Offside (2006)
I’m THE minority opinion on Jafar Panahi. Offside is reminiscent of a particular type of Panahi film, one that takes a very simple, small focus and doesn’t so much cover all the angles as lets events play out, letting the angles cover themselves. (This is Not a Film wasn’t a dramatic stretch because it’s a type of film he makes.) This can be outlined into a handful of sequences – getting in, the pen outside the stadium, the bathroom, the 2nd half of the game, the ride home – and what happens during each sequence is the opposite of a Tarantino or Aaron Sorkin. There’s no visible blueprint, but by the end you feel Panahi has covered everything. Most impressive is the ending. We don’t see a moment of the game, but I understand the game guided the story. That means the final scene isn’t staged, and the emotion is so good and strong, I cringe at the possibility of filming an ending where the other team wins.
The part and blue, just because I love that. I like the analysis and contrast with Tarantino and Sorkin. In the sense of craft, I think you might understand why I like what I like better than I do, or are at least more able to articulate it than I can.
The final images of
the women and soldiers exiting the bus with the sparklers clinched this thing for me.
Sin Nombre (2009)
Cary Fukunaga is a skilled filmmaker, but I cannot get on his wavelength. How does he know when to go for documentary realism and when to try a brash long take or stylized sound mix? Why do his films look so difficult to make and dramatically not powerful enough to justify that difficulty? I kept thinking of City of God because I think that’s the difference between us. City of God looks like it was filmed in a place where crew would disappear during the night. The visual style is loud and brash, grabbing you by the shoulders and demanding your attention. This shares the dangerous location and the high level of difficulty, but there’s an invisible touch. You have to step back to marvel at the filmmaking, which I did mostly because I wasn’t a fan of the people. I wasn’t a fan because I’m sure I’d be the crew to say something wrong and perish in the night.
Offside is my favorite Jafar Panahi.
Sin Nombre is my least favorite Cary Fukunaga, though it’s not a bad movie. I just thought the main conflict was routine – though the world is unique – and was more interested in the kid being indoctrinated into the Mexican gang.
I don't know that difference between City of God and Sin Nombre is a big difference between you and I, per se, because City of God is #12 on this list, and was perhaps my #1 at one point (before I ever really considered such a list). I saw both films for the first time around the same time. Sin Nombre is another one where the final shot clinched it for me.
Sayra's reaction at finally getting through with the phone number she'd recited with her father so often and what seems like so long ago is one of the more profound images of any film I've seen. I care a lot about the Sayra-Casper relationship, and I love the attention to detail when it comes to recreating the immigrants' trail to America. All of the stops, the run-ins with a notably ruthless Mexican immigration authorities, the pit stops to bathe and eat, the tops of the train filled with literal huddled and yearning masses, Fukunaga really brings this world to life. To me, it's a more worthwhile world to bring to life than a lot of places film goes, even if that can mostly be boiled down to personal preference. I've lived in Arizona for nearly 15 years and lived within 10 miles of the Mexican-American border for 9, so that also plays a role. I had the privilege of being able to straddle the border and enjoy both sides without much care or concern, but I also appreciate things that tune me into the harsher reality of that place.
I'm wondering, do you have any other undocumented (or just marginalized) immigrant stories you find compelling? Dirty Pretty Things is one I haven't visited in a while, which goes to some seriously dark places, but I remember liking quite a bit. I used to be quite fond of In America, but not sure how it'd hold up now. Wondering if you got anything new for me to try.
Also wondering if you have much looked into MS-13 since Donald Trump made such a big deal of them. That's the gang in the film, La Mara Salvatrucha, and they are horrifying. It's a challenge to get a good account of the gang because of how tight-knit and close-lipped it can be. While we don't hold the film in the same esteem, I agree with you on the intrigue of this organization. It's just deeply unfortunate that people link all Central American and Mexican immigrants with them, especially since the gang was formed in L.A., when they are more like Sayra and her family, just trying to escape.
I've written more than you, but I am excited that you watched these two movies. I think you might get a great deal out of 3 Faces, as I think it fits the high concept Sam talks about with Offside, although it also has strong meta elements and docudrama feel of This Is Not a Film. I very much understand your reaction to that film, even if I don't necessarily share it, but I think you might find that it actually goes places with 3 Faces. Sometimes the camera points at Panahi, but it's when it points beyond him that the magic happens.