A CHANCE MEETING WITH THE LUNCHBOX

The Lunchbox is a narrative feature written and produced in 2013 by Ritesh Batra, an Indian born filmmaker. It is rated as a PG film and is narrated mostly in Hindi and in some English with English subtitles. The film was first screened at the 2013 Cannes Film Festival when it was awarded the Critics Week Viewer’s Choice Award. Thereafter, it was shown in 2013 at the Toronto International Film Festival and in 2014, it formed part of the Trinidad + Tobago Film Festival. In 2015 The Lunchbox gained a spot on the nomination list in the “Film Not in English Language” category of the British Academy Film Awards.
The sequence of events in The Lunchbox takes place in modern day Mumbi, India. The main characters include a young wife, a young husband, an aging pen pal and an off-screen Aunt. Common marital issues triggered by an uninterested and mostly absent husband forces the wife to take action to rekindle romance and happiness in her marriage.  She undertakes this quest by cooking tasty meals and sending them by a dabbawala to her husband. 

Surprised to find that the food is not reaching her husband she is forced to write the consumer in an attempt to find out where the food is being delivered. However, instead of notifying the dabbawala of the error she becomes pen pals with the consumer and they decided to meet. Meeting arrangements fall apart but the wife indicates her intention to leave the marriage to pursue happiness.

Set around the Metropolitan city, the director is successful in capturing its chaotic atmosphere as he takes particular interest in presenting the busy streets of Mumbai, India. His emphasis on sound, created by the ever present noise of the subway trains as well as cinematic shots of the dabbawalas hastening to complete their lunchtime deliveries, all contribute to the film’s time and place. Mumbai’s dense population is not only viewed by the crowded streets and offices of the city but Batra closely defines this area where Deshpande Auntie who lives in the apartment above Ila’s, is able to hear her when she gives an almost faint chuckle after reading about Saajan’s “things are not always as they seem” encounter on the subway. Batra additionally uses dialogue to express the film’s period. One indication of this occurs when Saajan is reading one of Ila’s letters and Shaikh says to him that nowadays everybody uses email. The director includes subtle dimensions to the film’s context which adds to its authenticity. Mumbai’s social environment shows a society which is sacrificing family life and community for economic advancement. This is reinforced as Saajan’s laments that “there is no place for talent in this country” and that everybody wants what someone else has. Central to the movie’s socio-economic framework are the dabbawalas, which is a lunch delivery system, unique to India. Although it is evidenced that the growing city may be shifting in values, the originality of the dabbawala system is a testament to Mumbai’s innovative spirit. The dabbawala’s prideful assertion that - “Delivery guys don’t make mistakes…. Harvard people came and did a study on us… The king of England has also come, he has seen our delivery system…” bares Batra’s initial interest in documenting the lives of these food delivery men.Although an urbanized state, the Mumbai of Batra’s film clings to its country’s traditions. The singing of traditional songs and Shaikh wedding are both examples of Indian cultural experiences. It is visible that Mumbai’s culture adheres to the patriarchal rule. Her mother objects to her financial assistance because it does not look nice since they are the “girl’s side”.   Moreover, Ila’s role as wife and mother, while it is void of certain cultural constraints, her mother’s routine of “breakfast, medicine, bath” shows that even in modern Mumbai, their lives are still outlined by the principles of the wider society. Deshpande Auntie’s cooking remedies and her preservation of the old cassettes further links the traditions of the past with the present day Mumbai, India.  Both Ila and Saajan bare a common struggle of being "othered", which the director alludes to by the experiences they share unknown to each other. Ila’s struggle to win the love and attention of her husband is the driving conflict and causes her to feel lonely. Despite his distance and  unwillingness to communicate, she tries to counter this by preparing meals for him and hopes that according to Saajan, having another child would bring them closer. When she suspects that he is having an affair, likewise she concedes, lacking the courage to confront him. Saajan also faces a similar conflict, where he is figured as social recluse. The audience gets a true sense of his isolation as he sits alone at lunch and at home he stares at a family, through the window of the apartment opposite his; he is always the outsider unable to be a part of the life happening around. Batra’s camera techniques especially in the lunchroom scenes separate Saajan from his colleagues. He only realizes his desire to belong to someone as his relationship with Ila grows. This sets out a change in Saajan, which the director emphasizes by no longer allowing Saajan stand out but after a while he takes effort to blend in with those around him. He also no longer fights against being teacher to Shaikh and even assumes the role as surrogate parent at his wedding. The Lunchbox is not just a romantic story of a chance meeting  and exchanged notes but is a brilliant take on the changing values the Mumbai society. 

