Wild Tales : A Film Review

Animal moralities.
6 linked films written and directed by Damián Szifron;
Director of photography, Javier Juliá; Music by Gustavo Santaolalla; production design by Clara Notari; costumes by Ruth Fischerman; produced by Hugo Sigman, Pedro Almodóvar, Agustín Almodóvar, Esther García and Matías Mosteirín; released by Sony Pictures Classics. In Spanish, with English subtitles. Running time: 1 hour 54 minutes.
This is off the clock face
Forget the mores of life as lived in relatively civilized times.
The daybreak hours spent twisting and turning over the compass you use and the nighttime curfew of the soul before the deep sleep takes you into any surreality you may obtain or embrace.

This film embraces the Wild tormented animalistic side of what some people may do when an emotion goes as I say ‘off the clock face’ it is a sextet of monstrous bizarre primordial tales of the unexpected conceived and played for us with amazing brilliant extra tic verberance.

Be prepared to be shocked half a dozen times and then multiply each internal narratives nerve tangling, jarring, comedic black spots and violence aplenty. Be prepared for the metaphors to pour onto you from the shattered glass. Stacked and starred into fragments I seems to one thread each of the otherwise completely separate stories needs to expose our nerve ends.

What a start.
Before the initial credits have arrived we have a story already told. It is superb and from the get go ‘remark’ “do I get air miles with this ticket?” or something of that ilk at the Argentinian airport lounge – it’s all beautifully Spanish in language and coloring.
Shiny bonnets and gloss faced sun kissed with drenches of mostly radiant heat.
Film One. ‘“Pasternak” with : Dario Grandinetti (Salgado), María Marull (Isabel) and Mónica Villa (Professor Leguizamón).

The first story is a group who have never met, meeting at the behest of a former acquaintance they have shared. One or two of them sharing significant relations with the invitee then there are others with a less touching aquaintance. High helped model Isabel (María Marull) is the one who makes the enquiry at the airport departure lounge and she saunters down the aisle of the half full aircraft. She strikes up a conversation after take of and well the plane kicks off into mayhem.
That’s all you are getting out of me! The playing of the actors is full o black comedy, peril and jeopardy with plausible backgrounds implausiblely knitted int a picture of human nature gone ‘of the clock’.

Off the Clock.
I am getting used to this phrase. It’s like a car which has much more than the dial n front of you admits too. It is as humans we are capable of much, much more than the sterility and civilised constraints might decide on our fates disposal or our internal imagination would have resigned to as a moral compass. Off the clock in a Spinal Tap squared way. This is just way beyond a set of frameworks.
####+ 4.Primordial Madness. Up there and may spoil this years holiday if you plan flying.

Polymorphic Kaleidoscopic
Film two. “The Rats” with : Rita Cortese (Cook), Julieta Zylberberg (Moza) and César Bordón (Cuenca).

Rita Cortese and Julieta Zylberberg are Spanish roadside diner workers plot who encounter a diner late at night when their are just idly wishing the wet night to turn the clock to the closing hour. It is a vast empty car-park of a transport cafe. The tumble weed has even gone to rest.

