thenoncombatants

[thenoncombatants]

Sick Days Movie Marathon [A List]

Every year, I make a point to watch and update my "sick days" movie marathon. Like all other lists in the world, mine gets updated, too: I have removed and added some films and there are those that remain since I "created" the list (I only mention them in passing to people). The purpose of the list was to accompany me while I recuperate from an illness. However, since I don't get sick that often now, it became a list of my favorite movies. For this entry, I will list down the original 10 movies that started this list back in 2015, and a separate entry for the 5 notable additions I made since then. I will try to explain why they're on the list: why it is best watched when recuperating from an illness, and why it became a mainstay in the list. So, without further ado, here is the list of my "sick days" movie marathon. 1) 500 Days of Summer (Marc Webb, 2009) [The list actually started because of this and the second film after this.] Story, in a nutshell: Tom Hansen (Joseph Gordon-Levitt) and Summer Finn (Zooey Deschanel) enters in a relationship where expectations and reality do not match.

A screenshot from the movie, 500 Days of Summer. Why is this film on the list: When this list was created in 2013, I took the liberty of choosing films with a relatable story, with liberties in how it was packaged and delivered; and 500 Days was unlike the mainstream films dominating Hollywood that time: The time-skipping narrative not only created an effect of uncertainty, but also a modal tonality. We are wired to follow a story with a logical beginning that concludes to a logical end (linear narrative). With the time-skips (non-linear narrative), the presentation of the story becomes more of what Tom remembers, what he thought was happening within those 500 days with Summer; than what we see as the story unfolding in a logical manner. Rarely do I get to watch a non-linear narrative within a "slice-of-life" movie executed this properly. Of course, within that tonality, the mise-en-scene reinforces the mood and recollection(s) of Tom while he narrates his story to his friends and his younger (and mature) half-sister: Sepia-like tones represent his rather distorted expectations (already explained in the movie as his mis-reading of the film The Graduate [Mike Nichols, 1967]) while the vivid colors represent the parts where he was most happy. The neutral tones are, as expected, the normal ones. Not surprisingly, most of the neutral-tone scenes involve Summer, up until the 290th day where Summer ended their "relationship". The film not only grips the audience with its timeline but also on who they should think who had the "right" perception/perspective about relationships. To understand this, there are two references in the film crucial to understanding Tom's way of thinking: one is the book The Architecture of Happiness (de Botton, 2006, Pantheon Books) and the aforementioned The Graduate. The Architecture of Happiness is a book of philosophical musing(s) of Alain de Botton about architecture and psychology in which he postulates that architecture has a profound effect on the well-being of humans. As such, his views on design are quite rudimentary (as a philosopher would, than an aesthetician [not the skin-care specialist!]) and the connections de Botton make for linking happiness and architecture tend to overlook why styles of architecture had to develop. Nevertheless, his views made a basic assumption that can be agreed upon, especially for those familiar with the language of design. In the film, Tom said to Summer that de Botton's book is his favorite. It was a symbolic gesture for Tom to give Summer a copy when they met again after they broke up (the iconic "expectations vs reality" scene.) When asked by one of Summer's guests about why Tom chose to write greeting cards instead of practicing architecture, Tom replied (non-verbatim) "why make something disposable like a building when we can make something permanent, like a greeting card". This quote reflects the same logic of de Botton's book where the criticism of architecture's effect on human emotions lie on its permanence which cascades to its inherent property: design. A plot device used about twice in the film was the park bench view of the Angel's Knoll in Los Angeles. When Tom took Summer to the bench, he noted that it was a nice view that he gets to see the beautiful buildings of LA. Summer then noted a parking lot that Tom did not notice until she pointed it out. It was also used again during Tom's meeting with Autumn in the last scene of the film where Autumn said it more clearly: "You must have not been looking" Throughout the last few minutes of the film, there is some reference to destiny that would imply everything that happened to Summer and Tom was designed to be that way, and that when they both met their respective flames, that was designed to be that way, as well. The Graduate is a 1967 film directed by Mike Nichols and stars the young Dustin Hoffman as Benjamin Braddock, a recent bachelor's degree graduate. The story revolves around him and his affair with a certain Mrs. Robinson and his relationship with Mrs. Robinson's daughter, Elaine. In 500 Days, it was explained that Tom was moved by the story of The Graduate; reading it as a fairy tale of true love. However, when he watched it with Summer, she was moved to tears. Not knowing why this happened, it became clear to him once they had their final talk in Tom's favorite spot in Los Angeles. These two references are often overlooked by those who have watched the film. It is crucial, therefore, to keep in mind that the character development of Tom (the focus of the film) revolves around his understanding of de Botton and Nichols's works. Unfortunately, for Summer, the film did not exactly explain how her character developed, even as a short snippet in the timeline. We only get to see the film in the perspective of Tom.