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NINA AND ZOE

Nina Simone (1933-2003) was an American jazz singer/ songwriter/ classical pianist and social activist whose musical genius helped to shape the genre of soul music of her time. She was born Eunice Kathleen Waymon to John Divine and Mary Kate Waymon in Tryon, North Carolina. The daughter of Christian Ministers, Eunice's musical talent was groomed from an early age. It was Englishwoman Muriel Mazzanovich who moved into Eunice's town, that taught her in the classical arts. She then went on to graduate at the top of her high school class and began her studies at Julliard in New York City on a scholarship grant awarded by her community(c. She thereafter applied to the prestigious Curtis Institute of Music where she was denied admission, which she cites as an act of racism. A music teacher by day Eunice supplemented her earnings by singing in bars and this is where she created the sobriquet "Nina Simone", in order to hide her night time activities from her strict Christian parents.Nina was discovered at the age of 24 and signed to Bethlehem Records and then to Coplix Records, a division of Colombia Pictures. She rose to fame in the 1960's music arena especially appealing to a night club based audience. Her music lives on today and her contribution to the industry is undeniable.This year the movie was released for video on demand by RLJ Entertainment. The Nina movie which focused on her career as a musician and her peculiar relationship with her manager Clifton Henderson (David Oyelowo). In the months leading up to the movie's release there was a public outcry from Nina's estate that the lead actress Zoe Saldana bore no resemblance to their high priestess of soul.

Niana Simone

Zoe Saldana

Now I must admit that prior to the controversy I knew very little about the late Ms Simone or rather I thought I knew very little because an internet search on the famous jazz musician revealed that I had in fact heard some of her music such as the powerful gospel inspired "Sinnerman"; "Feeling Good" which is often featured in current films; as well as her 1957 remake of Nate King Cole, Count Basie and Woody Herman's "My Baby Just Cares for Me". All the while ignorant of the very much acclaimed singer/ musician. At first I was skeptical of Zoe's ability to recreate the natural vibe of the American music legend but the movie stands as a testament to Ms Saldana's acting qualities and her own admiration for the legend. While the apparent differences may justify the casting of another actress as the lead role, Zoe's portrayal of Nina overshadows any questions about her lack of the resemblance to the late singer. Ms Saldana's dedication to the character is even praised by her costar David Oyelowo who reveals that he was blown away by Zoe's singing in the movie. Zoe loses herself in Nina and even manages to capture some of the late singer's nuances as she belts out some of Simone's hit singles for the movie Nina. Oyelowo further informs that Simone's former guitarist Al Shackman says that the singer would have loved that her story was told especially from the point of view of love, because she was a "big lover of love." 

I hope you get a chance to catch the Nina Simone biopic. It is a great story of a legend and Zoe Saldana's portrayal is indisputable. Leave us a comment below and tell us what you think

FROM NOVEL TO FILM: THE HAUNTING

The Haunting (1963) is the first of the two film adaptions of the Shirley Jackson novel The Haunting of Hill House. Directed by Robert Wise for Metro-Goldwyn-Mayer Studios, The Hunting was first released in August 1963 starring Julie Harris (Eleanor Lance); Claire Bloom (Theodora); Richard Johnson (Dr John Markway) and Russ Tamblyn (Luke Sanderson). Despite bearing slight modifications from the original plot, it remains the most faithful adaptation of Shirley Jackson’s novel to date and is praised by movie critics as one of the scariest horror films of all times. Robert Wise’s interpretation of Jackson’s psychological ghost story does not take away from the author’s intent but provokes the same sense of inescapable terror. 

