NOT BERLIN, from p.28
were not part of the ‘80s punk underground
scene. The fi lm’s themes
about discovering one’s self are
universal as Carlos articulates the
thought of “wanting something…
but something inside you won’t let
you do it.” He only achieves a sense
of liberation from his teenage angst
when he stops worrying about
what other people think. In one
art performance piece, he walks
naked down the street with the
word “gay” written in what looks
like lipstick all over his body.
Sama’s fi lm, unfortunately, hits
on too many of the coming-of-age
genre’s clichés. There are scenes
of him having his fi rst joint, losing
his virginity (to a woman), and
also losing someone important in
his life. These moments have signifi
cance for the characters and
for the story, but at times they feel
contrived.
That said, the director deserves
credit for the inventive art projects
he portrays, such as a fi lm about
homophobia projected at a soccer
rally or a piece involving two
nearly-naked men covered in what
appears to be blood. The music
is also clever. Rita, who worships
Patti Smith, sings a song where
she repeats the phrase “sexual
promiscuity” ad nauseum.
The fi lm’s title comes from something
Gabriel (Emilio Cuaik), an
artsy tastemaker, tells Nico: that
to succeed in art, his work should
stop copying that of Europeans.
Gabriel also scolds Nico for partying
every night when people are
dying, a reference to AIDS that is
lost on the young Carlos.
In the lead role, Xabiani Ponce
de León captures just the right
tone for Carlos’ evolution from innocence
to worldliness, deftly portraying
both the gawky adolescent
uncomfortable in his own skin and
the assured young man secure
enough to show off his nakedness.
As Gera, José Antonio Toledano
is appealing as Carlos’ bestie, his
expressions not so subtly revealing
his romantic desires.
THIS IS NOT BERLIN | Directed
by Hari Sama | Samuel Goldwyn
Films | Open Aug. 9 IFC Center,
323 Sixth Ave. at W. Third St. | ifccenter.
com
NIGHTINGALE, from p.28
ing about the ideas behind “The
Nightingale” while still doing press
for “The Babadook,” but it emerges
into a world where the extent of
sexual assault committed by powerful
men in politics and the fi lm
industry has been revealed. The
history of fi lms about women seeking
revenge on their rapists, usually
directed by men, goes back decades
before #MeToo. And more so
than any of the fi lms just named,
“The Nightingale” falls into some of
their pitfalls.
The press kit for “The Nightingale”
took the unusual step of
beginning with a paragraph-long
trigger warning and statement
ending, “While art can make viewers
uncomfortable, it can also inspire
refl ection on the importance
of empathy for our survival.” The
fact that some Aboriginal spectators
have blasted the fi lm for introducing
indigenous characters only
to kill them off 30 seconds later obviously
made Kent feel defensive. In
fact, Clare uses Billy to serve her
with little concern for his safety.
Another problem with the fi lm
is that its violence is committed
entirely by men who act like onedimensional
mustache-twirling
villains. In the real world, men who
can be charming and loving are
also capable of rape; if that weren’t
the case, the crime would be far
easier to avoid.
Kent’s fi lm dives into excess and
pain, setting itself up as the story
of Australia’s founding. In attempting
to engage with an unpalatable
historical reality, “The Nightingale”
actually feels like an update of a
‘70s exploitation movie (something
“Revenge” succeeded much better
at being thanks to its self-awareness.)
Without having seen the
fi lm, an acquaintance likened it
to a cross between “I Spit On Your
Grave” and “Driving Miss Daisy”
on Facebook, and that’s harsh but
accurate. The more it refuses to offer
any solace or relief, the further
away from real life it feels.
THE NIGHTINGALE | Directed by
Jennifer Kent | IFC Films | In English
and Gaelic and palawa kani
with English subtitles | Opens Aug.
2 | IFC Center, 323 Sixth Ave. at W.
Third St. | ifccenter.com
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