2) Byosoku 5cm (5 centimeters per second) [Makoto Shinkai, 2007) Story, in a nutshell: The three-part story revolves around Takaki Tono (VA: Kenji Mizuhashi) growing up to rekindle an old flame in the person of Akari Shinohara (VA: Yoshimi Kondo, Ayaka Onouei). The subtitle says it all: a chain of short stories about their distance.

One of 5cm's many wallpaper-quality scenes.

Why is this film on the list: Two things come to mind every time someone mentions 5cm: story and art. Makoto Shinkai, a literature major, is very successful in transforming an innocent child's naivety into a full-blown adult expectation. That's not all, the gorgeous backdrops provide quality computer screen wallpapers (the shot above is currently my computer wallpaper!) The story is faithful to the reality of growing up with (and without) a childhood crush, amidst the realities surrounding them particularly the rapid advancement of communication technology. In the first part, their correspondence was limited to letters and a telephone call. Then the second part introduces the cellular phone in which Takaki, in an iconic scene in that part, composes a text message addressed to no one (implying his intention to send it to Akari despite not knowing her contact information.) The third part introduces the Internet and e-mail. Of course, we are led to see Takaki's character develop from his early childhood until his 20-something, with a childhood promise he made with Akari that they will see the cherry blossoms again. We get to see the pain of expecting and hoping in Takaki's behavior which ultimately arrived at the last part of the film. This is compounded and complemented by the hit song "One More Time One More Chance" (Masayoshi Yamazaki, 1997) that intensifies the longing Takaki feels for Akari and concludes at the most iconic scene of the whole film:

The crossroads scene.

Like 500 Days of Summer, 5cm/s is a visual masterpiece. The colors evoke different emotions and the story devices (science stuff and distance) make this movie a good start to recover from an illness. Of course, to really appreciate this, one must be sensitive enough to cry throughout the film. Bring tissues. 3) The Science of Sleep (Michel Gondry, 2006) [The first of two Gondry films on this list.] Story, in a nutshell: Stephane (Gael Garcia Bernal), an artist, could not get a grip of what's real and what is in his head. He meets Stephanie (Charlotte Gainsbourg) and forms a relationship with her.

Gael Garcia Bernal and Charlotte Gainsbourg in The Science of Sleep Why is this film on the list: The film is deliciously surreal. The visual elements (mise-en-scene) and the way the characters interact are comedic, bordering on chaotic. Many of the scenes in the film come from different inspirations and real "hallucinations" or childhood visuals by Gondry. It is worth noting that Gondry is famous for directing music videos in the 90s (notable example: "Around the World" by Daft Punk) and his excellent manipulation of visual elements makes his films a sight to behold. While the story is not as gripping as 500 Days and 5cm/s (it is still coherent, unlike other Surreal films), The Science of Sleep nevertheless holds on its own as a trip on the workings of the human mind. This complements well with Gondry's visual takes and simple, yet effective, use of props. 4) Blue is the Warmest Color (La Vie d'Adele) [Abdellatif Kechiche, 2013] Story, in a nutshell: Adele (Adele Exarchopoulos) and Emma (Lea Seydoux) form a relationship in spite of their struggles as a lesbian couple.

