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By Kane Geary O’ Keeffe Caru Alves de Souza’s second feature film, My Name is Baghdad, operates as one part social drama, and one part skate video. De Souza’s use of gritty ground level cinematography, courtesy of Camila Cornelsen, and semi professional actors effectively conjures an authentic vision of Sao Paulo’s skate culture. A well written script utilises naturalistic dialogue to convey the feel of skate videos reminiscent of the late nineties, all in the service of addressing relevant issues that run throughout Sao Paulo’s working class neighbourhoods. Baghdad, her family, and her skater cliques are closely followed as they manoeuvre through Sao Paulo’s sense of geographical entrapment, police brutality, and dominating sense of machismo in the local social scenes. Wearing its fem punk inspirations on its sleeve, My Name is Baghdad is ultimately about the bonds of sorority, both chosen and unchosen.
Living with her mom and two sisters, our title character spends her days in working class Sao Paulo at the local skatepark with her male friends. Decidedly androgynous in her appearance and a tomboy at heart, Baghdad feels at home with these young men as we observe their friend group continually work together to develop their skating skills. Throughout the course of the film, the inherently darker face of working class Sao Paulo comes to the forefront, as the male dominated social structures of the metropolis become more apparent to Baghdad. Growing tired of the machismo present in the local night club and skate circles, Baghdad eventually falls in with a group of all girl skaters, and her newly founded bonds of sorority change her life for the better. My Name is Baghdad boasts a stellar cast of actors both professional and amateur that bring a vibrant skate scene to life. Grace Orsato’s performance as our titular character is an understated one which allows the world of Sao Paulo to inhabit the screen as its own central character without Baghdad dominating the screen. The rest of the cast inhabit what I would consider to be Baghdad’s greatest strength, its naturalistic integration of representation. The decision to work with a racially diverse community of actors, including member of the trans community and the differently abled, imbues Sao Paulo with a lived in sense of community that comes across as genuine and culturally diverse without the film drawing attention to itself as a pillar of representation as is sometimes the case with bigger productions such as Disney’s problematic management of minority characters in its recent Star Wars movies. Baghdad’s diverse community gives us insight into how the hardships of working class life in Sao Paulo permeate different demographics in the metropolis, and is conveyed expertly through the film’s charmingly diverse cast. One of the hardships that envelops all of the characters in My Name is Baghdad is the sense of geographical entrapment that comes from feeling stuck in Sao Paulo. This is best exemplified on a thematic level by Baghdad’s kid sister Bia, who spends the duration of the film dreaming of leaving Sao Paulo aboard Nasa’s first manned flight to Mars. This subplot provides plenty of humour as Bia attempts to train herself to see in the dark in order to adapt to her notion of Mars’ climate, as well as creating video applications for Nasa with her sisters. While endearing, Bia’s subplot embodies each character’s will to escape the hardships of Sao Paulo. Police brutality is one such social hardship in Sao Paulo’s working class communities and is addressed in My Name is Baghdad to chilling effect. During the film’s second act, Baghdad and her friends are violently searched and profiled by police for no apparent reason. These officers target Baghdad in particular and harass her over her androgynous appearance. Critics Joao Costa Vargas and Jaime Amparo Alves note of Sao Paulo’s issue with Symbolic police violence, “Examples of symbolic violence would be stereotypes related to race, gender and social geography especially at the neighbourhood level that predispose and justify the use of lethal force by the police” (Vargas Alves 612). As such, witnessing the police bully Baghdad over her appearance and association with a male group of friends devolves into stereotype based threats as they assume Baghdad keeps male friends in the name of sexual promiscuity. De Souza’s utilisation of ground level handheld cinematography injects this horrifying scene with a fly in the wall documentary feel that aids in conveying the reality that incidents such as this occur in the real day to day lives of Sao Paulo’s inhabitants. This day to day life as documented in My Name is Baghdad is also plagued by a toxic sense of machismo present in Sao Paulo’s social scenes. De Souza uses the surface level unity of the skate scene to contrast the troubling gender divisions in the city’s nightlife. In a report of Sao Paulo’s nightclub typography, Claudia M. Carlini & Zila M. Sanchez note that “overcrowding above the maximum