 The theme of perverted love appears variably in The Haunting of Hill House but is one that is considerably established in film. In the film Robert Wise expounds upon this forbidden- type love and in some aspects more accentuated than in Jackson’s novel. Theodora’s submission that Eleanor is trying to “attract attention”, although originally said in a concerned attempt to distract an agitated Eleanor, exemplifies the fact that at Hill House she has become somewhat the centre of attention. All assumed affections of love are projected towards, as well as reciprocated by her. Hill House is also implied to have selected of Eleanor; even calling her by name with the inscriptions “Help Eleanor Come Home”. Eleanor’s encounter with the house seems to characterize a destined meeting of “kindred spirits”. Standing outside Hill House she thinks “it’s waiting for me. Evil, patient… waiting”; she soon afterwards, as Dr Markway puts it, falls “under the spell of the house” eventually submitting to what she believes are its wishes: “I’ll come… I’ll come, whatever it wants of me it can have”. Another replication of Jackson’s concept of contrived love is aired through Theodora’s advances towards Eleanor which coupled with the ambiguity of Theodora’s own sexual orientation, raises the tabooed subject of homosexuality. Wise’s only deviation but which still maintains the theme, is his exaggeration of the fondness between the married Dr Markway and Eleanor. For Eleanor knowing that she is “cherished” by the Doctor is as important as finding her place at Hill House.

 Eleanor’s desperate search for acceptance strongly involves her feelings of loneliness and the need to belong. These are especially emphasized in the movie through her obsession with having a home of her own (“someday... someday, I’ll have an apartment of my own”). Having her own home represents for her a place where she belongs and where she can be “a new person”. Being expected at Hill House and being a part of the team gives her the satisfaction of sharing in something “truly extraordinary” as she determines “at last I’m going someplace where I’m expected and where I’d be given shelter…".  Her greatest fear is of being left alone; the strange happenings at Hill House itself do not disturb her as much as this, which she asserts to Dr Markway and Theodora: “I’ve always been more afraid of being left alone or left out than of things that go bump in the night”.
The bizarre occurrences in The Haunting raise questions of trauma induced psychosis against supernatural manifestations. It is sometimes unclear if the incidences at Hill House are as a result of paranormal activities or the designs of an unstable mind. In a Journal Article for Mental Health Practice on the relationship between Post-Traumatic Stress Disorder and Psychosis the author stresses “There are similarities between the intrusive thoughts, images, and flashbacks that are commonly associated with PTSD and the hallucinations and delusions associated with psychosis.”  This prognosis is paralleled at Hill House where a history of traumatic experiences precede psychotic- like behaviours.      

Borrowing from The Haunting of Hill House’s deduction of its ghostly manor “in its true personality” Wise traces Hill House’s “evil reputation” to the ill-fated alliance of old Abigail Crain and her paid companion. Blamed for the death of her benefactor the companion is believed to have been driven mad and eventually committing suicide by “whatever there was and still is in the house”. Less than ninety years later, Eleanor Lance is shown to have suffered a similar fate. Dr Markway says “Fear alone can do the damage to the victim”; which makes a convincing appeal for any suggestion that what is actually happening to Eleanor is her mind’s way of dealing with her traumatic experiences. Being the sole caretaker of a sick and overbearing mother causes Eleanor to feel “walled up” and robbed of her adult life. When her mother dies Eleanor is left with a self- loathing guilt that she is somehow responsible. A clearly troubled Eleanor is now predisposed to abnormal behaviours and the rumoured haunted Hill House provides the ideal outlet.

 Even at the end, Eleanor’s belief that Hill House wants her still remains dubious since there is an air of uncertainty surrounding some of her paranormal evidences. Her initial misgivings about Hill House in thinking of it as “vile” and a monster ready to swallow her whole  soon causes her to exhibit paranoid behaviours, such as her firm belief that she is being pursued by the house. Also, her episode in which she is left wondering “Whose hand was I holding?” leaves similar doubts in the viewer’s mind and incidentally her own, about what is actually taking place. It is not known if it was really an act of the supernatural or if it was Eleanor’s mind reconstructing a previous event.

Eleanor’s agitated mannerism and defensiveness are further signs of paranoia. Due to uncontrollable guilt, she is wary of any questions pertaining to her mother. Sometimes thinking that everyone is against her she lashes out at Theo (Am I the public dump or something for everybody's fear?). The arrival of Mrs Markway at Hill House further adds to her sense of distress, as in her mind she has created somewhat of a family setting with her fellow housemates (These people are my friends. I'm one of them. I belong) and Grace’s presence poses a threat to her rightful place at Hill House (I'm the one who's supposed to stay here. She's taken my place).