Exarchopoulos and Seydoux

Why is this film on the list: It portrays the struggles of a lesbian couple. Or, at the very least, Adele's exploration of her sexuality. Typical of French movies, the visuals tend to be a literary device in itself. But, before I go into that, it must be noted that the story the film was based on (a graphic novel by Julie Maroh) is equally heartbreaking and is a must-read... it must also be noted that at least 2/3 of the film is faithful to the story of the graphic novel. The remaining third, well, I don't want to spoil. As such, the graphic novel may also serve as the storyboard of the film. Many of the scenes in the film were recreations of the panels in the graphic novel. However, some devices are exclusive to the film.

  Pasta eating!

There are at least two scenes where pasta is served in the movie. While this is not significant in the plot, it acts as a sort of MacGuffin. And, god, those eating scenes are meticulously shot. The portrayal of Emma and Adele, in the film, as opposed to the graphic novel, shows the class divide between them. Of course, one should not separate the underlying political, economic, and social dimensions of the LGBT+ struggle, and this film, in a subtle way, shows us exactly that. Emma comes from a wealthy family and her parents are, at best, open to Emma being a lesbian. Adele, on the other hand, is the complete opposite: lower-middle class, strict father (a somehow open mother), and comes from a background that does not really appreciate art. These contradicting values would also set the stage for majority of their struggles as a couple, while also providing a hint that they really do not care about what they are (they try to overcome their differences). Ultimately, La Vie... takes us on a journey that fills the mind with questions. This is completely different from the graphic novel which has answers. [Disclaimer: I am aware that Kechiche received backlash about his direction of this film. The inclusion of the film in this list was made before I even read the backlash against him. In the meta-context of the film, it does add a dimension of appropriation and misrepresentation of the LGBT+ struggle by reducing them to mere objects of the gaze.] 5) Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) Story, in a nutshell: Joel (Jim Carrey) and Clementine (Kate Winslet) are former lovers who met again at a train going to Montauk: Their memories were erased and they attempt to re-connect by going to the place where they started (in Montauk).

Winslet and Carrey. The iconic scene.

Why this film is on the list: Gondry. Non-linear narrative. Memories. Like in The Science of Sleep, the visual elements in Eternal Sunshine make use of Gondry's music video aesthetic. In fact, some scenes could be extracted and made into music videos (which can be also done with The Science of Sleep). The film tackles the issue of relationships, specifically the imperfections inherent in all relationships. The bleak and sometimes overexposed scenes create the illusion of memories being washed away; which is a huge part of the story. This gives a little calming effect when I'm recuperating; in contrast to the exhausting experience of La Vie d'Adele. 6) Upstream Color (Shane Carruth, 2013) Story, in a nutshell: Try to search for it in Wiki. But here goes my attempt: Two people's (Kris [Amy Seimetz]; Jeff [Shane Carruth]) lives were connected by a strange larva produced by The Thief (Thiago Martins) and maintained by The Sampler (Andrew Sensenig). They attempt to break free from the manipulation of The Thief and The Sampler

Amy Seimetz and Shane Carruth

Why this film is on the list: Mindfuckery. The nice (and true) ambient music. Carruth's all-in-one approach (director, actor, producer, score). It is one of contemporary cinema's best experimental films, if not one of 21st century's best. I actually have little to say about this because when I first watched it, I instantly added it on the list without knowing why I did so. But, of course, common with all the films in this list, the visuals are great. However, I'm more particular about the music. The haunting and cinematic moods of the score kept me in suspense, if not in a state of trance. As if I am being manipulated by The Sampler (a crucial character in the film, unlike The Thief). Interestingly, Carruth's score makes for a good standalone soundtrack that is quite rare in this day and age. What I mean is, if I'm completely oblivious that the score was used in a film, I'd consider the music as something made by Brian Eno. One can usually identify a score based on an iconic scene from a movie. This one is not like that at all. Plus points for this great soundtrack. 7) The Art of Getting By (Gavin Weisen, 2011) Story, in a nutshell: Coming-of-age romance between three teenagers: George (Freddie Highmore), Dustin (Michael Angarano) and Sally (Emma Roberts) which ends up in a mushy way.

