as day. Greedo was fighting with nothing but his rhetoric. But George Lucas, who loves to tinker with his own work, creating a new director’s cut as technology allegedly catches up with his vision, had Greedo shoot first (with a gun that appears out of nowhere) in the 20th-anniversary re-release in 1997. In yet another release, the two seem to shoot simultaneously, but Greedo misses. Whether this is of any consequence is a good question, although Lucas seems to think it does. Then again, Lucas has changed or added so many (often extraneous) details that we should honestly ask whether his vision will ever be complete, and whether his vision even matters. Probably not. But this was obviously not a question of technology catching up; this is just blatant re-directing.

What everyone remembers about Han Solo is not his indifference to killing people but his pointed quips, which, whether delivered to an enemy, a friend or a potential love interest (he keeps referring to Leia with variations of “Your Worship”), never cease to entertain us.

Lucas’s streak of comedy here is much stronger than his subsequent, fatally cringeworthy attempts in the origin trilogy, and the only reason is Harrison Ford’s comedic timing. Leia’s unflappable demeanour goes a long way towards establishing her stability amid the adrenaline, the hormones and, frankly, the emotions of the men around her.  

But the director, here as in most of the other episodes he helmed, with the possible exception of Episode III, is hopelessly inept at staging action scenes. Blaster bolts usually shoot into all directions, no matter how much training the one behind the trigger has, and the shootouts aboard the mammoth Death Star space station are particularly slipshod when the images recede behind a blur of seemingly random streaks of red plasma.

In other respects, however, the film’s undeniable visual effects accomplishments had arguably as much of an impact on the genre as Stanley Kubrick’s 2001: A Space Odyssey. Obi-Wan, in perhaps the most understated but most important line in the franchise, tells Luke, “The Force can have a strong influence on the weak-minded.” In a way, all viewers of Star Wars were uninformed and weak-minded before they laid their eyes on this raucous space opera. But Lucas fixed that, and this single episode would continue to make ripples decades down the line.

Star Wars Episode VII: The Force Awakens (2015)

Episode VII: The Force Awakens, the first of three new Star Wars films, offers new hope for a brand tarnished by George Lucas’s prequels by hewing close to the original trilogy.

Star Wars Episode VII: The Force AwakensUSA
4*

Director:
J.J. Abrams

Screenwriters:
Lawrence Kasdan

J.J. Abrams
Michael Arndt
Director of Photography:
Dan Mindel

Running time: 135 minutes

This is one in a series of reviews including:
The Phantom Menace (Episode I)
Attack of the Clones (Episode II)
The Revenge of the Sith (Episode III)
– Star Wars / A New Hope (Episode IV)
– The Empire Strikes Back (Episode V)
The Return of the Jedi (Episode VI)

“Luke Skywalker has vanished. In his absence, the sinister FIRST ORDER has risen from the ashes of the Empire and will not rest until Skywalker, the last Jedi, has been destroyed.

With the support of the REPUBLIC, General Leia Organa leads a brave RESISTANCE. She is desperate to find her brother Luke and gain his help in restoring peace and justice to the galaxy.

Leia has sent her most daring pilot on a secret mission to Jakku, where an old ally has discovered a clue to Luke’s whereabouts….”

“Luke Skywalker has vanished”, declares the first line of the opening crawl in the early moments of Star Wars Episode VII: The Force Awakens. The text that sets the scene follows the same pattern as in all previous instalments — we get full names, even if the characters are familiar to most of us, and the sentences are presented as three short paragraphs — but that is not where the similarities end.

In fact, in numerous respects, this latest episode was clearly made with the Star Wars fan in mind. Unlike the unmitigated disaster that was most of the “prequel trilogy” (episodes I through III, released 1999–2005 under the direction of series creator George Lucas), Episode VII is cut from the same cloth as the original trilogy, and not just because it uses wipes to transition between scenes. The events may be set decades into the future, and our friends have become old, but this is still the same galaxy, and even the narrative takes its blueprint from the first film, released in 1977 as Star Wars and subsequently titled Star Wars Episode IV: A New Hope.

