A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Friday, August 16, 2019

Paradise: Love (Ulrich Seidl, 2012)


Cast: Margarete Tiesel, Peter Kazungu, Inge Maux, Dunja Sowinetz, Helen Brugat, Gabriel Mwarua, Josphat Hamisi, Carlos Mkutano, Melanie Lenz, Maria Hofstätter. Screenplay: Ulrich Seidl, Veronika Franz. Cinematography: Edward Lachman, Wolfgang Thaler. Production design: Andreas Donhauser, Renate Martin. Film editing: Christof Schertenleib.

Sexually explicit but not pornographic, Ulrich Seidl's Paradise: Love, the first in his Paradise trilogy, tells the story of a middle-aged Austrian woman, a sex tourist, who goes to Kenya for thrills and mistakenly tries to find love instead. Margarete Tiesel plays the woman, Teresa, and in scenes that take place in Austria we get introduced to her sister (Maria Hofstätter) and her daughter (Melanie Lenz), whose own stories are told in Paradise: Faith (2012) and Paradise: Hope (2013). The film was shot on location in Kenya, using a mixture of non-professional and professional actors. It's an unsettling, sometimes even shocking film, and a little longer than it needs to be, but also revelatory of post-colonial attitudes. 
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