Archives for May 2019

The Columbian film, Birds of Passage.

Birds of Passage.

Ciro Guerro’s Embrace of the Serpent was the stand out film of 2015 (reviewed earlier here), so his follow up was much anticipated. On the face of it, Birds of Passage, which he directed with his production partner and former wife Cristina Gallego, couldn’t possibly be more different.

Over the course of two decades, we watch as the decease of narcotics comes to infect the whole of Columbian society. It begins innocuously enough, with the arrival in 1968 of a ragbag of hippies in search of a better class of high. But very quickly, every corner of the countryside has been laid low by the kind of blind greed that only ready cash can produce. And before long, the whole country has descended into a very modern hell.

Embrace of the Serpent.

Where Embrace of the Serpent was a meditation on colonialism in measured blacks and whites, the new film is a riot of colour and awash with noise. But that colour palette aside, the two films share remarkably similar concerns. It’s just that they are looking at the world through opposite ends of the telescope.

This time around, we are embedded in the Wayuu group, tribes of native Americans who live to the very north, on either side of the border between Columbia and Venezuela. And it is through the prism of their concerns and their traditions that we witness the havoc wreaked by the spread of the international drug trade. So once again, we are looking at ethnicity, ethnography and the discordant clash as age-old traditions come up against the progress offered by the modern world. 

It’s ravishing to look at, and sumptuous to behold, sonically speaking. And I desperately wanted it to lift off and take flight. But it doesn’t.

The Wayuu people.

The film’s problems can be traced to its casting. Not the cast, who all do their best, but to the ethos behind the casting. For the film makers insisted on casting actual Wayuu tribespeople in a third of the roles, and deliberately avoided any “named” actors throughout – the only name is Natalia Reyes, soon to star in the latest Terminator reboot. Yes, that’s what the world needs, a n other instalment from yet another CGI, green screen Hollywood franchise. 

She plays the wife of the protagonist, Rapayet. He himself is played by the Cuban baseball star Jose Acosta. So, unsurprisingly, with so many inexperienced performers, there is a decided dearth of passion to the telling of the tale. And this is further exacerbated by the script. Reyes, for instance, who is so strikingly central to the film’s opening half an hour, tamely disappears from view for much of the rest of the film. And without that core relationship to root for, and given the bloodless, one-dimentional nature of so many of the other performances, it’s impossible to care very much about what happens to the various characters as they make their way inevitably down.

(L-R) – José Acosta and Natalia Reyes in Birds of Passage

In short, the film is weighed down by its lofty ambitions and its sense of moral rectitude. It’s too ethnographically concerned to allow the drama catch fire, but not sufficiently to qualify as a documentary. It looks and sounds amazing, and it’s definitely not a bad film. It’s just nowhere near as good as it might have been.

You can see the trailer to Birds of Passage here

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Titanic Rising, bewitching new album from Weyes Blood.

Weyes Blood, Titanic Rising.


From the moment those piano chords serenely chime as the opening track on Titanic Rising gently departs, you’re instantaneously transported to those arrangements Richard Carpenter used to craft for his sister Karen. And the album that follows comfortably delivers on that promise, and then some.

This is the sort of sophisticated, grown-up and unashamedly romantic pop music that the Brill Building churned out with such apparent effortlessness. The melodies of Burt Bacharach and the lyrics of Hal David were the perfect fit for Richard’s lush orchestration and Karen’s transcendent vocals. 

Carole King’s Tapestry.

Carole King became the Brill Building’s most successful graduate when she moved out to pursue a solo career. Her 1971 album, Tapestry, sold over 25 million copies, as she merged those perfectly crafted, classic pop songs with the introspection and doubts of the newly emergent singer songwriter.

And Natalie Mering, whose forth album this is in the guise of Weyse Blood, is very much continuing here where King left off. If anything, Mering cuts even more of an impressive figure. Carole King, after all, was aided in her endeavours by some wonderful lyricists. Mering is doing all of this on her own. 

Caren and Richard Carpenter

The result is a collection of personal, questioning songs that recall Hunky Dory era Bowie, but which are given the sort of orchestral, soaring majesty that only a Brian Wilson or a Phil Spector would have attempted to produce.

The album gets a suitably impressed 8.5 from the boys from Pitchfork, here. And you can see the official video to Everyday, here, and you can hear that beguiling opening track A lot’s gonna change, here.

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