In broad strokes, without revealing too much, the plot revolves around the quest to locate Luke, the last remaining Jedi in the galaxy. To this end, characters like Han Solo, Leia and Chewbacca make a return, which is no surprise, as they have featured prominently in the trailers. They join up with some novices, including a disillusioned Stormtrooper, FN-21871 or “Finn” (a mostly winsome but sometimes overly enthused John Boyega), and a young woman named Rey (an absolutely stunning turn by Daisy Ridley) who lives in solitude in the desert landscape of Jakku.

Their enemy is the force that has replaced the former Empire and calls itself First Order, led by a physically towering individual, at least from the looks of his hologram, titled Snoke (created by motion-capture performer Andy Serkis), who serves as the order’s supreme leader. His apprentice is Kylo Ren (Adam Driver), who with his black cloak and facemask resembles the man he adulates: the original trilogy’s villain, Darth Vader. Ren’s origin story is one of the film’s big twists, and its shock value almost rivals that of the narrative reveal in Episode V: The Empire Strikes Back, namely the relationship between Luke and Darth Vader.

The screenplay, co-written by director J.J. Abrams along with Episode V scribe Lawrence Kasdan and Little Miss Sunshine writer Michael Arndt, marks a pleasant departure from the Lucas tradition of bad sci-fi screenwriting. While the opening line of the series in Episode I was the detached and uninspiring “Captain … tell them we wish to board at once”, Episode VII gives us Max von Sydow as Lor San Tekka, an elder on Jakku who is helping the resistance. We meet him and the young pilot Poe Dameron (Oscar Isaac) in the middle of the night at a secret meeting where Tekka speaks the first words while handing Poe a small object: “This will begin to make things right.”

In a way, Tekka’s words are applicable to the entire film, which obviously sought to right the ship after Lucas had tarnished his own brand, and Episode VII’s determination to stay close to the original trilogy pays off handsomely. The desert planet of Jakku calls to mind Luke’s home planet of Tatooine; the inside of a bar on Takodana, a planet so verdant it leads Rey to exclaim she never knew there existed so much green in the entire galaxy, looks a lot like the notorious Mos Eisley cantina from Episode IV; and the First Order’s callous, indiscriminate annihilation of entire planets obviously references the Death Star’s destruction of Princess Leia’s Alderaan.

And speaking of Leia, who is now a general, actress Carrie Fischer’s scenes with Harrison Ford — who reprises his role as Han, the galactic cargo smuggler and proud pilot of the Millennium Falcon — have a breathtaking poignancy to them that nonetheless eschews easy sentimentality. Naturally, those who are familiar with the original trilogy will take away much more from these scenes than those who are not, but the honesty of the characters and their deep connection to each other make for some of the most powerful moments in the entire film.

The two other characters whose return is much anticipated are the two droids, C3PO and R2D2, although even diehard fans would be hard-pressed to ignore the loveable new addition, BB-8, which consists of an orange ball that rolls and acts as the “body”, with a small, mobile, domelike structure on top that functions as the head. It is an astonishing feat that we sometimes forget that this droid is merely a machine, and even though it does not have any facial expressions, its sounds and movements are enough to communicate exactly what it is “feeling”.

Whether the faces we see belong to humans, droids or other creatures we recognise from earlier instalments, the moments in which they are revealed are as striking as they should be. It is like a quick blow to the chest when you unexpectedly see an old friend again, and even the appearance of the Millennium Falcon will have this effect on the viewer who watches the film as a longtime fan.

In general, as Abrams did with his reboot of the Star Trek franchise, the action appears to zip along at a much more dynamic pace than was the case with the original films, admittedly made for a pre-MTV, non-ADHD generation. There is never a dull moment in this film, and even the rare examples of less-than-stellar dialogue or overacting, usually featuring Boyega, are kept to a minimum.

This episode is better than at least three (some might even say all four) of the episodes that Lucas directed, and it is a very robust work of entertainment, but newcomers might be a little nonplussed at all the fuss. It remains to be seen how the two subsequent episodes, scheduled for release in 2017 and 2019, will develop the setup that culminates here in an unforgettable cliffhanger.

Those who were mumbling “I have a bad feeling about this” had no reason to worry.