The kitchen is a culinary wasteland with most food packed away and into this scene comes a man from the past. Into it further down the narrative his son turns up off the municipal bus from which he alone alights.
###+ 3. Fright factor low but tale wise and not served cold.
Film three. “Road to Hell” with : Leonardo Sbaraglia (Diego) and Walter Donado (Mario).
Chris Rea had something other than this in mind with his tuneful look at driving alone can do to the mind. This is a molehill turning into an erupting volcano. In fact it would have been no surprise to see the reprise of Mount Croscat, is that one? Take out the road and the road bridge which is and arch too far. The acting and directing in this piece alone is worth the ticket price believe me. The ratcheting up of the opposing forces and their extent of anger is practically unbounded. It is dynamic contorted and black.
##### 5. This is a sock full of stones in which a bruising encounter shows up masculine boundaries set off the clock. None makes sense but the ratchet is the central instrument of this duet of the Sagra to Cayrette road trip which invites road rage between the sunny beautiful valley drive.
Film four. “Bombita” with : Ricardo Darin (Simón) and Nancy Dupláa (Victoria).
This one is back to the city and everyone, well practically everyone is involved. It has a communal feel to it it and it has family life and contemporary problems to deal with. The director and writer has caught the device of a road clamping municipal scam and turned it on its head.
Car parking was never meant to require a clamping compound in a city suburb, handy for visiting and chock a block with the comings and going of a park and ride scheme. Engineer of the municipality. Wise and rule obedient has his limit stepped on so what do he do, well he gets out of his zone and off the clock facecloth his thinking and cleverness. Not before many family anxious moments which make it even more convincing as calamity.
##### 5. Impressive sets, acting, believable, Clarksonesque is a new derivation. I wish uplifting and politically astute as well as a tale for our times. This one was a cut above, there is satisfaction overkill of broken glass and not too much civil harm done and violence. Well listen to a legal Sheila who is apt to hyperbole and you will see what a girl has to do to get a career going. On a personal level you understand, not helpful legal ethics intertwined.

Film five. “The Deal” with : Oscar Martínez (Mauricio) and María Onetto (Helena).
In this one there is the sleaze of ‘business’ politician with the box fresh cashmere cardigan. His son messes up up and being apparently an only child his protection is amplified as there is a strong likelihood his misdemeanor could see him in prison which is not liable to have any sense of right or wrong and seen as a fate which the father will do anything to keep his son away from. The tale involves the family lawyer. He is a piece of corrupt work. There is the prosecutor, immediately on the tail of the young boy or the family at least and he is likely to and willing to cut The Deal. There they are in the picture above. They find a stool pigeon who himself wants in on the deal making franchise once he gains some bargaining balls. It all cuts up a bit decidedly inwardly compromising and it shows up the vagaries and short lived value sets adopted.
Where will it all end.
These actors Argentinas finest give it al and are very good for their fees. The middleman especially has to be sharp and the facial expressions and posturing alone make this little short film great value alone.
It’s portal is different and it too has wild aspect but this time as a family tale is dealt with in a very loving, convincing challenge set before us. The poor man rich man is driven not so much selfishly but has his wider reasons.

Film six. “Til Death Do Us Part” WITH: Érica Rivas (Romina) and Diego Gentile (Ariel).
Into the huge ballroom with six shiny disco balls spin two large families intertwined in a wedding of a couple of thirty year olds whose blend is one of union of love as well as their own past histories.
They are on top of their day enjoying it and a bit of a problem arises when a suspicion of unfaithfulness appears.
Then a spiral up down left right, roof to basement, sends both families into the cruel face off of a certain reality none expected. The colour candour, sex, violencee, recall, recoil is fast and every little twist is full of tension as we watch not believing what we are seeing.
This is a couple who act as though they will not have a future unless they can work out the bit in the middle that set off the mad wedding function.
Lots of flying glass and broken dreams. Beyond repair?

All to be seen from next week at QFT Belfast.
Grab a Groupon ticket for Annual membership next Monday 3p March one day only for £10 pound for one year!!!

John Graham

26 March 2015


Solar Eclipse 2015 March 20

The Deadly Sun
For us to have sight of the sun we are first told the light from it will destroy our vision. We are in the light everyday without fear we are accustomed to protecting our eyes by using an aid such as the Ultra violet ray’s filter incorporated in glasses.

Straight away the strength of the sun and it’s association to us is present.

Sunlight emitted from the Sun takes Eight and a third minutes to reach us. The light from other planets is traveling from billions of light years before though we can look through the night sky at this ancient light.
The distance between the earth and sun is around 93 Million Miles.
In kilometers is 150,000 million kilometers which divided by the speed of light, 300,000 kilometers per second then the eight seconds shows the proximity of this major planet in our solar system.
Celestial once uniform
Our solar year comprises the 365 revolutions which brings around each season of our calendar.

