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Una película de Liliana Paolinelli
VIVA 2011: POR SUS PROPIOS OJOS (PROPER EYES) REVIEW by Eight Rooks, March 21, 2011
Despite the low-budget mockumentary approach, Liliana Paolinelli's excellent Proper Eyes is a coming-of-age story far more meaningful than most glossy studio productions ever manage. The story of an Argentine student whose video thesis on the women who visit the local jail proves to be an education she never expected, it's an accomplished narrative that explores multiple subtexts with subtlety and grace - not least a layer of meta-commentary that's haunting and thought-provoking yet never once contrived or grating.
Alicia (Ana Carabajal) and her friend Virginia (Maria Santucho) are shooting a documentary about the women they see gathered at the prison gates, hoping for a ticket that'll allow them in to visit family or loved ones. Most are reluctant to talk to the two girls, and those who agree to appear on camera don't have anything really illuminating to say. But then they're collared by Elsa, an older woman whose son is awaiting trial for petty offences. She practically bullies her way into an interview, only to try and back out the very next day. Frustrated, yet intrigued, Alicia begins to investigate the older woman and her son, agreeing to visit him behind bars.
The premise works as a gentle riff on the process of putting together any kind of cinematic record of real life - Paolinelli made a similar documentary herself, several years beforehand. It's a piece of social commentary, both in a general sense and a subtler nod to the idea of Argentines finally being able to ask questions about the years their country spent under military dictatorship. And it's a coming-of-age story, though more about a young person realising how the world works, rather than finding her place in it.
Paolinelli and her crew obviously learnt a few things from their earlier experience. Though Proper Eyes clearly didn't have much money spent on it, technically it's still quietly impressive. As the story progresses, and the focus moves from the girls' original idea to the enigma Elsa poses, it's noticeable the visuals shift from a more insular, handheld point of view (with several key shots seen through their camera) to a bolder, more artistic approach, with some striking imagery later on - a storm gathering over the city, or the meagre decorations inside the prison.
It's a slow film despite its scant running time, largely made up of conversations and deep thoughts, but it does follow a strong narrative arc. Much of this hinges on the performances, especially in the first act, where Carabajal does a tremendous job of conveying Alicia's need to unravel the mystery she's been presented with, no matter what. Her thesis is all very well, but she knows it won't completely satisfy her, that she hasn't thought of exactly the right questions - many people who've been through higher education will more than likely recognise something of themselves here.
The contrast with Virginia's pragmatism and practical concern (Santucho is strikingly effective in what is a fairly small supporting role) starts to ramp up the tension fairly early on. By the time Alicia actually agrees to go behind bars, Paolinelli manages to put across a great deal of the terrible, dreary reality of the prison system without ever resorting to forcing exposition on the audience, reciting statistics at them or any other such thing. Again, it's a far more unsettling experience than the botched attempts at subtext in We Are What We Are.
Very little of what goes on behind the prison walls is explicitly spelt out, in that we follow Alicia in and see what happens to her, but Paolinelli leaves it entirely up to us to work out what it all signifies. The resolution is awesomely subtle - both what Alicia experiences and her reaction, and the epilogue where Elsa finally opens up, after which both girls realise what the older woman's reticence signified.
Proper Eyes feels not unlike a rougher take on later period Lee Chang-Dong, where the filmmakers' art seems to spring from everything left unsaid as much as any poetry in the script or direction, and where the smallest gestures can have devastating results. It's not the happiest story, but it's not without hope, either. If there's anything of Paolinelli in Alicia the director seems to think fairly well of her alter ego, and the story suggests there's something good in our capacity to keep trying no matter how bad things turn out.
Despite the obvious depth it is a fairly slight story, and its inner logic doesn't always quite hold together. Elsa's son is fairly crudely sketched out, and Alicia's relationship with him - such as it is - strains the audience's credulity once or twice. For anyone with no understanding of Argentina's recent history the emotional tone could conceivably seem a bit puzzling. Nonetheless, Liliana Paolinelli's film is a fantastic piece of work overall, a compelling, deftly handled mix of social critique and compassionate, character-driven melodrama. Beautifully put together, gripping, thought-provoking and hugely rewarding Proper Eyes comes strongly recommended.
(Por Sus Propios Ojos was screened as part of the Cine en Construcción programme at the 17th Viva Spanish & Latin American Film Festival, which was run at the Cornerhouse Theatre in Manchester from 5th-27th March 2011.)