The Little Prince (2015)

This unusual adaptation of French author Antoine de Saint-Exupéry’s widely read and beloved The Little Prince is intelligent, funny and deeply moving.

Little PrinceFrance
4.5*

Director:
Mark Osborne

Screenwriters:
Irena Brignull

Bob Persichetti
Directors of Photography:
Adel Abada

Kris Kapp

Running time: 110 minutes

Stories about father figures are nothing new, nor are stories about father figures who teach young girls about the world (just consider Jostein Gaarder’s masterful compendium of 3,000 years of philosophy in the novel Sophie’s World). However, when such a story is obliquely infused with critical insights about culture, religion and the magic of childhood thanks to a beloved novella that is equally accessible to children and adults, the result can be overwhelming.

Director Mark Osborne took up the burden of adapting the 70-year-old, 100-page-long novella, which continues to rank among the most-read and bestselling works in the world, for the big screen. An added challenge, beyond merely adding movement to the pictures and breathing physical life (and voice) into the words of the author, the late Antoine de Saint-Exupéry, was that the original work would only comprise half of the final film’s narrative. Overcoming the sceptics, the director of Kung Fu Panda and a handful of SpongeBob SquarePants episodes has produced a stirring glimpse of childhood and of growing up that will amuse younger viewers and captivate elder viewers alike with light-hearted entertainment informed by the melancholia-tinged savvy of the original text.

Unexpectedly, the main character is not a young prince nor a mature aviator but a little girl who fittingly resembles Dora the Explorer. Following Saint-Exupéry’s lead, none of the characters have names (except for the all-important “Mr. Prince” in the final act) and instead bear descriptive titles such as “Little Girl”, “Mother”, “Fox”, “Aviator” and, of course, “The Little Prince”.

The Little Girl (voiced by Mackenzie Foy, who starred as the daughter of Matthew McConaughey’s character in Interstellar, another star-struck feature) lives with her mother, a very serious auditor, in a nondescript city. Her father sends her the same snow globe containing a skyscraper for her birthday every single year. We can assume that both parents want their daughter to end up in some capacity as a successful worker, and therefore Little Girl is on the road to join the prestigious, strait-laced Werth Academy, where everyone is asked to work toward being “essential”. After a disastrous enrolment interview, Little Girl’s mother lays out a stringent plan for the summer holiday, during which any of her daughter’s free time will be minimal and limited to essential activities, such as eating and exercise.

Mother and daughter move in next to a dilapidated house, the scourge of the planned community where everyone wears the same greyscale-coloured outfits, whispers in very hushed tones about their neighbours and seem to be about as far removed from the exuberance and spontaneity of childhood as possible. The house, it turns out, belongs to the Aviator (voiced by Jeff Bridges), an eccentric, old man who represents both Saint-Exupéry and his alter ego creation, the aviator of his novella, and also calls to mind the grumpy but lovable Carl Fredricksen of the magnificent animation film Up.

Before long, just like philosopher Alberto Knox in Sophie’s World, the Aviator starts sending the Little Girl pages of text containing the aphorisms and adventures of the Little Prince, and thus begins a subversive but thrilling adventure that helps the child, quickly on her way to becoming an “adult”, reconnect with and hang on to her childhood impulses as long as possible.

From time to time, these pages turns into animations, and the effect of seeing a formerly static character come to life in front of our eyes will certainly bring a shiver to most viewers familiar with the novella. We see the Little Prince cleaning his tiny planet, trying to rid it of invasive baobab seeds and falling in love with a rose, here perfectly voiced by Marion Cotillard. He flees the Rose’s ever-increasing demands on his time and ends up on Earth, where he meets the aviator and learns valuable nuggets of wisdom from the fox, including the famous quotation, “It is the time you have lost for your rose that makes your rose so important”.

This story with the Little Prince is interwoven with the story of the Little Girl, and by using one text to inform another, Osborne also suggests that tales from many decades ago can continue to educate us about ourselves and inspire us to see the beauty of life instead of letting the rat race consume our energy and destroy our imagination. The focus throughout the story is that, as the smiling Aviator reminds us, “Growing up is not the problem; forgetting is”.

