My Hindu Friend (Meu Amigo Hindu)


Doing a rain dance.

(2015) Drama (Rock SaltWillem Dafoe, Maria Fernanda Candido, Reynaldo Gianecchini, Bárbara Paz, Selton Mello, Guilherme Weber, Dan Stulbach, Gilda Nomacce, Tuna Dwek, Tania Khalill, Maité Proença, Dalton Vigh, Supla, Ary Fontoura, Rio Adlakha, Barry Baker, Juan Alba, Lilian Blanc, Jason Bermingham, Roney Facchini, Helena Cerello, Ondina Clais, Christine Fernandes. Directed by Hector Babenco

 

Death comes for us all, but it comes in different forms; a sudden, violent end a gentle slippage into eternal sleep, or a protracted, painful illness. Whether ready or not, we all die.

Diego Fairman (Dafoe) is a famous film director but neither his riches or his fame can rescue him from the inevitable; he has cancer, an aggressive and life-threatening sort. He needs a bone marrow transplant if he is to survive, but the operation itself might kill him. His girlfriend/partner Livia (Candido) responds with supportive words “You know that if it were a choice between you dying and me dying, I’d choose me” to which Diego agrees that he wishes it were her dying. He’s lashing out, of course but even so that had to hurt, but still she agrees to marry him.

Following the ceremony, he is whisked to New York for the painful and debilitating process that will either save his life or end it. While in the hospital, he’s visited by a mysterious stranger (Mello) who has come to collect him to take him to the other side. “But I’m not ready to go,” Diego protests. The man shrugs. “That’s what they all say,” he says in a plainly irritated voice. The stranger comes night after night, sitting down to play chess with Diego in a nice little nod to Berman.

While undergoing chemotherapy, Diego meets a young Indian boy (Adlakha) whom he befriends, using his imagination to tell stories to keep the frightened little boy from being too afraid of the terrible suffering he is undergoing. Diego wants to make one more movie and his new friend might just give him the strength to go out and make it.

The movie was actually made in 2015 by Brazilian legend Hector (Kiss of the Spider Woman) Babenco, the first Latin American director to be nominated for a Best Directing Oscar. It is largely based on his own experiences battling the cancer that would eventually kiss him in 2016 (his death would keep the film from American distribution until earlier this year).

This is not just a downbeat film about the indignity of dying – yes, the horrible painful indignities visited upon cancer patients are presented matter-of-factly, as are Diego’s estrangement from his brother who is now charged with keeping Diego alive with a donation of bone marrow – but also a loving tribute to the movies that Babenco loves and kept him going in dark times. At one point, Diego breaks into a song – “Dancing Cheek to Cheek” to be exact – pulling out his breathing apparatus, but his fantasy overlaps into the real world as nurses frantically sedate him before he inadvertently kills himself.

Like most Brazilian films, there is a sensuality that is going to surprise American audiences not used to such things. It manifests in a joyous dance routine that closes out the movie set to the standard “Singing in the Rain.” It also manifests in a scene in which Diego, long too sick for sex, rediscovers his physical sexuality once again in one of the film’s more affecting moments.

The film was originally written in Portuguese but was switched to English to accommodate Dafoe (more on him in a moment). The result is that some of the Brazilian actors are a bit stiff and stilted in their dialogue and it is kind of strange to hear all the supposedly American doctors and nurses speaking with Portuguese accents.

But it might have well been worth it to get Dafoe, one of the best actors of his generation. He is downright skeletal as the ill Diego, his head shaved from the chemo and radiation therapies, looking very much like a man who is inching closer to death. He still, even in his debilitated state, have the ability to roar at the cosmos over the injustice of it all and Dafoe makes it feel organic.

The movie is a bit of a mixed bag and sometimes all the parts don’t mesh as well as I would like, but that’s me. The fantasy sequences work really well, but the “real” sequences of the cancer treatment are also compelling in their own way. The movie does end up on a high note, even though it is tempered with the thought that one of the great directors was making his last film. As swan songs go, this one is a pretty satisfying way to say goodbye.

