Pan’s Labyrinth (2006)
★★★★ / ★★★★
“El laberinto del fauno” or “Pan’s Labyrinth,” written and directed by Guillermo del Toro, is one of the most compelling pictures I’ve ever seen about the power of imagination. Ofelia (Ivana Baquero) used her mind as an escape from several events that she could not fully understand and deal with: moving into a new home in a countryside surrounded by the Spanish guerilla, her mother’s (Ariadna Gil) decision to be with a cruel army captain (Sergi López), her mother’s illness along with having a new sibling and the war that was driving everyone around her into a state of conflict and madness. In her fantasy world, she was an underground princess trapped in a human body. In order to get back to her royal family, a faun (Doug Jones) informed her that she must complete three dangerous tasks. What I admired most about this movie was del Toro’s ability to show us a story seen through a child’s eyes but at the same time keeping the reality at an arm’s length. Although fantastic elements are abound, this film is definitely not for children due to the intense violence and sometimes unbearable emotional suffering. I couldn’t help but be impressed with the way the director weaved in and out and through the reality and fantasy of the story. Even though we get drastic changes of scenery with each mission that Ofelia decided to take part in, tension was something we could not escape. I loved the spy/mother-figure played by Maribel Verdú. She just had this strength that radiated from within which made her a key figure in Ofelia’s life because her bed-ridden mother could not protect her. Verdú’s scenes with the smart and venomous captain gave me the creeps; the looks he so often gave her made me believe that he knew what she was up to all along. Ever since it’s release, “Pan’s Labyrinth” gained great approval from both critics and audiences and deservingly so. A lot of people consider the film as a dark fairytale. While it is that, I believe it only highlights one dimension of this amazing work. (The words “dark fairytale” sounds more like a fantasy.) A large portion of this picture was about how Ofelia looked inwards in a time of need and turned things that she could not control into something she could. That is, the more the main character was forced to grow up due to the circumstances around her, the more she gained an internal locus of control. When fantasy and reality finally collided during a key scene in the end, it was very depressing yet magical–and that was when del Toro’s vision finally came full circle.
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.
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.
Vicky Cristina Barcelona (2008)
★★★ / ★★★★
I knew Woody Allen still has it in him to make a really good film. After the wishy-washy “Scoop” and “Cassandra’s Dream,” a lot of people began to lose hope once again because they wanted a film as great as “Match Point.” “Vicky Cristina Barcelona” is sexy, character-driven and sublime. The premise is two best friends (Rebecca Hall and Scarlett Johansson) spend a summer in Barcelona and unexpectedly fall for an artistic and charismatic Spaniard (Javier Bardem). At first I thought I could relate more with Hall because she’s sensible and she knows exactly what she wants. But as the film went on, I could identify with Johansson more because she doesn’t limit herself by following society’s labels. She’s very open to things that can enlighten her not just intellectually but spiritually as well. Things get more complicated when the Bardem’s ex-wife, played by the gorgeous Penélope Cruz who deserves an Oscar nomination, returns after trying to kill herself. She provided that extra spice that the film needed in order be more romantic not in a safe way, but in a dangerous and unpredictable manner. I was impressed with this picture because each scene felt so organic. The characters talked and acted like real people, which I think is difficult to accomplish in a story about the complex dynamics between the characters. All of the actors had something to do and impacted each other in both subtle and profound ways. Another factor that I admired about this film is its stark contrast between American and European. The most obvious one includes Hall’s business-minded, unexciting husband (Chris Messina) compared to raw, passionate Bardem. One can also argue that Hall is more American while Johansson is more European. These differences even go as far as which types of clothes the characters wear. As much as I loved this film, I cannot give it a four-star rating because it needed an extra thirty minutes to reach a more insightful conclusion. I don’t mean tying up some loose ends in order for everyone to be happy. In fact, I love that this film was bold enough to leave some unhappy characters. It’s just that, in a Woody Allen film, you expect something more profound, something more complete. It’s not as introspective as “Match Point” but it comes very close.