Into this derived calendar over millennia these behaviours of the sun have been become patterns which our presence on earth has consumed and adapted to then recorded.
Only since the discovery of notation have we discovered how far back the recognition of the solar effect had celestial realisation, entering into how we explain to ourselves the continuation of our planets as a system both fluid and static.

The static meaning is used to highlight the times preheating us, in which the sun will have crossed the moon and the earth comes between the sun and the moon.

Numerically the latter is highly frequent whereas what we witnessed on 20 March 2015 is not only very infrequent it has a set of appearances which the Jewish faith have taken to signify the timely extrapolation of their Biblical history. The patterns are so pronounced they appear as visionary.

The occurrences of Jewish upheavals are seen in Biblical texts with Israel affected by the events known and actual have almost formed, co-inciding as a will or expectation that at times The Jewish faith believe they will be challenged and confronted with fundamental elements and outcomes as is present at the point of the celestial indicators of the eight moons.
Eight Blood Moons
This year contains eight blood moons in sequence of which the eighth is after our common week of seven duration predicates the new day of learning or reckoning.

So Exodus and various religious tracts are unfolded to bear witness on us.

But how this is known is the greatest question of all. God only knows.
It is not known but merely the very creation by giants of imagination, the authors of our historical revelation, recording for themselves the events of Christian thinking, told with the narrator not Jesus but Moses.
The Israelites being so outside of The Lord God, could not themselves listen directly to God but were totally reliant on the words given to Moses.
Jesus was on the side of God and Gods word was the word Jesus taught us.

The words of Moses deserve and are worthy of faith but are not the entirety of faith nor is the word of The Lord set to divide or set apart some from others. Jesus told us to be aware of the simple truth and reject all other things.


The Easter Time
We are coming towards a time, Easter, when we again realise the world is of our habitation not our making and until we return to God forsaking all sin of war, hurt and harm, from ignoring our love for our neighbour as given us then we are on the path away from God and the pain of the crucifixion is our eclipse.

We are not in the sight of God when we ignore the wisdom given. We are in anticipation of of the words of the Lords Prayer.

We are in the hearing of the sound of the world washing us in the water here since the world became.


Within air, the air, nitrogen, oxygen carbon monoxide and other spoiling polluting gases in which we reside silently breathing until God takes us away from this life and returns us to his.

Other Occula

We see as we have seen on the Sun the formation of Crescents. Some called Occula.

This a protrusion on the occipital bone of the skull that forms a joint with the first cervical vertebra, enabling the head to move relative to the neck.
On our nails are a crescent shape. The fingernail from under our skin revealing an inner fixed point.

The edge extends the crescent stays within us at the finger and between the head and body there is this Occula bone being a sign of the two elements most evident and whole being joined.

Across the world we explore connections with even wider universal discovery exciting and forever making us totally in search of inexplicable and forever creating insights to sit around and explain the order our planet may find itself in at this moment and the next.

John Graham

22 March 2015




Director : Morgan Matthews. UK. 2014. 1hr 51mins. Cert. 12a rating TBC.
Cast. Asa Butterfield as Nathan, Rafe Spall, Sally Hawkins, Jo Yang, Eddie Marsan, Edward Baker-Close, Percelle Ascott, Alexa Davies, Alex Lawther, Jake Davies, Martin McCann, Tasha Connor, Paul J. Dove.
Natural Intelligence.
Beyond the realm of most people neurological uses for their brain comes another group of humans whose functioning on pattern reasoning and personal development are caught in a maelstrom of immensity of brain capability and of mental incapacity.