In addition to possibly possessing delusional beliefs, at times the nature of Eleanor’s involvement at Hill House can be credited to hallucinations. Most of what is learned about Eleanor’s personality is revealed through her inner thoughts, which to a great extent appears weakened. Eleanor seems to be an occupant of both Hill House and her own mind, and the physical confusion going on in the house mirrors her own mental confusion. Another incident which can be attributed to hallucinatory manifestations takes place when Eleanor is repulsed by a certain smell at Hill House’s library. Bearing that she alone can discern this “awful” smell, once again brings into disrepute her claims of the supernatural which is even challenged by her co- occupants (“Is this one of your crazy hallucinations?”)

The first of the two film adaptions of Shirley Jackson’s novel, The Haunting (1963) directed by Robert Wise's The Haunting is praised both for its faithfulness to its literary predecessor and as one of the scariest horror films of all times. 


If you are into the oldies, The Haunting is a great recommend. Take a look at let us know what you think by leaving a comment below.

A LOCAL FILM: FISH

Shaun Escayg's directorial debut, “Fish”won “Best short Film” at the Belize International Film Festival and “Best International Film” at the Malibu International Film Festival. “Fish” was also an official selection at the 2012 Los Angles International Short Film Festival(LA Shorts Fest), an Academy qualifying film festival.

FISH

Screened at the 2012 Trinidad and Tobago Film Festival, short films Fish by Trinidadian born director Shaun Escayg deal with social challenges within the region. Shot in Trinidad and Tobago, Fish’s main characters Fish (Marc Escayg) and Sticky (Carlos Quashie Jr.) are both unemployed youths who loiter at the central market, picking the pockets of unsuspecting shoppers. Upon his return from a robbery, Fish sees Puppet (Fabrice Barker), an associate of the underworld being arrested, and steals a wad of cash from within his (Puppet’s) car. This decision then leads to them being captured, tortured and the death of Sticky at the hands of the Surgeon (Anthony Lawrence) the main drug lord. Escayg communicates strong messages through his short film as he does not share a picture of the scenic islands of the Caribbean but instead produces a region adversely affected by social challenges.

In highlighting the social concerns of the island, Escayg's film extracts its subjects from the socially marginalized. The lead characters are severely impoverished and have adapted to a life of thievery in order to survive. Fish and Sticky reside in an abandoned boat house by a bay and with no money for food, Fish and Sticky’s only meal, after their market robbery failed to produce, was a pommecythere. The director further uses the contrasting shots of the city, existing oblivious to those on the margins, to further impress his characters’ deprived state.The actors all manage to represent the anguish of the underprivileged. Their frustration is detailed in the surrendered demeanour of the main characters, whose only concern is survival by any means necessary. Their choices are not only triggered by greed but by their desperation and need to survive. Like Sticky says to Fish their goal is “trying to make sure they [we] eat.”
While portraying characters who are involved in criminal activities, the director deals fairly with them by giving a glimpse into the story behind their illicit lifestyle. From the conversation between Fish and Sticky as they sit in repose after evading police officials at the market, the viewer is able to determine how these youths fell into a life of crime. He does this to prove that even those on the brinks of society do dream of a better life. In such instances the otherwise perceived lawless figures are humanized as their stories prove how easy it is to get involved with crime.
Fish makes a solid statement on the hardships of life on the island of Trinidad which lead to the characters’ current state. In dealing with the problem of crime on the island, Escayg gives viewers the reality of the detrimental inevitability these choices. He represents the ripple effects of being involved in criminal activities. As voiced by the character Fish who by way of his decision to steal from Surgeon, becomes responsible for the death of his cousin Sticky: “when you kill somebody, the devil own your soul… you does spend your whole life trying to buy it back.” Here the director articulates the unending perils of being a part of the underworld.In unfolding the complexities of the criminal world, director Shaun Escayg's films also seem to make the assessment that there are persons who are caught up in minor infringements who pay the greater consequence. The film portrays the chain of command operating within the underworld and those who exist there are aware of who is in change. When Surgeon questions his captives about his stolen cash, beaten and tortured, Sticky cries “We not that stupid”. 

Keeping with this chain of command, in the end it’s the least harmful are the ones who suffer the most. Although Fish and Sticky are shown as part of the crime problem in the island, their actions pose no dire threat to their victims. While the ones perpetrate the more heinous crimes continue to negatively affect their communities.

