Small Change (1976)
★★★★ / ★★★★
“L’argent de poche” or “Small Change,” written and directed by François Truffaut (“The 400 Blows”), did not have a defined story but it never failed to impress because the vignettes it featured ranged from disarmingly funny to downright heartbreaking. The film followed two-year-old children to fourteen-year-old young adults as they tried to roleplay and find their identities. I originally saw this picture in my third year of French class in high school but I failed realize how brilliant it was. Watching it again four to five years later, I couldn’t help but enjoy it that much more because I’ve had more experience with films and acquired a deeper understanding of childhood psychology. Watching the scenes which involved children giving their friends haircuts (and ending up disastrous), sneaking into the cinema, preparing breakfast with a sibling as their parents sleep, and others really took me back on how fun and easy life was back then when I didn’t have yet carry certain responsibilities. It also tackled topics such as securely and insecurely attached children, attachments to certain objects, and their inabilities to not act upon the first thought of action that would come up in their minds. While the humor was certainly there, I admired that the film also showed the darker side of childhood which dealt with abuse and childhood depression. That bit reminded me of a girl in my fourth grade class. Although at the time I didn’t quite grasp the idea of parents abusing their children in the home, there were definitely signs that would most likely lead to the a conclusion, such as her bruises on her arm and when she would come to school either crying or restless. (Most of us thought she was just really emotional and stayed away from her.) That delicate balance was definitely Truffaut’s greatest strength. Lastly, I enjoyed the teacher’s (Jean-François Stévenin) insight on childhood and growing up. I found his speech to have a certain resonance because it had undeniable truth without ever having to be melodramatic. “Pocket Money” is one of those pictures that reminds me why I love watching coming-of-age films.
The Child (2005)
★★★ / ★★★★
I believe “L’enfant” is another one of those movies where audiences will be quick to judge and label it as the kind of movie where “nothing happened.” Written and directed by Jean-Pierre Dardenne and Luc Dardenne, the film told the story of a couple (Jérémie Renier and Déborah François) who recently had baby. However, both of them were very young and the first few scenes of the picture established them as parents who were far from ready to raise a child. What’s even worse is that the father actively doesn’t want to get a job. He would rather steal from people and sell the objects he stole for a quick buck. Faced with the responsibility of raising a child, he saw the child as another means of making money. There’s a certain sadness about this picture that fascinated and angered me at the same time. I was very angry with the characters’ decisions, especially the father’s, but I could not help but wonder how the consequences of their actions would change (or not change) them in the long run. While the movie did not have a lot of dialogue, the silent moments and body movements were enough to let the audiences feel the gravity of certain situations and the desperation of the two leads. I also enjoyed the brilliant symbolism regarding the father and his way of constantly selling things. I thought it was very fitting considering that he was the kind of person who did not want to get attached in fear of finally being responsible for something. Lastly, the use of bright colors for a somewhat grim story provided a nice contrast. This is a small movie but I found it to be quite powerful because it had a certain insight without really judging its characters. It simply shows what is and sometimes that’s enough to make us question ourselves how we would have done things differently if placed in similar situations. Strangely enough, even though I did not agree with more than half of the characters’ choices, I still felt for them and ultimately wanted them to succeed or maybe even lead a better life, especially for the newborn. If one is up for an honest experience via a cinematic medium, one should consider to watch this movie.
★★★ / ★★★★
I was pleasantly surprised how effective this psychological thriller was. With a running time of two hours, it was able to build up the tension it needed to truly scare the audience when the evil child began to unravel what she was capable of. Directed by Jaume Collet-Serra, “Orphan” was about a mother who is still mourning for the loss of her baby (Vera Farmiga), a father who wants to help the family move on from a tragic loss (Peter Sarsgaard), and their decision to adopt a precocious girl named Esther (Isabelle Fuhrman) to join their family. Little did they know that Esther has a plethora of secrets of her own and it would take a great deal of effort and energy (and a whole lot of convincing) to unravel just one of them. It is really difficult for me to say any more about this film without giving away the final twist. But let me just say that this movie did not cheat (i.e. result into supernatural explanation or fancy camera work) to achieve that twist so I was impressed. This picture definitely reminded me of “The Good Son” and “The Omen,” just because a child was a villain in both. However, I think this film was on a different level of excitement because, unlike “The Good Son,” the villain’s methods are much more graphic yet insidious, and unlike “The Omen,” it is actually grounded in realism and that made the picture more haunting. I also liked the fact that the other two kids in the family (Jimmy Bennett and Aryana Engineer) had important roles that drove the movie forward. If I were to nitpick, the only thing I thought the movie could have worked on was the history regarding Esther. By the end of the film, I felt like there were a lot more that the audiences did not find out about her and what made her the way she is. Other than Farmiga as the mother who no one believes in and labels as paranoid (which brought “Rosemary’s Baby” to mind), Fuhrman is a stand out. I want to see her in more movies and her range of acting because she made me believe that a child was capable of doing all those horrible things. Even though “child-killer” movies have been done before, I enjoyed this flick because I could not help but imagine that if I was in the mother’s situation, I would do absolutely anything to keep that evil child away from me and my family.