capacity and strong sexual competition among the men for the women make these venues more prone to sexual violence” (Carlini Sanchez 1807). This notion of a nightlife dominated by sometimes violent machismo materializes in My Name is Baghdad through a drunken encounter between Baghdad and her supposed male friend Clever. Clever attempts to sexually assault Baghdad in a nightclub after she turns down his advances. This shocking encounter marks a turning point for Baghdad and the film as a whole as Baghdad becomes aware of the toxic male culture that exists within many of Sao Paulo’s social scenes. My Name is Baghdad places a spotlight on many of the social hardships faced by the working class inhabitants of Sao Paulo. Despite these hardships, the film conjures a mostly optimistic tone through a focus on the bonds forged in youth and the positive effects of sorority. Baghdad’s skater girl friends draw out a more energetic layer of her character that’s reflected in Orsato’s performance. Baghdad’s dynamic with her sisters and mother comes to be defined by a playful sense of contentment in each other's company despite the trials of the outside world. The same can be said of Baghdad’s sisterly skater girl clique, who all thrive in each other’s encouraging presence while also acknowledging the misogynistic forces that prevent them from fully integrating with the male skater groups of the city. De Souza is conscious of the contrast between the difficulties of working class life and the positive bonds forged in overcoming those hardships together. Ultimately, My Name is Baghdad successfully sheds a light upon many facets of working class life in Sao Paulo . De Souza is assured in her portrayal of the positive effects of social bonds as a means of overcoming very real hardships. Bolstered by immersive ground level cinematography and the natural implementation of a terrifically diverse cast, My Name is Baghdad promises an exciting career ahead for Caru Alves De Souza and her collaborators.
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by Méabh Broderick In a time when the viewing experience of film has been confined exclusively to the home and as a result has become a somewhat solo activity, the Cork International Film Festival’s theme of ‘solidarity’ for their 2020 programme is an apt choice, reflecting something we all need and desire in these most isolating times. These days, the good news is few and far between so I find myself gravitating towards heart-warming stories of solidarity and triumph, something I hoped to find in Pierre-Francois Martin-Laval’s 2019 film Fahim, The Little Chess Prince or simply, in its original French title, Fahim (Martin-Laval), as part of the Family Programme. The film follows the trials and tribulations of gifted chess player, Fahim and his father, Nura, as they are forced to flee their home in Bangladesh, leaving their family behind, in search of asylum in Paris. Forced to adapt to their new world, Fahim finds purpose under the guide of renowned chess coach Sylvain Charpentier, played by acclaimed French actor Gérard Depardieu. Developing the increasingly strained relationship between father and son as they experience the hardships of homelessness and poverty, the film carefully balances familial themes with issues of racial inequality, offering a heart-warming story of triumph and hope in the face of adversity. Whether you consider chess a sport or not, Martin-Laval frames Fahim’s story in a way reminiscent of those found in countless ‘underdog stories’ depicted in sports bio-pics for decades, which would seem far-fetched, if it were not prefaced by the words “Based on a true story”. As my introduction to the work of director Pierre-Francois Martin-Laval, I was incredibly impressed with the film’s ability to translate the extraordinary true story of Fahim Mohammad to screen with its captivating visuals, engaging script, and truly moving performances. Contrasting the claustrophobic imagery of Bangladesh with the expansive cityscapes of Paris, cinematographer Régis Blondeau manages to capture the family’s desperation and need to flee and the glimmer of hope found upon arrival in France, while simultaneously depicting their isolation in this new land where they are dwarfed by their surroundings. While the depth of the film’s political commentary may fall short overall in order to make room for the ‘underdog story’, the alarmingly contrasting visuals presented between the two countries highlights the global inequality of which millions, other than Fahim, are a victim to. In addition to depicting the harsh reality of their struggles on a global scale, Blondeau’s cinematography also manages to explore the increasing generational divide between father and son, as Fahim quickly adapts to his new surroundings, while Nura never manages to progress very far beyond the words “Bon appetite”. While the films visuals play a key role in building Fahim’s world, it is the strong performances by the extensive cast that truly bring it to life. Anyone familiar with the sports bio-pic will