Also noted is the inability of the law officials to control the crime situation. This is especially dealt with in Fish, where the protagonists are able to skilfully evade the security at the market. Puppet even boastfully declares to the arresting corporal that “in one hour, I back outside” furthermore, hinting to the law’s lack of power. Most telling of this ineffectiveness occurs while Puppet is being arrested; Fish manages to steal money from within his car, unbeknownst to the corporals. 

In less than 15 minutes Shaun Escayg discusses elements of the criminal underworld in the Caribbean of Trinidad. He does not share a picture of the scenic islands of the Caribbean but instead display a region affected by social challenges.

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ALFRED HITCHCOCK AND THE UNCONSCIOUS MIND

Horror films are not my thing. Actually I'm not at all a fan of the head spinning, eyes turned inward, gorey, Gothic film category but Alfred Hitchcock's thriller Psycho has managed to captivate even a squirmy movie goer like me. His bold, risk taking film, which helped to revise the movie codes of his time, can be said to be the template for many horror films which followed. 

                                                  

 PSYCHO

Starring Anthony Perkins, Janet Leigh and Vera Miles.

In the 1960 thriller Psycho, director Alfred Hitchcock examines the different dimensions of the human psyche. The film’s central plot develops at the Bates Motel 15 miles off Fairvale, California where a young secretary Marion Crane (Janet Leigh) takes shelter from a rain storm, after having stolen $40, 000 from her employer’s client. Following on psychoanalytical theories developed by Austrian Physician Sigmund Freud (1856-1939), Hitchcock shakes up the perception of the quiet small town and leaves his audience with a disquieted sense of what really goes on behind closed doors. Although reportedly highly skeptical of its restorative claims, Hitchcock’s directorial approach in Psycho concentrates on Freud’s study of psychotherapy.

Considered the most Freudian of all Hitchcock’s films, Psycho opens with a show of the theory that the unconscious is the place where unsatisfied desires are stored. It begins with a shot of a slightly opened curtain-less window of a hotel room in Phoenix, Arizona. Hitchcock directly hinting to the nature of the unconscious mind uses this essentially intrusive view to foreshadow his theme. Inside the hotel room securely hidden from the outside world, a man and a woman are getting dressed after a sexual encounter. Behind these closed doors is where they are both concealed from existing social taboos regarding pre- marital sex. Also in this room barely visible to the eye, is where the young woman Marion Crane elusively fulfills her longings to be with Sam as his wife.

Hitchcock later expounds upon Freud’s concept of the unconscious when the audience is introduced to Norman Bates. Seemingly mild mannered at first Norman is soon exposed as being unable to control the desires of his id. The director similarly treats with Norman’s unconscious in the way he does Marion’s; symbolizing both their surroundings as the containment of hidden wishes. Much like his true desires are buried within his unconscious mind, the Bates Motel, as noted by detective Arbogast which “looks like it’s hiding from the world”; acts as a covering for Norman’s secret crimes.

As seen in the film some memories and desires are repressed by unconscious forces due to their painful or unacceptable nature. Freud theorizes that the blocking of these memories or desires may not be harmful to the individual but is rather the mind’s way of guarding against unpleasant effects. Marion Crane, the first character of Psycho to be subjected to this idea of repression as she deals with the guilt of her crime, suffers its symptoms. 

Her subsequent anxious behaviour after being confronted by the police officer on her way to Fairvale is indicative of the memory of her actions searching for a release or as Freud terms it a ‘return of the repressed’. Furthermore her attempts to avoid detection by trading in her car for another betray her guilt and she raises additional suspicion when she is about to drive out of the used car lot forgetting her coat and luggage.

In Norman’s case the theme of repression is explored to a greater extent. For instance, the psychoanalyst points out in the end in order to understand Norman’s situation: “you have to go back ten years to the time when Norman murdered his mother and her lover”. The severity of his actions triggers an already disturbed Norman “to erase the crime, at least in his own mind” in order to continue living. In trying to block this memory Norman is accordingly subjected to its constant resurgence, only this time in different forms. Thus, his words and way of conduct inform the audience that there is something else which lies beneath his supposedly calm demeanor. In conversation with Marion whatever he is trying to repress effects slips in his speech and he has trouble pronouncing the word ‘falsity’. 

