NYFF: Yulene Olaizola's "Tragic Jungle"

by Jason Adams

M. Night Shyamalan's name has become synonymous with cinematic puzzlery, but there can be a dulling obviousness to the way he approaches the concept of Mystery, at least in his weakest moments. He genuinely thinks he can explain the unexplainable. His "twists" mostly seem to mash the Unknown into tight little balls we can hold in our hand to exit the theater with. And so it's only the opening passages of his film The Happening, about Mother Nature seeking vengeance against the humans who've abused her so, that retain any sort of power -- Shyamalan spends the remainder of that film piling plot contrivances on top of his original interesting idea until it's the audience who can't breath from the sheer weight of nonsense pouring off the screen.

I'll admit I thought of The Happening while watching the breeze move gently through the rainforest trees of Mexican director Yulene Olaizola's captivating and hypnotic new film Tragic Jungle...

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NYFF: Nicolás Pereda's "Fauna"

by Jason Adams

The title of Fauna, the latest film from Mexican-Canadian director Nicolás Pereda, turns out to be good enough a punchline that I'd never spoil it, but it's one of those punchlines where the characters themselves get to burst into laughter at it -- it's extra-textual enough for everybody to recognize its ridiculousness all at once, even as it exists within the narrative. There are many such laughs in the film but highlighting that distinction up-front matters. The space between the people on-screen and the people watching? Well, Pereda's having a heap of fun wigglin' all around in that uncanny void...

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Beauty Break: Maribel Verdú, Goya Darling and Birthday Girl

This post has been updated from its original form, years ago...

Those Goyas must be heavy!

Happy 50th birthday, today, to Spanish beauty Maribel Verdú of Y Tu Mama Tambien and Pan's Labyrinth fame. How many women can claim to have terrorized Snow White and been tag teamed by Gael García Bernal and Diego Luna, and knifed a dictator's officer right in the face? How many women have been nominated for a Goya eleven times and won twice*. Just Maribel, that's who... 

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The Furniture: On Frida's Mirrors and Diego's Walls

Daniel Walber's series on Production Design. Click on the images to see them in magnified detail.

Nearly 20 years on, Julie Taymor’s Frida remains both breathtaking (those Quay Brothers puppets!) and befuddling (why isn’t it in Spanish?). It holds up better as a visual experiment than as a biopic, despite the richness of Salma Hayek’s performance. Filmmakers have long struggled to bring the lives of visual artists to the screen in dynamic, resonant ways. Some fail.

When Frida does succeed, it’s largely due to its Oscar-nominated team of art director Felipe Fernández del Paso and set decorator Hania Robledo. Their work doesn’t simply represent the art of Frida Kahlo and Diego Rivera, but interprets it. By transforming Kahlo’s paintings into the stuff of cinema, they directly engage with their meaning - or, rather, Taymor’s own interpretation of those meanings. The result is a film with a lot to say about materiality and identity, the value of brick and the value of life.

We begin with Frida’s bedridden journey to her first solo show in Mexico City. She is carried out of the house aloft, head resting on an embroidered pillow that reads “Amor” and “Tesoro Mio.” But then we see her through her eyes, as she looks up to the mirror into the canopy of her bed, the flowers reflected back at her.

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Horror Actressing: Rita Macedo in "The Curse of the Crying Woman" (1963)

by Jason Adams

Happy Cinco de Mayo, everyone! For this week's edition of our "Great Moments in Horror Actressing" series we're tackling the five-century-old Mexican folk-tale of "La Llorona" aka "The Weeping Woman," who's become perhaps the most iconic of all their legends and whose terrifying presence has graced the screen at least a dozen times, up to and including last year's middling Blumhouse production (part of their ever expanding and worsening Conjuring Universe) titled The Curse of la Llorona. 

We will not be talking that most recent version though, because despite perfectly acceptable screaming from a slumming Linda Cardellini (an actress I very much like)...

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