Although ostensibly created for children, animated films have developed to the point where something like The Little Prince can be entertaining for young ones and deeply moving for their parents, or anyone scared they might no longer be a child. There are multiple layers to this story, and those who know Saint-Exupéry’s tale well are just as likely to enjoy it as those who come to the film without any knowledge about the prince, the fox, the rose or the aviator. There is a beautiful message about religion (in the form of the rose), a melancholy background of absence, a rousing theme of friendship and a dramatic struggle against forgetting, which is a struggle for remembering.

We should always see the world through the eyes of a child, but more importantly, we should view life with the same sense of curiosity and fascination, perhaps even naiveté, that reconnects us with our younger selves, just like this film connects the old with the new in a tidy package that is invigorating, inspirational and intrepid depiction of a story we thought we knew, but which hits us twice as hard when the characters start to speak and the drawings start to move.

Wind River (2017)

When a young Native American girl is found dead and barefoot in the snow inside the Wind River reservation, her death brings back terrible memories for one officer whose daughter met a similar fate years earlier.

Wind RiverUSA
3.5*

Director:
Taylor Sheridan
Screenwriter:
Taylor Sheridan

Director of Photography:
Ben Richardson

Running time: 110 minutes

Everything the characters in Taylor Sheridan’s début feature film, Wind River, do happens against the backdrop of crushing whiteness. Even in spring, snow is ubiquitous inside the expansive Wind River Indian Reservation, which is more than twice the size of Rhode Island and located in the middle of Wyoming. And besides the handful of Indians (Native Americans) living off the land and according to their own rules and often abusing alcohol or harder drugs, the demographic landscape is as white as the physical one. Officially, the reservation is Indian territory, but the most gruesome things here are inevitably inextricably linked to the more powerful white population.

The opening scene is enough to send a chill down our collective spines. A young woman, visibly terror-stricken, is running through the snow barefoot as she tries to get away from something we can’t see. It is dark, and she is exhausted, but she keeps running, until she inhales the cold night air but exhales only blood. We never see anyone, or anything chase her.

The following day, by pure luck, a wildlife officer and professional hunts find her corpse as he tracks a puma that has been killing a nearby farmer’s steer and bringing its young along to teach them how to hunt. Although he is white, the officer, Cory Lambert (Jeremy Renner), knows the reservation like the back of his hand and has a child with a Native American. We soon learn another child, his daughter, had died under similar circumstances a few years earlier. This is federal land and not under his jurisdiction, but he focuses his attention on solving this mystery of the barefoot woman, named Natalie Hanson (Kelsey Asbille).

The autopsy reveals that Natalie died from a pulmonary haemorrhage, just as Cory had suspected. But more shockingly, we also learn that Natalie had likely been raped shortly before dying in the snow. Jane Banner (Elizabeth Olsen), a fish-out-of-water FBI agent used to much warmer climes, is sent to investigate, as the bureau has jurisdiction in the case of a homicide on the reservation.

Unlike in Sicario, however, which Sheridan also wrote, the female character is not the prime focus. Women and their grim prospects on the reservation are an unmistakable undercurrent, but Cory’s silent struggle to cope with the loss of his daughter intelligently informs the way in which this plot develops. He may be a white character, but the death of his own daughter is no less important than Natalie’s death is to her father, Martin (Gil Birmingham).

The stern but soft-spoken Martin turns out to be one of Wind River‘s star attractions. The first time we meet him, he is very reluctant to share any of his thoughts or emotions with Jane, who is a stranger to the area. The atmosphere inside his house is cold, and all her attempts to gather information are fruitless. But then Cory arrives, and Martin’s tough façade suddenly crumbles. The entire scene offers a masterclass in gradually revealing the layers of emotion that can be hidden just beneath the surface but require the right person to draw them out.

This is a tight-knit community dealing with many problems relating to poverty and the lack of prospects all the way from cradle to (usually, an early) grave, and with a local police force of just six officers patrolling an area thousands of square kilometres in size, many crimes, from petty to gruesome, tend to fall through the cracks. Wind River is loosely based on a true story but is more effective if viewed from farther away, as a closing title card underscores how little the United States’ justice system thinks of its original peoples: Crime statistics are not compiled on the number of Native American women who go missing every year.