Freddie Highmore in The Art of Getting By

Why this film is on the list: It is very basic in its story-telling, not as complex as the rest of the films in this list. But, one can easily relate with Freddie Highmore's character. This is a good pallette-cleanser after all the heavy films. As such, it has a special position in the order of films in the marathon (I prefer it to be somewhere around the 4th to 7th). 8) A bout de souffle (Breathless) [Jean-Luc Godard, 1960] Story, in a nutshell: A criminal (Michel, played by Jean-Paul Belmondo) is on the run from the police and wants to escape from France with his American sweetheart (Patricia, played by Jean Seberg).

Seberg (right)

Why this film is on the list: It's like a philosophical musing about existence. French New Wave takes  cue from experimentation and the new philosophical approach called existentialism. It is no wonder that Godard incorporated the new philosophy and translated it to film. I did not add this to the list because of its classic status nor its existential musings. The film was added because of Jean Seberg's beauty and, during the course of the film, ambivalence, bordering on a strange mix of naivety and assertiveness. Her character opposes Belmondo's aggressive, always on-the-run character (well, he is escaping from the police!) that the movie became more of how the two will reconcile amidst the chaos Belmondo has gotten himself into. 9) Audition (Takashi Miike, 1999) Story, in a nutshell: A widower (Aoyama, played by Ryo Ishibashi) holds a fake audition to find his new beau. He is enamored with Asami (Eihi Shiina) and starts to date her.

Eihi Shiina in Audition

Why this film is on the list: kuri kuri kuri... It's not the kind of sound you want to hear from an innocent woman. I remember watching the film when I was around 11 or 12 along with Ichi the Killer (also directed by Miike) and got the goosebumps. I included it on the list because of the thrill, being the only horror film on the list. Being a Japanese horror film, one would expect the heavy tension looming over the whole story, to conclude with brutal and stone-cold precision. Miike's adaptation of Ryu Murakami's novel blended perfectly the way the actors performed their roles: The shy, silent twenty-something woman in Asami against the middle-aged Aoyama. Of course, the film also puts into a context where Japanese cinema was heading in this particular genre: it was also when The Ring (Hideo Nakata, 1998) was popular in Japan, amounting to numerous Japanese horror films during the last decade of the 20th century to about the first decade of the 21st century. 10) Shigatsu wa Kimi no Uso (Your Lie in April) [Takehiko Shinjo, 2016] Story, in a nutshell: Kosei Arima (Kento Yamazaki) a child prodigy, returns to playing music after meeting Kaori Miyazono (Suzu Hirose).

Suzu Hirose as Kaori Miyazono

Why this film is on the list: I added this very late (the list only had 6 as of 2017) and had already seen the anime adaptation which was released before this film. While the film was heartbreaking on its own, the anime was about 3x more. The inclusion of this film as the only one that has music as its main plot device not only implies my bias for music-themed films, but also the struggles an artist endures... being an artist myself. This movie capped off the last time I got sick for more than 3 days. It suited perfectly with any mood I was in, and it sure made me cry every time I watched it (or the anime). Like 5cm, bring tissues. Conclusion: The 10 films listed here are the ones that accompanied me when I'm sick. Usually, I would watch them as a playlist but recently, I could just pick one any day and enjoy them. To me, these films never get old. In fact, as of this writing, I cried for the nth time when I watched 5cm/s. Which goes to show the lasting impact of these films to me. This is in no way a recommendation but if you find a film here that you haven't seen yet, then you're welcome. Thanks for reading.