Another illustration of the return of Norman’s repressed thoughts occurs when he is being questioned by detective Arbogast. He becomes more and more uncomfortable with Arbogast’s line of questioning, manages to lose track of what he is trying to say and eventually fumbles through a fragmented account concerning Marion’s disappearance.

Moreover, the concept of the return of the repressed is ideally symbolized by Norman himself disguised in his mother’s dress; a physical manifestation of the repressed (his mother) coming to the surface. Then in the final scene the director also leaves the audience with its own reminder when Marion’s buried car is excavated from its muddy grave; as if to note that what is hidden will eventually come to light.

Psychoanalysis holds the position that the ego acts as the mediator between the other two facets of the human psyche; giving precedence to logical thinking and discernment. It also follows on the belief that if there is conflict between the super ego and id, and the ego is hindered from exercising its responsibilities; the result would be a breakdown in the functioning of the human mind, sending the ego into defense mode. This idea is achieved in the film through the bad judgments of both Marion Crane and Norman Bates. Similarly succumbing to the desires of the id these two are compelled to commit reprehensible crimes. Knowing that what she did offends social codes of conduct Marion’s ego is thrown into defensive action. In continuing with her plans to run away to Fairvale, imply that Marion believes that she is somehow justified in what she is doing. She then tries to eradicate anything which connects to her life in Arizona by trading in her car for another; which she probably reasons will allow her to escape without being followed.

Norman on the other hand encapsulates the deeply conflicted ego which consequentially deploys various coping mechanisms. After murdering his mother, he loses all sense of self and completely outfitted in his mother’s clothes, he deals with his wrongdoing by assuming the identity of his victim. Also noticeable in his behaviour are acts of regression whereby he assimilates a child- like deportment when scolded by his ‘mother’ for his attraction to Marion and in a boyish way he confesses to Marion that she (his mother) only allows him to do certain chores which she deems he “might be capable of doing.” Norman also manages his internal conflicts by trying to project an air of normalcy, continuing with his daily routine; dutifully changing bed linens, as he calls it “following the formalities”, of a motel which remains invariably uninhabited, and filling his time with his hobby; taxidermy.

Also evidenced in the film is the role of the super ego which regulates the mind according to socially and culturally accepted rules. This idea is clearly represented in the scene where Marion makes her way to Fairvale with the stolen cash. Hitchcock symbolizes her prodding conscience in the form of the policeman, a recognized figure of justice and authority, who constantly watches her every move. In contrast, in Norman’s world there are no reflections of the super ego at work as he has already suppressed the will to conform to societal norms. When these two are placed before each other, Marion senses in Norman’s deportment what she could become and allows the super ego to work for her, although in the end is unfortunately robbed of the opportunity for redemption.

Perhaps the most significant illustration of psychoanalytical considerations stems from Hitchcock’s use of the Oedipal Complex as a prime explanation for his main character’s behaviour. In this case Norman’s repressed guilt is manifested in an oedipal complex. His unnatural attachment to his mother even posthumously, is exhibitive of his lack of sexual development and identity. Again as explained by the psychiatrist both the death of Norman’s father when he was a young boy and eventually living alone with his “clinging, demanding” mother, causes him to become “dangerously disturbed”. Never having to fight for her affections before Norman is unable to quell his unconscious desires towards his mother and thus get past the phallic stage of his development. When she becomes involves with another man Norman’s mind is not able to accept this idea and out of jealousy he kills both his mother and her lover. Having had no father figure to identify with, Norman develops an exaggerated reverence for his mother and becomes dependent on her for his very survival. Even though she had been dead for ten years, he recreates her being in his mind and brings her to life by becoming her. Still operating from this phase in his adult life, he also seems to be unaware of the strangeness of his affections for his mother as he says to Marion “A boy's best friend is his mother" and "A son is a poor substitute for a lover."

Psycho is hailed today as the harbinger of the horror movie genre. Alfred Hitchcock really pushed the envelope in Psycho, making it one of the greatest, if not the greatest horror film of all time.

MAN VS NATURE: THE REVENANT

 At the 2016 Academy Awards Leonardo DiCaprio won his first golden statuette in the Best Male Actor's category for his portrayal of frontiersman Hugh Glass in the adventure thriller "The Revenant." As UN Messenger of Peace and a committed environmental activist, in his acceptance speech Mr. DiCaprio, while giving credit to those who contributed to his success, managed to switch the audience's focus for bit on to the topic of climate change. He says of filming The Revenant, that it was "about man's relationship to the natural world." A sentiment which  is compatible to statements made by the movie's director and co- writer Alejandro González Iñárritu who views the film in respect of America's capitalist economy. About The Revenant  he remarks it is about “the way these men deal with nature… Cutting trees – profit from it. Killing animals – profit from it." 