REASONS TO SEE: Rather imaginative and somewhat surreal. Keeps the interest despite a two-hour running time.
REASONS TO AVOID: A little self-indulgent.
FAMILY VALUES: There is a goodly amount of profanity, some drug use, and plenty of sex and nudity.
TRIVIAL PURSUIT: The movie was based on the experiences of Babenco as he battled cancer and the characters are based on his own family and friends; this would turn out to be his final film as he passed away a year after the movie was released in Brazil.
BEYOND THE THEATERS: Amazon, AppleTV, FlixFling, Google Play, YouTube
CRITICAL MASS: As of 5/24/20: Rotten Tomatoes: 83% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: The Seventh Seal
FINAL RATING: 7.5/10
NEXT:
A 12-year Night

Nona


See no evil.

(2017) Drama (Rock Salt) Kate Bosworth, Sulem Calderon, Jesy McKinney, Diana Cabuto, Jasper Polish, Giancarlo Ruiz, Brittney Bell, Mildraide Lazarre, Lily Melgar, Chris Arellano, Ramsay Phelps, Jonathan Contreras, Billy Helmers, Mariana Cabrera Orozco. Directed by Michael Polish

 

Illegal immigration is a hot button topic these days and while some may chafe at the label “human rights crisis” that is in fact a more-than-adequate description of what’s going on at our southern border. Poverty and violence in Central and South American nations has led to a wave of refugees trying to make it to the United States and what has to be a better life than the one they are faced with.

Nona (Calderon) works in a small Honduran city “painting the dead”; that is, putting make-up on corpses at a local funeral home to make them funeral-ready. She is essentially alone; her father was gunned down on the way home from the local grocery to purchase a bag of chips, her brother knifed by a criminal gang, and her mother fled to America. Nona wants to join her but neither Nona nor her mother can afford the cost of getting her there.

Enter Hecho (McKinney), a bowler-wearing hipster with a free spirit and breezy attitude that belies his broken heart. He’s headed for Mexico – specifically Tijuana – and is willing to take Nona along for the company. She can pay him back for the expenses later. Although Nona is a smart and worldly sort, she finds the charm that Hecho exudes irresistible and agrees to go with him.

At first it seems like a great idea. Hecho seems to be in no particular hurry as they take various buses through the Honduras, Guatemala and into Mexico, sometimes taking boats and on one occasion, a yacht. Sometimes they just hoof it but Hecho seems to have plenty of money to buy food, and occasionally party in bars and discos. The difficult and dangerous journey to the border is portrayed essentially as a stroll in the park. But when Nona reaches the border and Hecho turns her over to a coyote who will get her into the country, the parting of ways hides a dark truth that will shatter Nona’s life.

The movie makes a very jarring turn about two thirds of the way in and it is completely unexpected. I toyed with the idea of revealing what that turn is but decided not to reveal it to give that turn greater impact. Suffice to say it reflects a problem that is all too prevalent in the immigration equation.

The first two thirds of the movie could well be a travelogue with the attractive couple of Nona and Hecho sampling the culture along the way. The cinematography is idyllic and the pace somewhat languid. There is no romantic relationship between Hecho and Nona and little sexual tension so any thoughts of romance through the first part of the movie is best left put on the back-burner.

I don’t have a problem with tonal shifts in films, even ones as completely opposite as the tone of the last half hour is to the first hour. The problem is that the first hour of the movie doesn’t really set up the last 30 minutes adequately; it feels like the filmmakers wanted to give the audience a sense of how Nona must have felt when confronted by her situation which changed radically in a matter of moments. It almost feels like two different films and maybe it is. I think Polish would have benefited by spending more time on the second half of the film and less on the first.

Polish is a veteran director who has an impressively diverse filmography, although none of his films to date have really blown me away. I think this one was meant to but at the end of the day, while it is timely and even borderline essential, it is a disappointing treatment of a subject that deserves better.

REASONS TO SEE: The chemistry between the leads is strong.
REASONS TO AVOID: The abrupt shift in narrative is jarring and not adequately set up.
FAMILY VALUES: There is some strong sexual situations, rape, profanity, violence and drug use.
TRIVIAL PURSUIT: Kate Bosworth, who is also a producer on the film, is married to Michael Polish; Polish also frequently collaborates with his brother Mark although Mark isn’t involved with this specific film.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, Vudu
CRITICAL MASS: As of 5/22/19: Rotten Tomatoes:60% positive reviews: Metacritic: No score yet.
COMPARISON SHOPPING: Trafficked
FINAL RATING: 6.5/10
NEXT:
Echo in the Canyon