be aware of the need for the initially reluctant coach who eventually forms a strong bond with our underdog, a role fulfilled in this film by established French actor Gérard Depardieu, who’s character Sylvain Charpentier represents the real life Xavier Parmentier. While filling the shoes of this somewhat stereotypical role, in less capable hands, could likely have fallen flat and blended in with the hundreds of others before him who have taken on such a role, Depardieu’s take on the character convincingly sells the bond he develops with Fahim. However, Depardieu’s performance is not the only one of note. It can often be hard for newcomers to compare to well established performers such as Depardieu on screen, however Assad Ahmed (Fahim) and Mizanur Rahaman (Nura) seem more than up for the task. Rahaman’s performance captures the desperation of his character while trying to shelter his son from the hardships of their situation, while Ahmed’s portrayal of Fahim beautifully conveys the childlike wonder of a young boy in a foreign environment while also being able to tap into the desperation and rejection experienced due to his position. Ahmed’s performance is elevated by his interaction with others, particularly Depardieu’s character and the other children in the chess club. It is through these characters we see the festival theme of solidarity develop. Mirroring Fahim’s ups and downs in chess with their struggles in poverty and isolation, it is apparent that the film attempts to explore issues of race and inequality throughout. As the film progresses this seems to fade into the background in favour of the lighter tone found in Fahim’s chess success story. However, this would not dissuade me from recommending the film as it is through this element of the story and the relationships it explores, that the film delivers the theme of solidarity. Fahim manages to adapt to his new world with the help of his new friends and chess coach. Even in his lowest moments, he is taken in, and it is because of these bonds that he triumphs in the end. Not only is this a heart-warming exploration of the good that can be achieved in human solidarity, but it is also a reflection on the real life solidarity experienced by Fahim and thus offers a glimmer of hope that such good can exist even in these bleak and isolating times. While not much has been written on this particular film, a great deal can be read on Fahim’s own life, in which his deep connection with his chess coach becomes even clearer. While the real life Parmentier passed away prior to this film’s release, it feels like a fitting ode to the bond Fahim and him shared and the value of the solidarity Fahim experienced from Parmentier in shaping his future. Fahim’s life was changed due to the Parmentier’s help and thus without him, Fahim’s story would have gone in a different direction and would have remained untold, and this film would not exist.
Film festivals every year possess the ability to introduce wider audiences to works that would otherwise fly under their radar. Whether it be in showcasing the works of smaller artists, or in bringing attention to international films for a larger audience, film festivals offer the chance of discovery and exploration of new work and artists that cannot be found elsewhere. While the festival this year was delivered in a much different way, this aspect of the experience was maintained and as a result I was able to discover Fahim’s story for the first time. Though we were deprived of the ability to experience the films collectively, the feeling of solidarity in this time of isolation can be felt through this film and the wider festival programme. For while we are all confined to our own bubbles in Cork this year, the festival brought together creators from all corners of the world, for us to share in the experience of escape even if only for a brief moment. By Emily PowerAs we start a new year, lets look back at the festival circuit of 2020. While 2020 saw the shutting down of many productions, it also brought some gems to the 'silver screen'. Here are my 2020 film festival circuit picks: Another Round is a comedy drama, directed by Thomas Vinterberg, which follows the story of four friends who set up a drinking experience to see how low levels of alcohol will improve their daily life. Mads Mikkelsen brings an energetic stand out performance. This film has such a good balance of fun and excitement while not shying away from much deeper topics. Corpus Christi, directed by Jan Komasa, is the incredible tale of how Daniel (Bartosz Bielenia), a recently released convict, attempts to free himself from his past as he explores his deep connection with his faith. This film has darkly comical moments while holding a mirror to society and making people accountable for their actions. Yalda, A Night for Forgiveness directed by Massoud Bakhshi follows a young woman who is sentenced to death for accidentally killing her husband. Based off a real Iranian TV show, young Maryam must beg for forgiveness live on air for her life to be spared.
