No film festival is complete without a polarizing entry. For the 2013 Cannes Film Festival, that movie is Heli.
Audiences leaving Amat Escalante's latest film earlier this week let out a collective sigh after witnessing the director's brutal portrayal of Mexico. The film follows twentysomething Heli (Armando Espitia) as he's thrust into his home's terrifying underbelly. His tween sister Estela (Andrea Vergara) and her 17-year-old boyfriend Beto (Juan Eduardo Palacio) inadvertently put Heli and his family in the crosshairs of drug dealing thugs after stealing a few kilos of cocaine. With no remorse, the violent criminals execute their revenge. It's not pretty.
Heli never breaches the surface while tackling ideas of male identity and the ripple of effects of trauma, but Escalante's film works on a purely visceral level. He's a provocateur, composing beautiful shot after beautiful shot only to fill them with shocking imagery. Heli is not for the faint of heart. Although once the film hits American shores, one particular moment may strike a nerve with the Internet in the same phenomenon fashion that helped Lars von Trier's Antichrist become a recognizable title.
When Heli, Estela, and Beto are captured by the drug dealers, they're hauled away to be properly beaten to mush. It's here Escalante steers his plodding film straight into the pits of hell — a whiplash to the audience. Heli and Beto are taken to a living room/torture chamber, complete with ceiling hooks, flogging paddles, and a Nintendo Wii. The pain is inflicted in a frighteningly casual manner — Beto is chained up to hang in the middle of room as both young adults and kids watch. After 30 smacks to the back, Escalante plays his wild card: the cronies dowse Beto's penis with gas and light it on fire. In a lengthy, unflinching shot, we see it burn to a crisp.
That ends up being just the tip of the iceberg for Heli, which delves into the psychological damage that goes with witnessing such an act. There's little connective tissue to what Heli experiences before and after his capture, and that's the film's greatest fault. When you drop that bomb halfway through a movie, it's hard to build on. Unlike 2012's Miss Bala, another examination of the cartel culture in Mexico that saw trauma birth compliance, Escalante theorizes that the same experience cultivates violence. So, yes, things don't slow down post-manhood burning.
Having a singular scene define a movie has its pros and cons. For Heli, it could be the buzzworthy talking point that makes it a success across the globe.
Follow Matt Patches on Twitter @misterpatches
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WHAT IT’S ABOUT?
Half-brothers Beto and Tato Verdusco live at home with mom work as fruit pickers and play for the local Mexican soccer team. Beto juggles a wife two kids and a gambling habit while Tato dreams of a singing career. One day fate intervenes when a soccer talent scout gives Tato the opportunity to try out for a big Mexico City team. Eventually Beto gets his own opportunity to play in the second division and the brothers’ new success and lifestyle will have significant changes and challenges for both guys as the contrast of sibling rivalry and brotherly bonds send them into an uncertain future.
WHO’S IN IT?
After first gaining worldwide attention in the 2001 sleeper hit from Mexico Y Tu Mama Tambien Diego Luna and Gael Garcia Bernal have each gone on to significant individual success and are now delightfully re-teamed in a film written and directed by Y Tu writer Carlos Cuaron who certainly knows how to get the best from his stars. As Beto Luna presents a three-dimensional portrait of a guy whose flaws threaten his future while Bernal is fun as Tato a goodhearted and friendly soul with misguided dreams of a musical career. The nature of the scripting finds each actor on screen alone much of the time but together or apart the teaming works just like it did the first time. Standout in the supporting cast is Guillermo Francella as Batuta the talent scout who sets the story in motion. He’s superb. Dolores Heredia as the mother and Adriana Paz as Beto’s wife ably round out the featured female roles.
While Rudo y Cursi never seems to take itself too seriously it’s not a mindless exercise concocted simply to get Luna and Bernal back together. There’s real heft in the underlying theme of the cryptic nature of real brotherhood and the film makes some surprising conclusions that add gravitas to Cuaron’s engaging screenplay.
Luna and Bernal are such an attractive team it’s a shame that the storyline separates them for a good portion of the picture. The separation may be necessary for the narrative but the scenes when they are on screen together are the ones that really crackle.
WORST CANDIDATE FOR MEXICAN IDOL?
Bernal gets his chance to sing a wretched Spanish version of “I Want You to Want Me” in a dopey video as his misguided character Tato proves sports talent doesn’t necessarily equal musical ability. It’s the movie’s most amusing scene.
NETFLIX MULTIPLEX OR TELEMUNDO?
Beyond obviously the Spanish-language audience Rudo y Cursi may cross over into other markets providing a much needed boon for foreign-language films in America. Give it a shot at your local theater first.
Misery loves the Savages--always has. Ever since they were kids Wendy (Laura Linney) and Jon Savage (Philip Seymour Hoffman) have been plagued by the blasé blues. Even though they went their separate ways the siblings have remained somewhat close geographically--she lives in Manhattan he in Buffalo--and in their discontentment. But what made them this way in the first place their father (Philip Bosco) is about to reunite them. After losing his mind to dementia and his longtime girlfriend (Rosemary Murphy) to well death the old man officially needs to be looked after and that’s where Jon and Wendy reluctantly come in. Despite having not seen their estranged father in ages they fly out to his Arizona senior-citizen-friendly community immediately upon word of his downfall. What they didn’t plan on however is staying more than a couple days. Ultimately they take him back to Buffalo and place him in a nursing home about which Wendy constantly feels guilty. Now forced to live together and look in the metaphorical mirror the siblings Savage learn about self-discovery mortality each other and how to revive a decades-old rivalry as though it had never gone away. Given the way Laura Linney and Philip Seymour Hoffman constantly one-up each other in The Savages you’d think there was a real sibling rivalry at play. Of course it’s merely two of today’s very best actors giving par-for-the-course flawless performances. In so doing they create something beyond chemistry: a relationship so fractured and imperfectly perfect that it could only exist between an aging brother and sister. Whether the scene calls for fireworks or subtlety solo or together Linney and Hoffman are always up to the task. Linney is especially wide-ranging as Wendy still fights her midlife crisis. The veteran actress is often heartbreaking because Wendy is often heartbroken even when she tries to convince herself otherwise but Linney still manages to leave the window of hope cracked open--for us and her character. She truly encompasses everything in this her best performance to date. Hoffman is slightly more of a supporting player here but no less impactful. The Oscar winner is apathetic through much of the film but his terse outbursts of anger and/or sadness are stark reminders of his awe-inspiring range as an actor. Perhaps the most savage Savage is the patriarch played with grace by longtime actor Bosco. But instead of vilifying Lenny or making him worthy of all your pity Bosco makes him a rollercoaster of emotion as per Lenny's dementia. It’s been nine years since writer-director Tamara Jenkins’ last--and only other--feature-length film the twisted coming-of-age tale Slums of Beverly Hills which has given her plenty of time to think grow older and think about growing older. She philosophizes aloud in The Savages a movie that addresses everything you don’t want to but with a sardonic edge to it; in fact maybe this is as much a coping mechanism for her as it is an artistic endeavor. While the movie is primarily about the title siblings it essentially explores the human condition under their guise. But Jenkins does so in a way that is never preachy never obnoxious never sappy and always astutely observed. It’s her naturalistic approach to moviemaking that will turn what is ultimately a sharp dramedy into too much of a downer to please casual moviegoers looking for lighthearted fare in wintertime--this is NOT Little Miss Sunshine--but those who go in looking for a drama will be moved occasionally to laughter. Because The Savages is that rare deep movie: heavy on symbolism and meaning light on pretense and contrivance.