One big mistake the film makes is on the level of form: Towards the end of the film, it provides us with the point of view of an odious rapist. For a few inexplicable seconds, we see events from his perspective, which makes absolutely no sense in the context of this otherwise cautious and respectful production.

On the whole, however, Wind River‘s heart is in the right place. It surprises us in subtle ways and tells us its characters are complex, even if we don’t necessarily get to see what this complexity entails. A flashback towards the end of the film is gruesome but reveals that one individual is much more sensitive than others had said, which underscores the importance of digging for the truth. And the truth is that Native Americans in the United States, a little more than 100 years after the Congress rejected the idea of allowing the proposed Indian state of Sequoyah to join the Union, continue to be treated as a matter of the fringe. This has to be remedied if the country is ever going to be serious about forming a more perfect Union.

Star Wars Episode V: The Empire Strikes Back (1980)

The best instalment of the entire franchise reaches beyond the stars to bring us giant revelations, confrontations and set pieces that firmly establish Star Wars as an unrivalled space epic. 

Star Wars Episode V: The Empire Strikes BackUSA
4.5*

Director:
Irvin Kershner

Screenwriters:
Leigh Brackett
Lawrence Kasdan
Director of Photography:
Peter Suschitzky

Running time: 125 minutes

Alternate title: Star Wars Episode V: The Empire Strikes Back

This is one in a series of reviews including:
The Phantom Menace (Episode I)
Attack of the Clones (Episode II)
The Revenge of the Sith (Episode III)
– Star Wars / A New Hope (Episode IV)
The Return of the Jedi (Episode VI)
The Force Awakens (Episode VII)

OTHER LINKS

“It is a dark time for the Rebellion. Although the Death Star has been destroyed, Imperial troops have driven the Rebel forces from their hidden base and pursued them across the galaxy.
Evading the dreaded Imperial Starfleet, a group of freedom fighters led by Luke Skywalker has established a new secret base on the remote ice world of Hoth.
The evil lord Darth Vader, obsessed with finding young Skywalker, has dispatched thousands of remote probes into the far reaches of space….”

Wholly unexpectedly for a franchise’s second film, Star Wars Episode V: The Empire Strikes Back is better than its predecessor. But there is more to its greatness: This instalment is also a very strong contender for the best film overall in all three Star Wars trilogies. Not only does it contain one of the biggest plot twists, but it introduces us to Yoda, shows the meaty part of Luke’s development as a Jedi, interweaves three major storylines, builds on and improves Harrison Ford’s already superlative comedic performance in the role of Han Solo and shows us an unforgettable city in the clouds.

And yet, the start is far from promising. On the ice planet of Hoth, where the rebel Alliance is hiding from the Empire, the décor looks wildly underfunded and makes us wonder for a moment whether we are watching a ground-breaking space epic or a cheap studio-bound production with people walking around inside stuffed animals. For a moment, the latter is true: The stalagmites and the stalactites look ludicrously plasticky, and when Luke is attacked by a snow monster called a wampa, it might as well be a child’s version of a white woolly mammoth/yeti/polar bear monster – not as imagined by a child, but as built by one.

Fortunately, things quickly pick up from there, and in the first act in particular, we have Han Solo and Princess Leia to thank for the entertainment. The sexual tension between them, lightly veiled in a cloak of insults, is just about thick enough to cut with a lightsaber, and it becomes ever clearer their verbal altercations are in fact merely attempts to persuade themselves they don’t really like each other.

The film is tightly wound around the stories of three characters or groups of characters: Darth Vader, Luke and the crew on-board the Millennium Falcon. This is the first time we get a proper look at the full reach of Vader’s power, and the scenes in which he kills incompetent underlings simply by raising his arm inspire real fear. At the same time, however, Vader gradually reveals his obsession with tracking down Luke, and it is only late in the film that we realise (at least, without the foreknowledge provided by the origin trilogy) why this is. Meanwhile, Luke is on the swamp planet of Dagobah training as a Jedi, while Han, Leia, Chewbacca, who fled Hoth along with the Rebels after a violent attack, make their way through an asteroid field, where the fireworks between the smuggler and princess finally go off.