Wildfire directed by Cathy Brady, in my opinion is one of the best Irish films to be made in recent years. This film took five years to make and with a powerhouse performance from the late Danika McGuigan, the story of the intense bond of two sisters uncovering their late mother secrets is a truly captivating watch. Saudi Runaway, directed by Susanne Meures, follows Muna’s story, a young woman living in Saudi Arabia who is documenting her attempt to flee the confined life she is forced to live, after her arranged marriage. This is an edge of your seat, nail biting watch but it is a story that very much needs to be heard. Minari is a drama written and directed by Lee Isaac Chung. It is a semi-autobiographical exploration of Chung's own childhood. This slow paced insight into the 'American dream' for immigrants will have you weeping. By Emily Power Hello, my name is Emily Power. I am a 23 year old MA student from Ireland, studying Film and Screen Media here in UCC. As a child, I would go to the cinema or rent a DVD from Xtravision. I was always so fascinated by the different stories people told through the medium of film and I knew that as I got older that I too wanted to tell stories through film. As I finished secondary school, I leaned more towards the editing side of film and undertook a BA in Multimedia in the Cork Institute of Technology. Multimedia was extremely hands on with a broad range of modules such as UX/UI design, photography, film, web design and sound production. While towards the end of my degree, I hoped to narrow in more on film, the broadness of this course allowed me to understand my strengths and weaknesses as well as giving me an understanding of multiply areas with media production. I was also very lucky to avail of the Erasmus program which allowed me to study film in a Darmstadt, Germany. In this college, I was able to study modules that would not have been possible in Ireland such as documentary filmmaking, practical effects and Super 8 film. As I finished my BA, I knew that I wanted to continue studying film and with the onset of the Covid-19 pandemic, it gave me the push to apply to UCC for the MA in Film and Screen Media. So far in this MA, I have been able to study topics and area's of film that are truly fascinating as well as being able to expand on my own filmmaking style with the chance to undertake a creative practice thesis. Throughout my college experience, I began working as a freelance editor and director. This gave me the best of both worlds where I could work both from home and out on sets. I found my style of filmmaking has also changed throughout college and now going into the professional working world. In my early college years, I focused mainly on either experimental style films or short documentaries. My documentary, 'Keeper of the Lights', ran in the Cork Indie festival and Story! Documentary Film Festival. Seeing my work on screen with people watching was firstly so terrifying but absolutely exhilarating and it really spurred me on to continue working. I continued working freelance, directing music videos for local bands with the music video, 'Gilbert's Dead', winning Best Music Video in the First Cut! Youth Film Festival as well as being selected for festivals such as Cork Indie Art(ist) section, RAMIFF, HER International Film Festival and LockedIn Copenhagen Underground Festival. In 2019, I was selected to be a member of the Cork International Film Festival Youth Jury, this was such an interesting experience as I was able to see films that I myself would never have probably chosen to see but I am so glad I was able to get the opportunity to see some wonderful films. This experience led me to become a submission reviewer for the Cork Film Festival in 2020 and I was able to view hundreds of great short films. I would highly recommend film students to partake in something like this as you are able to see what is being made by other filmmakers from all around the world. After I finished my bachelors degree, I was able to find work as a production assistant with Stori Creative, an Irish production company. I continued working them in the area of set design and now I currently work as a producer with the company. Getting real on set experience has been such a great learning curve and has given me great insight to see how professional sets work and the preproduction process. If I was to give any film student advice, it is all about making connections. Talk to people in the industry, go to festivals and see what's being selected and try to focus on work that will advance your portfolio and make you stand out. With Covid-19, it can be very difficult to make connections but most film festivals now run online networking sessions which I have found extremely beneficial and would highly recommend. Links to mentioned work: https://youtu.be/3ZLnKvFJKX0 https://youtu.be/dfumXvqe3xY |
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