[thenoncombatants]

Album Review: Polar Lows, “Hereafter”, 2019

By Anton Gabriel Maza

Shoegaze. A distinct off-shoot of the post-punk movement that originated in the United Kingdom around the 1980s from bands like Cocteau Twins, Slowdive, and My Bloody Valentine. It is characterized by heavily-processed instruments, mostly through time-based effect(s) like delay and reverb. Lyrical delivery is treated the same way as the instruments and thus is mostly unintelligible.

What does this do with the album we’re reviewing?

Well, because this is a landmark album in the Philippine shoegaze scene. A scene that dominated around the mid-1990s through radio play on the now-defunct NU 107, and has been a community enjoying moderate successes and breakthroughs.

However, with the rise of distribution and monetization over the Internet coupled with the growing number of music events organized by yuppies and school clubs, a new wave of musicians have made their break. In my experience, there are two notable breakthroughs in the music scene since 2010, the year NU 107 went off-the-air.

The first was the release of Earthmover’s First Sighting in 2012 that ushered a post-rock revolution in the country. The second is this album released in 2019. In the seven-year gap between the two albums, it would be an understatement to say that the latter was influenced by the former. I’ll get back to that.

Polar Lows is a four piece band from Quezon City with members coming from different musical backgrounds. They came together because of their shared common love for shoegaze, especially the “Big 3″: Cocteau Twins, Slowdive, and My Bloody Valentine.

In their three-song EP, Hereafter, Polar Lows went back to the roots of shoegaze: reverb-drenched instruments, unintelligible lyrics, raw but powerful rhythm section, tight production... All these were possible with the help of producer Johann Mendoza. 

The first cut of the album, “Never Stayed Too Long”, demonstrates the capabilities of the members. Christian Pablo’s clean arpeggios and Megumie Alcala’s well thought-out chords reminds me of their influences. Its uncanny resemblance will take the listeners to the early to mid-1990s when shoegaze was a sound that spilled through the mainstream (thanks, in part, to Radiohead’s Creep).

The second song, Yesterday Is Today, is their weakest song in the album: it’s pretty much a continuation of Never Stayed Too Long.

Verses, the last song of the album, is the pinnacle of what they sound as a band. It’s not just them demonstrating how they perform but it’s the sound they should forge on ahead if they want to continue their shoegaze sound. The seven-minute song is reminiscent of early shoegaze acts from Britain’s Slowdive and Cocteau Twins with orchestrations similar to post-rock, especially in the song’s middle section (around 4 minutes into the song) where the guitars get louder and more chaotic and leaves the listener in a daze until it fades into feedback to close the song, stimulating the senses for as long as the feedback sustains. Compared to the two previous songs, this one captures the classic shoegaze aesthetic with fresh approaches to composition. As previously mentioned, this song mixes both shoegaze and post-rock aesthetics, while the two may seem to overlap with their use of guitar effects to create textures, post-rock differs because of its different dynamics both in loudness and groove. Unlike the typical shoegaze sound which focuses on a steady pulse, post-rock has the same feeling but is more climactic which is mostly lacking in the shoegaze sound. What Polar Lows achieved with Verses is the synthesis of these two sounds.

It is worth noting here that aside from being co-produced by Johann Mendoza of the post-rock band Sound Architects, the EP was mixed and mastered by Aaron Gonzales who also did the post-production for Earthmover’s First Sighting.

Hereafter, overall, has a distinct sound that could be easily distinguishable from their peers. For instance, their guitars do not sound abrasive compared to, say, Identikit (another Filipino shoegaze band) and their textures are carefully crafted to the point that it beautifully meshes with Alcala’s unintelligible, reverb-drenched vocals. In effect, all the instruments, including the vocals are the texture. The band introduces an exciting approach to shoegaze that blends both shoegaze and post-rock aesthetics within a pop format while avoiding the abrasiveness of similar-sounding bands.

Listen and/or purchase Hereafter on Bandcamp: here