Out of these three story lines, the one with Luke and Yoda is absolutely mesmerising. Not only are we seeing a young fighter come into his own by trial and error, but we learn a great deal from the tiny and wise green man with the funny ears who speaks with the very unusual speech object-subject-verb pattern. Perhaps the most important sentences in all of the Star Wars films come from Yoda, strapped to Luke’s back while he is running through the Dagobah jungle:

“A Jedi’s strength flows from the Force. But beware of the dark side. Anger… fear… aggression. The dark side of the Force are they. Easily they flow, quick to join you in a fight. If once you start down the dark path, forever will it dominate your destiny, consume you it will, as it did Obi-Wan’s apprentice.” 

This tension between light and dark is, of course, the major theme throughout the prequels, and while Yoda may at first appear to be a playful jester, his words are saturated with the wisdom of his 900 years. He is a delightful creature, especially for anyone who hasn’t seen him before, and much of this instalment’s greatness is a direct result of the interaction between him and the young Skywalker.

But these scenes on Dagobah are also profound for another reason: They contain the only instance of slow motion used in any of the Star Wars films, when Vader appears to Luke in a dream. This moment comes shortly before Luke sees his own face inside Vader’s mask. In a way, this scene is not far removed from Jesus Christ being tempted in the desert, and the second half of the film is a remarkable depiction of Luke’s resistance to the power that the dark side promises to offer those who yield to it.

The reason Episode V is one of the major narrative accomplishments of the franchise, however, is the big revelation that Darth Vader is, in fact, Luke Skywalker’s father. As Luke hangs on for dear life after losing his right hand to Vader’s lightsaber, dangling above a seemingly bottomless reactor shaft, and receives the shattering news of his heritage, the moment marks the culmination of the first meeting between father and son. Although this is not the full story (the second penny drops at the start of Episode VI), the impact is enormous.

Added to this development, there is also the first kiss that Han and Leia share, even as they continue to taunt each other and thus create, by a long way, the funniest instalment of the franchise. My personal favourite swipe comes from Han, who has no time for Leia’s cautious rationality in the midst of a crisis and shuts her down with: “No time to discuss this in committee”. Simultaneously, Luke and Leia are (for the moment) inexplicably growing closer as well, and the princess’s ability to sense that Luke is in danger proves to be one of the film’s instances of emotional magic.

And lastly, this episode is notable for its inclusion of the all-terrain armored transports, or AT-ATs, which look like giant metallic chameleons with four legs and no tail. Used by the Empire, they appear on the planet of Hoth and inspire another biblical comparison – to Goliath. And of course, David (the rebels) wins because Goliath cannot see properly and moves about too awkwardly to gain much of an advantage in a battle.

Episode IV may have laid the groundwork, but Episode V builds a mighty palace full of details, drama, comedy and the deeply credible development of its characters. It is not a mere bridge between the beginning and the end of the overarching narratives: It gives us plenty of connections between people and shows us things we never thought possible, including the first glimpse of Darth Vader without his helmet. Yoda’s famous command to Luke – “You must unlearn what you have learned” – applies to us, too. This is a brand-new world, and it is so gratifying to have Luke, Leia, Han, Chewbacca and the droids be our guides on this journey.

Loveless (2017)

Loveless is mostly about a boy from a broken home who goes missing, but somehow it also wants to be about Russia and Ukraine’s broken relationship.

LovelessRussia
3.5*

Director:
Andrei Zvyagintsev

Screenwriters:
Andrei Zvyagintsev
Oleg Negin
Director of Photography:
Mikhail Krichman

Running time: 125 minutes

Original title: Нелюбовь
Transliterated title: Nelyubov

Andrei Zvyagintsev’s Loveless has something to do with the conflict in Ukraine. But every time we think the director is about to make the connection clear, he lets go of the chain. This game of hide and seek perfectly suits the material he is working with: Minutes into the film, a 12-year-old boy, Alexey, runs away from home, where his parents are about to divorce, but neither wants to take him along on the ride to a brighter future. For the rest of the film’s 2-hour running time, he remains missing, even though the camera constantly lingers on empty scenes just to tease us with the possibility he will suddenly appear from out of frame. But he never does.