The Spirit of the Beehive (1973)
★★★ / ★★★★
Considered as one of the most important Spanish films, “The Spirit of the Beehive,” written and directed by Victor Erice, tells the story of a little girl named Ana (Ana Torrent) who, after watching the 1931 version of “Frankenstein” and being told by her sister named Isabel (Isabel Tellería) that his spirit exists, goes off to find a real-life monster. I really admired this film because the use of words was minimal yet it was more than able to convey what the characters were thinking and feeling. It truly captured how childhood was the peak of curiosity and how our perception at that point in our lives may be a bit skewed from reality. The way Ana and Isabel tell stories, play games and tricks on each other reminded me and my brother many years ago. I also liked the broken relationship between a husband (Fernando Fernán Gómez) and a wife (Teresa Gimpera). Little do they know that no matter how much they try to interact with their daughters separately (or not interact), the children feel that there’s something wrong even though they do not yet know how to tackle such feelings. The awkward scene at the table when the whole family was eating together was somewhat elusive because I noticed that there was not a frame in the film that each of the family member was in. I think that divide between the two parental figures was another reason why Ana decided to plunge into her own imagination as an escape. The scenes in their big mansion of a home were painful for me to watch because there was a very noticable lack of stimulation such as books and toys for the two children. At least for me, they looked more alive when they were watching a movie in the town, while they were at school, and when they were roaming around outside. This is a very strong motion picture that should be seen by movie-lovers everywhere. However, one should be warned that it requires a lot of patience because it may get a bit slow at times due to the lack of happenings in the small village that they live in. Nonetheless, it’s a rewarding experience because it works on several angles, cinematically and psychologically.
The 400 Blows (1959)
★★★★ / ★★★★
I found this classic film’s theme of running away in order to achieve some sort of freedom being particularly impressive: running away from an uncaring home (the parents played by Albert Rémy and Claire Maurier), a strict school system, and a juvenile reform center. Alternatively, it can also be seen as an escape from oneself because Antoine Doinel (played by Jean-Pierre Léaud), the lead character, cannot live up to society’s expectations on how he should think and behave. Having known that this story was drawn from François Truffaut’s, the director, troubled childhood, I decided to see this film in a psychological perspective. By the end of this picture, I have never found myself wanting to adopt a character because he is pretty much misunderstood by everyone around him. Admittedly, he did commit petty crimes and purposely did not do well in school but I thought the parents were to blame. The kid’s actions were a sort of signal for help and attention. The mother is disloyal and narcissistic in every way; a master when it comes to getting what she wants whenever she wants and not above bribery in order to keep living her fantasy. The father is not a good male role model for his son because he tackles problems with screaming and yelling instead of sitting down and discussing the problem at hand like a mature adult. The two parents have a few things in common: ambivalent feelings when it comes to their child, inconsistent parenting techniques (such as reward and punishment, lack of unconditional positive regard), and transference of their negative energy from outside the home to inside the home. I immediately thought that neither of them really wanted their son and I felt so badly for him. When it comes to the film’s techniques, I was impressed with Truffaut’s use of close-ups to fully convey what the character is feeling and thinking; the use of natural sound and extended takes made me feel like I was actually that much closer to the characters. The way the story unfolded felt organic–there’s a certain fluidity when it comes to the build-up of conflicts and the eventual release from such conflicts. Even though this was released in 1959, it’s still very relevant today because of the modern disaffected youth and people who are supposed to be parents but not quite know how to fill in such demanding shoes. An hour after watching the film, I still feel that sting of emotion on Antoine Doinels face as he was taken by a cop vehicle, crying behind the bars that portrays his crushed innocence. “The 400 Blows” is deeply powerful and resonant film and it’s a shame that I haven’t seen it sooner. You shouldn’t make the same mistake.
Bear Cub (2004)
★★★★ / ★★★★
I didn’t expect to love this movie because of its coy title and familiar plot summary but the way it told the story with such intelligence and emotion is impressive. This Spanish gay-themed but not gay-centered film, written and directed by Miguel Albaladejo, focuses on José Luis García Pérez and the way he takes care of his nephew (David Castillo) when his mother decides to go to India. Each of the character is memorable because they are full of surprises. For instance, I couldn’t help but laugh and have a smile on my face afterwards when the hippie mother revealed that she thinks her son is gay and it’s wonderful/a gift. She has a certain energy and spunk which made me think of my own mother. Pérez may be gay and lives an openly gay lifestyle but that’s not even half of who he really is. He’s a great father-figure but he just doesn’t know it because he’s too preoccupied asking himself what would be best for his nephew. As for Castillo, he was actually given a character to portray, a character that helps to drive the story forward. As the film went on and we get to meet other characters such as the grandmother (Empar Ferrer), the story gets that much more interesting and serious. Toward the end of the film, some revelations occured and I couldn’t help but gasp because I didn’t see such twists coming. This gem of a Spanish film knows how to tell a simple but extremely layered story with colorful characters that doesn’t result to stereotypes. It manages to use its characters in such a way that if a particular character didn’t exist, the story would be that much weaker. I can only wish more American films are like this because it puts the characters’ motivations on the foreground and doesn’t judge their background. It really does make a difference when it comes to overall feel of the picture. Definitely check this one out if one is remotely interested.
★★★★ / ★★★★
I found this film to be thoroughly engaging from beginning to end because, despite the roughness and violence presented on the outside, the core is very sensitive but nothing is glamorized. Presley Chweneyagae is excellent as the lead because he’s convincing as a gang leader and a person who happens to have a broken soul because of his childhood. We see his character change in myriads of ways but each of those changes are subtle enough to leave a lasting impression. My favorite scene was when Chweneyagae was able to connect the old man on the wheelchair to a dog with a broken back. That scene was so powerful because there are a lot of muffled emotions and unsaid thoughts yet I couldn’t help but feel like everything is being revealed. I do not consider this a typical journey of a man becoming a “better person” by the end of the picture. Instead of taking a literal journey to exotic places, the main character was able to find self-respect, honor, and the ability to love in the place where he lived pretty much his whole life. With the help of the baby that he accidentally took while hijacking a car–seeing himself in that child while at the same time reminding him that the child is everything that he is not–he began a transformation that ultimately warrants his redemption. I’m glad the Academy recognized this as the Best Foreign Language Film of 2006. I will remember this film for a very long time.