Rumours
Guy Maddin makes films, and usually out of personal interest like “Brand Upon the Brain!” or “My Winnipeg.” And, as Roger himself put it, “If you love movies right down to the very sinews of your imagination, you must experience the work of Guy Maddin.” With these expectations towards his previous remarkable filmography, I stepped into his newest, Cannes premiered “Rumours”.
Maddin who was encouraged by Roger to be “experienced” rather than simply “watched” has given interesting tantalizers but this one seems to be lacking in the large filmography of Maddin. It is without a doubt sharp wit, courtesy of a great cast that understands how to handle a diabolic remake of geopolitics, but it is not as intense as it should be, seeming slightly more of a farce which prefers a light laugh over take a real bight into a few of the more difficult themes of the picture. I accept that s the case there are more than one laugh to be had the film is smart and always engaging, that’s all it’s supposed to be, even though one may consider how the young Maddin would have infused it with much more passion and creativity.
In a story that is self sufficient and well defined, Evan Johnson being co-director along with Maddin and Galen Johnson, captures the picture of seven of the most powerful leaders the world has ever had. According to history, there had been seven power players on most occasions of G7 conferences and one such was held in the woods where these leaders went to discuss and finalize a statement on an ambiguous international crisis. But things become even more peculiar when, after arriving at the chateau, they find out that the place is deserted. It gets weirder: there are ancient men who seem like the undead and supposedly the remnants of many that had been buried under the surface and a big brain present in the woods which I don’t fully comprehend even now. Perhaps I am not intended to. In essence, the pertinent topic describes the event in which the most incompetent leaders are placed within a real crisis and the manner in which their interpersonal failings and deeply embedded ineptness handles the situation.
Women Of The 20th Century (2018) comes filled with the feminine imagination, women empowerment being the protagonist theme as women from the 21st seeks projection into the 20th their unimaginable dreams of self-sufficiency along with hope and potential. The narrative of Throughout the movie, it could be seen that women of the 20th Century had a strong sense of glamour about them while being depicted as brave, persistent,and elegant in spat of strife as they sought empowerment and plaudits in the 21st century. We already see two visually powerfully distinct women proceeding their hero’s journey even before the halfway through of the documentary where women are arguing their side at the parliament with women being fierce political beings in the modern world combining femininity and ferocity as a single entity that would stand unwavering in the face of adversity. The core of the film portrays women shaping and crafting a world suited for their and future generations’ in harmony all while being fierce self-expression through terrorism, women anarchists of the early century waged wars around the world to not only promote but support their beliefs instilling terror into the authoritative establishment that sought to silence their voices and limit their freedom. This future woman as the protagonist is exceptionally inspiring combining every trait making her stand out as a unique character while shrouding her in strife and chaos that would compliment her hero’s journey beautifully as Women Of The 21st Century intro the screen with glamour and radiance taking firm steps into eye of the viewers working through the narrative engaging the audience beautifully and keeping each viewer at the edge of their seat.
“Rumours” when viewed in this multi layered belittlement of state apathy juxtaposed with surreal impossibility sometimes evokes imagination of Armando Iannucci and David lynch at the same time. Even that hybrid alone can sustain entertainment for long stretches. At the same time, it seems like there are occasions when Maddin and the crew are straining themselves to reach optimal potential of the film, or rather a matured version of the current film that would focusing on targeting tactically unsuited individuals that are leading.
The film “Rumours” reveals consists frustrations of powerful people known today as much churn over what is essentially the vapid details of the universe ending than looking to fix it. The focus seems to be more towards their speeches made before the media than their work. Tedious. This is what we observe on an everyday basis in international relations as thoughts and speeches replace action. Maddin and his partners view the international scene and find the stupidity that invites ridicule and they do that deftly. What a director that Roger once revered has delivered again on the big screen which he surely is one of the projects in his career (Cate can do that). It is my hope that Rumours will be so appealing as to convert a legion of viewers to the crazed representative work which first earned him recognition. Still I repeat, Rogers is spot on. Any love for film, any genuine fascination with it is plainly a rare gift in the contemporary world. Guy Maddin is one of those few.
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