17-28 February 2016
Évolution directed by Lucile Hadžihalilović.
Every February I look forward to time spent in Glasgow, sitting in illuminated darkness rediscovering the collective joys of Cinema. There’s something unique about Glaswegian audiences and the Glasgow Film Theatre experience that always gives me a positive lift. Warm, friendly and irrepressibly vocal, Glasgow audiences are up for anything! It’s the ripple of audible excitement through the audience as the opening credits reveal the surprise of the sell-out Mystery Film, the enthusiastic, spontaneous applause after the fabulous Dream Team free morning screenings, the hum of conversation in the GFT lobby or CCA bar as people unpack what they’ve just watched with curiosity, humour and insight, which add significantly to the whole experience. And of course there’s the consistently wonderful baseline selection of films year on year, exposure to new world releases and heightened appreciation of old favourites in excellent company. The city marketing board slogan of “People Make Glasgow” is actually, resoundingly true and it is equally true of how we collectively experience film.
It fills me with joy that daytime screenings of timeless classics like Double Indemnity and The Big Sleep can fill a cinema like GFT1 – proof that the appetite for seeing such films on a big screen is encouragingly healthy -perhaps because, or in spite of, the many ways we can now watch films; mostly at home, in isolation, in a reductive hand held / small screen capacity or ironically as part of a wider, unseen global community of fellow niche enthusiasts. With debates about the Hollywood gender pay divide and race prejudice currently ranging, it’s heartening to see the diversity that Independent Cinema has always offered , celebrated in a city historically aligned with the Socialist belief that Culture rightly, belongs to everyone. GFF has a markedly different feel to other festivals in that respect. It embraces being cinematically and artistically curious, not just in terms of programming, but also in the context of how the city sees itself.
Barbara Stanwyck and Fred MacMurray in Billy Wilder’s Double Indemnity (1944)
Festival Co-Director Alan Hunter’s introductions to retrospective screenings always provide interesting pathways into film- another human element which like Director’s Q&As and the conversations you have standing in line about what you’ve watched so far, are part of a film festival’s value added appeal. That Barbara Stanwyck was paid the same sum as her male co-stars for Double Indemnity and was in 1944, the year of its release, the highest paid woman in America made me meditate on just how backward mainstream popular culture has become. We think of gender equality as being a recent development and seem to be under the comforting Western illusion that it has already been achieved, with temporary Twitter outrage ensuing when we find high profile evidence to the contrary. But this isn’t just about conditions or pay, it is also about content; how we see or don’t see ourselves on screen and how power relationships are projected and enacted.
I can think of very few contemporary Hollywood films where equality of dialogue, presence and screen time is comparable to Bogart and Bacall in The Big Sleep- certainly a reflection of their personalities and undeniable chemistry on and off screen, but also significantly, the product of a well-crafted piece of storytelling where the male and female lead characters are resoundingly written as equals. Part of the delight in watching this film time and again is seeing that this is possible, especially in a Hollywood studio film from a so-called bygone era. It’s a source of inspiration that doesn’t date and the Dream Teams strand of this year’s festival celebrated not just winning on screen partnerships, but why they continue to be both inspirational and aspirational.
Isabelle Huppert in Joachim Trier’s Louder Than Bombs
Storytelling in the dark is as old as cave dwelling and on a deep, human level, fulfils a timeless need; to entertain certainly, but more essentially to make sense of ourselves. GFF 2016 gave me plenty to chew on in that respect; from the absurd projections of male ego in Athina Rachel Tsangari’s Chevalier to Joachim Trier’s brilliantly complex examination of grief and human perception in Louder Than Bombs starring Isabelle Huppert, Gabriel Byrne, Devin Druid and Jesse Eisenberg. There were many highlights including Santiago Mitre’s uncompromisingly challenging drama Paulina, César Acevedo’s beautifully subtle, accomplished first feature Land and Shade, Thomas Bidegain’s strikingly unexpected play on theme in Cowboys , the theatrically measured craft of Simon Stone’s The Daughter starring Geoffrey Rush, Miranda Otto and Sam Neill, Julien Duvivier’s wonderful 1946 thriller Panique and the delightfully bonkers Love and Peace by Japanese director Sion Sono. But perhaps the film that captured my imagination most for its stunning visuals, painterly sense of composition, colourful symbolism, psychological depth and persistent ambiguity was Lucile Hadžihalilović’s Évolution.
The opening sequence sets the scene with light seen through water- are we above or below? It’s impossible to tell- just go with it. We see the curve of the world and hear the distant sound of the sea; the effect is immediately immersive, like a dive and in that filtered light with fiery orange seaweed wafting against blue, peaceful movement and more sinister auditory undercurrents; the natural and unnatural seamlessly entwine. We are introduced to the film’s main character Nicolas via his shadow; adrift, then diving and surfacing in awareness, dead boy and dead self, sunk at the bottom of the ocean. Accents of red and danger punctuate these scenes- attraction and repulsion within the same frame, chiming perfectly with the body horror of puberty and gestation.
The sensuous underwater world of fluid light as a primordial source of life is contrasted beautifully with the black volcanic beach and stark white geometry of spartan dwellings, which feel as though they have been reclaimed from natural disaster and human abandonment. The island is populated entirely by young sons and their “Mothers”, whose dark unfathomable eyes and culinary habits suggest an intriguing range of possibilities; perhaps evolution borne out of necessity in response to the natural environment, a Utopian society off kilter, an island lab experiment, an alien race or a Dystopian nightmare. The extreme beauty of this film is that the audience is left to fill the gap between the final scene and the previous 79 minutes on their own imaginative terms- exactly the kind of film that I love to watch and that stays with you.
Hadžihalilović skillfully presents the viewer with twisted familiarity, a community of women seemingly evolving as a single organism with propagation of their species aligned to biological determinism rather than the emotive qualities of Motherhood so revered in human society. Moments of ritualised behaviour, such as the washing of their children in the sea or the beach birth feel instinctively rooted in deep memory and strangely conflicting bloodlines. This dredging of the unconscious, submerging the viewer in ancient fears and human insecurities is all the more striking for its focus on male vulnerability. In contrast with his guardians Nicolas’s humanity is his memory and creativity. The drawings he makes of his Mother, are greeted with curiosity by his nurse- one species/ gender / generation beholding another. Her response is evolutionary in an emotional sense and is also a means and trajectory of survival. This is a fascinating film with little dialogue to disturb the visual storytelling and an exciting stylistic calling card from an emerging director. The co-writer of Gaspar Noé’s superb 2009 film Enter the Void , Hadžihalilović’s previous feature Innocence (2004) starring Marion Cotillard is definitely one I’ll be seeking to watch, along with her future productions.Definitely one of this year’s GFF discoveries, together with Manuel Dacosse’s exquisite cinematography.