X+Y refers to a rational theory recognition which is non-numerical but hinting at the 26 letters of the English alphabet it has been the authors, writers dominion in which to describe ourselves and our realism.
1. + 2. Premise and Plot
The whole film is a conveyer belt of elite education taking on the form of competition between nations in loosely moralistic or ethical educational terms but effective as a driver both metaphorical and actual for exploratory developmental reasons of 1. + 2. Premise and Plot.
It has as a nice counter foil to the potential lack of exploratory visual content the school of learned Mathematicians gets to train in Tiawan where there is a love interest to create even further mind athletics within the head of Nathan and his contemporaries.

The 59th International Mathematical Olympiad is mind games of the intellect for the savant flexible youngsters from all over the world. Nothing decisions just slightly unhinged and unbracketed until the human mind comes up with a better than advanced Eurovision Song Contest type evaluation model for the brain.
The future sings.
So we enter the world of a juvenile brain developing from the age of nine.

His name is Nathan Butterfield, if I’m not mistaken he resides in Sheffield, or is it possibly Derby. There is a train journey taken on the Glorious East Midlands Railway, through the Glorious English rolling green fields to give a flavour of the land of giants where walked before us.
After the team return to England the niece of Chinese team leader who is equally gifted but more emotionally cognisant than many of the other prodigies, the girl Jo Yang is given sight of the significance of the world of education, seen from the former regal heights of the Cambridge centrality of advancement in their field. The academic milieu is now spread into every crevice of the developing world with integers belonging through the crescendo and avalanche of information once until the last twenty years executed at millisecond speed to all the new custodians of the future.
Wordsworth, Darwin, Babbage, Turing, Perkins, Stephenson, Shakespeare, Blake, Newton, Faraday and many many others. The sense of England and the United Kingdom all to presently blighted by the richest rapacious from all in the neighbourhoods known as earth choosing to plunder that Glory for all it’s worth.

Nathan, an only child, is at nine beginning to show his enthusiastic parents, Michael played by Michael McCann of local origin, and Julie played by Sally Hawkins. The film is directed with small but detailed regard to carefully minimal chosen flashbacks, of the origins of the growth Nathan and the characters witness very ably and with equality of intelligent for us to gain insight and our sense of kindred fellowship by the astute Director
Morgan Matthews in collaboration with the pacing pattern forming Writer and story teller James Graham.

The acting is superb and fairly flawless. The resonances for families, especially one child, one parent families, savant teachers! as well as the families of nations striving to interact with our brains and that university of a thing we carry round in our head called a brain is insightful.
Library closed today. Back at four. Study after dark required. Forgotten non returned books and knowledge passed on intuitively or by the consumption this film centers on is like time itself. Unchanging. Unmoving. Unfilled. Uncaptured. None is unedifying but it, the film, shows us the huge gulf in human understanding of ourselves. Again it enters last years obsession from ‘Her’ through to ‘Still Alice’ of this cinematic travel of now.

There is no theory for everything, no Turing, Hawking turning point but the vastness yet unknown. Mr Humphreys, Rafe Spall hands his pupil over to an excited troop controller for the trip to Taiwan where the culture is vibrant and shown linear, meaning it is deeply fashioned by its culture and here holds onto its identity unlike the majority of the West.
The expandable University of our minds
Nathan is confronted by limits. His limits are extended and extended by firstly the immense capacity of his parents to love within their means.
Then next by the teacher savant , Mr Humphreys, Rafe Spall, recommended to them by the upper school he is taken to once his prodigious talent for Mathematics and pattern recognition is signified and singled out for treatment by that other set of pattern recognisers, whose actual strength lie in the more obtuse and less challenge blue parameters of the Medical facts, the Doctors.