Thanks to snippets of radio programmes we hear in cars, we can deduce that most of the story takes place at the end of 2012, as (then–opposition leader, now the late) Boris Nemtsov is in the news and there is mention of an Obama–Romney debate. In the film’s final coda, the action moves to 2014, around the time of Russia’s invasion of Ukraine, and the Russian television news networks flood the airwaves with stories about death and destruction in the country’s small neighbour to the West, all allegedly the fault of the newly installed government in Kyiv.

However, despite these political undertones, which only surface intermittently, the film lacks the furious anger that made Zvyagintsev’s previous work, Leviathan, so ambitious and affirmed him as one of the bravest big-name filmmakers working in Russia today. On the whole, Loveless wants us to focus more on the story of the lost boy rather than the allegorical implications the narrative might (or might not) entail, but for both emotional and structural reasons, that is not always easy.

The film certainly lives up to its title. Drained almost entirely of colour, the story initially takes place on the outskirts of a remote Moscow suburb, where monotonous Soviet-era high-rise apartment blocks permeate the landscape and winter has turned the local park into a lifeless morass scattered with monstrous dead branches. In the scenes that follow, Loveless sketches Alexey’s ice-cold domestic situation in broad strokes that make us want to bolt from the apartment as quickly as possible.

The atmosphere is decrepit; in fact, the film could just as well have been called “lifeless”, although the two main characters – Alexey’s parents, Zhenya (Maryana Spivak) and Boris (Aleksey Rozin) – provide for riveting, stunningly tense scenes whenever they are in the same room. We also get to see, as Lynne Ramsay’s We Need to Talk About Kevin demonstrated brilliantly, that children born from a mother who would rather see them aborted are bound for tragedy from Day 1.

There are no two ways about it: Zhenya is a terrible mother. Always more interested in her phone than in her son (or almost anything else, for that matter), she stares at her device from morning till night. But the director takes care to show us that she is not unique in this respect: In restaurants and elsewhere, Moscow’s young women can’t get enough of seeing themselves in their selfies. The difference, of course, is that Zhenya has a family, at least for the moment. There is a distinction to be made with the older generation, as a scene in which Zhenya’s own loud-mouthed mother steamrolls over her with a flood of rhetoric that leaves us reeling with admiration because someone has finally put her in her place.

Although we see him for a very short amount of time, which includes a revelation that stabs the viewer right through the heart, we can completely empathise with Alexey and understand why he chooses to run away. Zvyagintsev is also very attentive in his depiction of the police, who are surprisingly sincere about the situation, even though Zhenya doesn’t deserve it. 

But this is the kind of film only those who prefer their mysteries open-ended will appreciate. Zvyagintsev will likely lose many a viewer during some of the slower and more drawn-out scenes that do not lead very far and certainly don’t head in the direction of solving the central puzzle. One take that lasts for several minutes, in which the camera barely moves, shows Zhenya and her new boyfriend together in bed while she recounts the story of her pregnancy with Alexey. This could have been much shorter and simply integrated into another scene, when she and her husband are trapped in a car for several hours.

By the time Loveless reaches the scene from 2014 in which the Russian televisions are hysterically blaming the supposed violence in Ukraine on the West, it feels like Zvyagintsev is heading into different territory. But when we see Zhenya, who by the looks of it is still as cold and narcissistic as before, donning a bright-red tracksuit clearly labelled “RUSSIA” and seemingly unaffected by the violence onscreen, we know there is a connection with the domestic carnage that went before. Unfortunately, the link is just too tenuous to grasp.

Undertow (2009)

In the Peruvian Undertow (Contracorriente), it takes a tragic loss of life – and the appearance of a ghost – to make a family man comfortable with his own sexuality, which, the film suggests, also makes him more of a man.

Cotracorriente / Undertow (2009)Peru
4*

Director:
Javier Fuentes-León

Screenwriters:
Javier Fuentes-León
Julio Rojas
Director of Photography:
Mauricio Vidal

Running time: 100 minutes

Original title: Contracorriente

“There are a thousand ways to be a man”, says the boyfriend of Undertow‘s main character, the handsome curly-haired Miguel (Cristian Mercado), whose wife, Mariela, is close to giving birth to their first child. In his tiny fishing village on the Peruvian coast, being a man necessarily involves having a family (unless you’re the priest), and having friends depends on acting like a man.