Alejandro González Iñárritu

Adapted from a novel written by Michael Punke which recounts the campfire tale of a 1820's American fur trapper Hugh Glass, The Revenant shows how one man's will to survive overcomes human and natural adversities. While there are other areas of conflict within the film, my focus is on that of man vs nature. While on a fur trapping expedition the frontiersman is attacked by and almost fatally injured by a female bear in the American wilderness. His fellow huntsmen' s attempt to escape the pursuing Ree warriors is then frustrated by a brutally wounded  Glass and an order was then given by Captain Andrew Henry (Domhnall Gleeson) that he be left behind in the care of bridger (Will Poulter), Glass' son Hawk (Forrest Goodluck) and John Fitzgerald (Tom Hardy), and warned to allow their comrade to die an honourable death. In an act of defiance and betrayal Fitzgerald murders Hawk while a weakened Glass looks on, unable to save his only son. The nearly dead Glass drags his way through the forested wilderness battling nature in order to exact revenge upon his son's killer.

Much is said about director Iñárritu's use of natural light for the entire film and having to shoot unbroken takes which resulted in cast and crew relocating in order to avoid unfavourable weather conditions. The director's keen portrayal of nature is further reflected in his use of traditional cinematography as opposed to computer generated imagery. It is even said that Iñárritu chose to manufacture an avalanche instead of relying upon CGI for a scene.

DiCaprio recognizes this film as having "environmental undertones" and should be seen as an impression of man's conflict and abuse and depletion of the earth's natural resources. As he ends his speech at the Oscars, his call is for the world to preserve the earth for the benefit of future generations and he pleads "let us not take this planet for granted." 

HUMANIZING A COMMUNITY: BLANCO

The National Organization for Albinism and Hypopigmentation defines the condition of Albinism "an inherited genetic condition that reduces the amount of melanin pigment formed in the skin, hair and/or eyes. Albinism occurs in all racial and ethnic groups throughout the world."

Blanco was screened at the 2014 T&T Film Festival. It is a documentary about an Albino community in the Dominican Republic.

Type: Documentary

Director: Melvin Durán
Region: Dominican Republic
Year: 2014
Minutes Running Time: 62

Language: Spanish (with English subtitles) 

BLANCO

In his first feature-length film director Melvin Duran, Blanco documents the lives of six albinos of differing ages in the Dominican Republic. During the Q&A segment, Mr Duran revealed that the documentary is guided at humanizing the albino community within his country. He portrays his group, not as shunned or marginalized due to their distinctive features but rather as being revered for their white skin and blond hair.

The opening scene begins with a family inclusive of an infant girl who is albino. This is then followed by a family of five; similarly made up of persons of seemingly mixed races. In this case there were two albino children of pre- teen age. The director’s attention to the various age groups is meant to point to the average life expectancy of a person with albinism in his native Dominican Republic. Persons with albinism do not live well beyond their 40’s due to the lack of education about the harmful effects of the sun; which results in many albinos contracting skin cancer and which the leading cause of death within the albino community.

Throughout the film the director creates a sense of normalcy for his main characters. From their happiness to hardships; each scene involving persons with albinism did not seem unique to the albino community and in fact, he succeeds in blurring the line, as the apparent differences are lost to the viewer.

Blanco also reminds the audience that in some instances children are deprived of their childhoods. This is illustrated as one of Duran’s female protagonists reminisces about being married at the age of fourteen to a man almost thirty years her senior.  While this fate may not be exclusive to his focus group; Duran again exposes some of the precipitating effects of albinism. 


Albinism is a condition which is often misunderstood and affects many around the world. In the Dominican Republic film director Melvin Duran humanizes a community of Albinos in his country and lets the viewers into their world, as he attempts to prove that their differences are only skin deep. 

If you enjoyed this piece and you can get your hands on a copy of Blanco leave us a comment below about your views on albinism and Duran's featuring of the often misrepresented community. You can also look out for more local and regional films at this year's Film Festival which is happening from 15/09- 02/10/2016.