They know less about the brain than can be needed for a human to function at the given pace of genetic and scientific discovery. Patterns are now dual aspect. Intellectual/Medical
Once the plain area of the skills displayed by Nathan would tenuate around mere mathematical prodigy.
Now they encompass duality of mental frameworks and in the case of his savant teacher! – apologies for not having mentioned him sooner – as he is a wonderful key in unlocking the unfurling genius – Rafe Spall as Jamie Humpreys, whose portrayal of a Mathmatics tutor is well, masterful.
His incumbency is in a shape shifting parallel to Nathan’s and provides a hook to claw into the emotional narrative so deftly and for the most part uplifting lay, heartwarmingly and rivetingly strong in cinematic value.
Parental demands.
Sally Hawkins as his mother is painfully dealt with some times in excoriatingly painful mental torment. It is felt deeply through her raw acting and the directorial and writing treatment, delivering us a hard tough film.
Less prominent but as important is father Michaels own view of his sons ability and their strong bond is evident throughout for different and scarring reasons.

We are sums as maths servants. (used with a singular verb) the systematic treatment of magnitude, relationships between figures and forms, and relations between quantities expressed symbolically. It commands our will to obtain reason and introduces at every moment beauty of existence in the relation of 1 and 0. Sally Hawkins, Martin McCann are us as representatives of the normal state of things.
Rafe Spall and Eddie Marsan are the ‘Mind’ trainers relatively at home on the outside of the drudgery of earth bound subjectivity we rarely encounter, with their reverence to the higher authority, mathematics.

Zhang Mei (Jo Yang),Orion Lee ( Deng Laoshi, both as the Chinese elements of the cast have the ability to run the line of believability of this strange world of weird uplifting scope and potentiality. They inhabit the mathematics as is a relatively dominant pattern formed elasticity of nature which they, Chinese and Eastern philosophy find as their societal fabric.
They have innate human tensions and have beliefs and traditions.
They are exposed and again the emotional development of mankind shifts from extreme accomplishment to inept irrationality, as we are, as the commercial world of ever driven neon exclamation marks and transit modes the Director shows abound, the mass population, despite increasing, evaluates through retention of values and fellowship.

Conclusion. #### 4.
I liked this film without loving its obvious uplifting sensibility.
The very shape of the story was the central competition motif of which there a television, monthly, weekly, annual diet of comparative analysis is always on somewhere. Here we gain insight to the University of our brains and the limits of expression of the higher plain it has, relatively untouched capability within. The diversity along with developmental hope is the message here I feel.

The exam, the numbers game. The task. The enumeration.
When a world of figures appearing as columns and accreditation is taken at the flood.
From climate to climax a score is attributed. Then the table of caution, of risk is formulated.
Do I need a mathmatical prodigy film? Is it a bit like the Turing film?
The young Alan Turing actor Alex Lawther, incidentally, does another artful rendition of a personable youth in the agreeable character of Issac.
He is of a cooler intellect with emotional reasoning, relatively unselfish.
In other roles some of the young actors find themselves acting as one dimensional and misunderstood (other reviews to call them geeks/weirdos,) and in one instance you have to feel for the challenge of bringing out believably, the restrained emotionally harmed prodigy of a pupil whose misfortune turns in on himself. The young isolated, overtly irrational boy is a subject in himself.

I guess this is also like Whiplash in the sense it involves talent and teacher.

The demand for excellence and how mankind must in order to survive and sustain, be motivated to expand into those cells unused in the university sitting in our heads those resident dormant cells.
Cell theory currently explores our ‘longevity’ by considering the time and effort the cells into destroying – not themselves but by brokerage from another messenger – or pushing up into life regeneratively or emerging as alien to be the life force. The switching off and on being something we aim to eventually control!?

If only we understood how the mind accepted knowledge and natural concealed and hidden properties that may allow us advancement out of a primordial garden.

Those prepared to give room for the development of the story and appreciative of learning techniques will see another narrative opening levels of theory and equations somewhat tangential. It is in the vicinity of too contrived but I accept the plot, premise on the basis the theory of life needs a heads up and assist of filmic pattern making. It is where we are.

John Graham

11 March 2015


A BFI and BBC Film. Producers Laura Hastings-Smith, David M. Thompson

Opening at QFT Belfast on Friday 12 March 2015 to end on Thursday 23 March 2015.

Wider outlets. 12a rating.