I'm not sure if it's a latin thing, but they like to tell stories that are rooted in a style that's called "Magical Realism." Again, I'm not sure, but these stories deal with the real world, but add an element of fantasy to them which make them more whimsical in nature.
The latest two movies I have seen both seem to be part of that genre, Pan's LabyrinthVolver. Both are done by well regarded directors, Guillermo del Toro and Pedro Almodovar. The former a relative new comer who has been heaped praises upon his most recent outing, and the latter a highly acclaimed Spanish director. Each of these films present a world on the cinema screen that builds some fantastical feelings when watched.
Pan's Labyrinth is the more straight outright fantasy. You could tell, what with the fairy tale setting and elaborate "Princess of the Underworld" myth-making. The story takes place in Franco's Spain as the liberal guerilla fighters battle against the fascist Spanish government. Within this setting a little girl finds herself in an unfolding myth of fairies and fauns that are helpful or not. She is told that she is the lost princess of the underworld and must complete three tasks to return to it triumphant.
It is here, where the audience must connect with the girl and the magic needs to happen within the viewer. The other characters in the movie don't seem to realize that there are fairies or they don't believe. Is it all in her head?
The tasks are performed in another fantasy realm. This is in contrast to the fascist spain. The real world intrudes on the fictional world that seems to be all coming from the girl's imagination. Again, is it all in her head?
As I watched, I did not get the point of the juxtaposition of both worlds. I wanted to spend more time in the fantastic realm and felt the real world encumbered the story. Yet, del Toro needed both for the story to work.
The ending left me with the impression that it was all in her head. The fantasy realm she created was to escape her situation. She did and became princess of the underworld, but not the way you would expect. Bittersweet, but necessary.
3 of 5 stars.
Volver started in the real world. The characters are modern day people doing modern day things in Spain. Yet, whimsy to comes to them.
This was the first Almodovar film I have seen. I heard of his use of women characters, but was taken back with the fact that that was all there is in this one.
The story begins with the visit to Raimunda's parents grave and to her Tia. There the stage is set for the return of someone once thought dead, her mother. When she does, I could not think that she was really alive, but a ghost to help guide her daughters through difficult straights. That's when I felt it entered the "magical real" realm. Alas, she was very much alive. And she very much helped her daughters out.
More telling is that this movie felt to my mom to be very filipino-ish. I may be because under spanish rule, the Philippines may have inherited some of the "magical realism." Regardless, the story featured some light-hearted twists that were not readily discernible so that they surprise.
The movie itself is a surprise, and I should add some Almodovar to my Netflix queue.
4 of 5 stars.
The latest two movies I have seen both seem to be part of that genre, Pan's LabyrinthVolver. Both are done by well regarded directors, Guillermo del Toro and Pedro Almodovar. The former a relative new comer who has been heaped praises upon his most recent outing, and the latter a highly acclaimed Spanish director. Each of these films present a world on the cinema screen that builds some fantastical feelings when watched.
Pan's Labyrinth is the more straight outright fantasy. You could tell, what with the fairy tale setting and elaborate "Princess of the Underworld" myth-making. The story takes place in Franco's Spain as the liberal guerilla fighters battle against the fascist Spanish government. Within this setting a little girl finds herself in an unfolding myth of fairies and fauns that are helpful or not. She is told that she is the lost princess of the underworld and must complete three tasks to return to it triumphant.
It is here, where the audience must connect with the girl and the magic needs to happen within the viewer. The other characters in the movie don't seem to realize that there are fairies or they don't believe. Is it all in her head?
The tasks are performed in another fantasy realm. This is in contrast to the fascist spain. The real world intrudes on the fictional world that seems to be all coming from the girl's imagination. Again, is it all in her head?
As I watched, I did not get the point of the juxtaposition of both worlds. I wanted to spend more time in the fantastic realm and felt the real world encumbered the story. Yet, del Toro needed both for the story to work.
The ending left me with the impression that it was all in her head. The fantasy realm she created was to escape her situation. She did and became princess of the underworld, but not the way you would expect. Bittersweet, but necessary.
3 of 5 stars.
Volver started in the real world. The characters are modern day people doing modern day things in Spain. Yet, whimsy to comes to them.
This was the first Almodovar film I have seen. I heard of his use of women characters, but was taken back with the fact that that was all there is in this one.
The story begins with the visit to Raimunda's parents grave and to her Tia. There the stage is set for the return of someone once thought dead, her mother. When she does, I could not think that she was really alive, but a ghost to help guide her daughters through difficult straights. That's when I felt it entered the "magical real" realm. Alas, she was very much alive. And she very much helped her daughters out.
More telling is that this movie felt to my mom to be very filipino-ish. I may be because under spanish rule, the Philippines may have inherited some of the "magical realism." Regardless, the story featured some light-hearted twists that were not readily discernible so that they surprise.
The movie itself is a surprise, and I should add some Almodovar to my Netflix queue.
4 of 5 stars.