Alicia (Ana Carabajal) and her friend Virginia (Maria Santucho) are shooting a documentary about the women they see gathered at the prison gates, hoping for a ticket that'll allow them in to visit family or loved ones. Most are reluctant to talk to the two girls, and those who agree to appear on camera don't have anything really illuminating to say. But then they're collared by Elsa, an older woman whose son is awaiting trial for petty offences. She practically bullies her way into an interview, only to try and back out the very next day. Frustrated, yet intrigued, Alicia begins to investigate the older woman and her son, agreeing to visit him behind bars.
The premise works as a gentle riff on the process of putting together any kind of cinematic record of real life - Paolinelli made a similar documentary herself, several years beforehand. It's a piece of social commentary, both in a general sense and a subtler nod to the idea of Argentines finally being able to ask questions about the years their country spent under military dictatorship. And it's a coming-of-age story, though more about a young person realising how the world works, rather than finding her place in it.
Paolinelli and her crew obviously learnt a few things from their earlier experience. Though Proper Eyes clearly didn't have much money spent on it, technically it's still quietly impressive. As the story progresses, and the focus moves from the girls' original idea to the enigma Elsa poses, it's noticeable the visuals shift from a more insular, handheld point of view (with several key shots seen through their camera) to a bolder, more artistic approach, with some striking imagery later on - a storm gathering over the city, or the meagre decorations inside the prison.
It's a slow film despite its scant running time, largely made up of conversations and deep thoughts, but it does follow a strong narrative arc. Much of this hinges on the performances, especially in the first act, where Carabajal does a tremendous job of conveying Alicia's need to unravel the mystery she's been presented with, no matter what. Her thesis is all very well, but she knows it won't completely satisfy her, that she hasn't thought of exactly the right questions - many people who've been through higher education will more than likely recognise something of themselves here.
The contrast with Virginia's pragmatism and practical concern (Santucho is strikingly effective in what is a fairly small supporting role) starts to ramp up the tension fairly early on. By the time Alicia actually agrees to go behind bars, Paolinelli manages to put across a great deal of the terrible, dreary reality of the prison system without ever resorting to forcing exposition on the audience, reciting statistics at them or any other such thing. Again, it's a far more unsettling experience than the botched attempts at subtext in We Are What We Are.
Very little of what goes on behind the prison walls is explicitly spelt out, in that we follow Alicia in and see what happens to her, but Paolinelli leaves it entirely up to us to work out what it all signifies. The resolution is awesomely subtle - both what Alicia experiences and her reaction, and the epilogue where Elsa finally opens up, after which both girls realise what the older woman's reticence signified.
Proper Eyes feels not unlike a rougher take on later period Lee Chang-Dong, where the filmmakers' art seems to spring from everything left unsaid as much as any poetry in the script or direction, and where the smallest gestures can have devastating results. It's not the happiest story, but it's not without hope, either. If there's anything of Paolinelli in Alicia the director seems to think fairly well of her alter ego, and the story suggests there's something good in our capacity to keep trying no matter how bad things turn out.
Despite the obvious depth it is a fairly slight story, and its inner logic doesn't always quite hold together. Elsa's son is fairly crudely sketched out, and Alicia's relationship with him - such as it is - strains the audience's credulity once or twice. For anyone with no understanding of Argentina's recent history the emotional tone could conceivably seem a bit puzzling. Nonetheless, Liliana Paolinelli's film is a fantastic piece of work overall, a compelling, deftly handled mix of social critique and compassionate, character-driven melodrama. Beautifully put together, gripping, thought-provoking and hugely rewarding Proper Eyes comes strongly recommended.
(Por Sus Propios Ojos was screened as part of the Cine en Construcción programme at the 17th Viva Spanish & Latin American Film Festival, which was run at the Cornerhouse Theatre in Manchester from 5th-27th March 2011.)
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Datos personales
- Liliana Paolinelli
- Capital Federal, Buenos Aires, Argentina
- Córdoba, 1968. Egresada del Departamento de Cine y TV de la UNC. Realizó los cortometrajes El circo, El aire, El otoño, La cadena, La botella (Historias breves 3) y ¡Motín! Mediometrajes: Tener o no tener, Los pasos en la habitación, Verdad o consecuencia y Comedias. Autora y directora de la obra Lugar común, presentada en el ciclo Teatroxlaidentidad, Córdoba 2002. Su opera prima “Por sus propios ojos” (2007) obtuvo premios en los festivales de: Toulouse (Cine en Construcción), Mannheim-Heidelberg, Cero Latitud (Quito), Biarritz, Gramado. Otros largometrajes: “Lengua materna”, “Amar es bendito” y "Margen de error".
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