In the film’s stunning opening close-up, Miguel turns his head and gently places it on Mariela’s bare belly to feel the baby kicking. He suggests it will be a boy and playfully calls the baby “Miguelito”. Mariela scolds him, concerned it might be a girl and that she might be confused if she heard her father calling her “Miguelito” through the womb. Babies can hear everything, she says. So can we, just a few minutes in, as it is made clear that in this town a man is a man and a woman a woman.

This makes Miguel’s extra-conjugal relationship with Santiago (Manolo Cardona) something of an existential problem, and despite being in a relationship that has clearly matured over time, Miguel is still far from comfortable viewing their bond as something entirely “manly”.

And yet, it is clear the relationship is not some infatuation. Eschewing the uncertainty that so often accompanies the start of a same-sex liaison, especially in a conservative society like this one in rural Peru with its (religious and non-religious) traditions, director Javier Fuentes-León starts his début feature in medias res, after the two have already known each other for a period of time.

Santiago, an artist who mostly keeps to himself, is an outsider in town and gets on some people’s nerves as he goes around taking photos of people and events to paint at home. His house even gets egged on a regular basis by children whose parents no doubt sanction their actions.

The first time we see Santiago and Miguel together, their interaction is intimate and informal. Clearly, this is not some fugacious fling. But Miguel has compartmentalised it as something that only takes place far from home, and he takes care never to meet or speak to Santiago in public. Understandably, Santiago’s frustration eventually reaches boiling point, particularly as Miguel is settling further into his role as a traditional family man. “I’m sick of playing dumb. You can; I can’t”, he admonishes him.

And then, out of the blue, a mere 30 minutes into the film, Santiago drowns. But there is no time to grieve as he announces his own death to Miguel, by showing up in the form of a (very lifelike) phantom in Miguel’s own home. And he keeps showing up, everywhere, the physical manifestation of Miguel’s memory of him, or of his guilt. Santiago is bound to wander aimlessly until his spirit finds peace. 

Thus begins one of the most thrilling, emotionally gripping sequence of scenes imaginable, as Miguel grows used to being out and about in public with his (albeit late and invisible) boyfriend, because no one can see them. It goes without saying that this is the perfect way for Miguel to grow in confidence, at least until the inevitable ceiling hits him on the head: The moment the town finds out about Miguel’s recent dalliances with the man they all simply refer to as “the artist”.

Along the way, former obstacles fall the one after the other, and halfway through the film, when the couple even recreates the most famous shot from Fred Zinnemann’s From Here to Eternity, there can no longer be any question in even the most conservative viewer’s mind that Miguel and Santiago should be afforded the same empathy we have always granted their equally fictional mixed-sex counterparts.

Santiago’s persistent presence in the film is as comical as it is beautiful. There are no scenes of anguish over him being dead – after all, to Miguel he looks and feels just as real as before – and even in death he has remained as understanding of Miguel’s fragile domestic situation as before: When he turns up next to the bed while Miguel is having sex with his wife (but thinking of Santiago), he covers his eyes but encourages Miguel to continue as if he weren’t there.

Undertow‘s final moments are deeply moving and tie a neat bow on Miguel’s blossoming into manhood, adding colour and closure by way of an honest conversation whose absence made the final moments of Brokeback Mountain feel like an open wound that would never heal. 

Yes, love is selfish. Miguel doesn’t play right by Santiago while he is alive, and even after his death he refuses to acknowledge their relationship. He wants to maintain his reputation in the eyes of the community by having a wife and a son. He wants to have his cake but eat his banana, too.

But by the time we reach the ending, an allegorical connection with Jesus Christ, who carried his cross along the Via Dolorosa in full view of a crowd of people after fighting long and hard with his inner demons, becomes clear. This is a man. This is what a man does when he is honest about who he is. He keeps his promise. And he ensures the one he loves finds peace, even if that means he has to sacrifice his companionship forever.