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With a running time that says it all, Michael Winterbottom’s film has already caused a furore since turning up in the Cannes film market last May. Joining such controversial French directors as Catherine Breillat, Patrice Chereau and Gaspar Noe, all of whom have broken cinematic taboos by showing real sexual encounters on screen, Winterbottom's film is anything but pornographic. Rather, its depiction of a short-lived affair pares down a relationship to its bare essentials; as graphic as the sex is, it merely adds to the quasi-documentary feel of the piece as a couple meet, mate and split.
Using a framing device of a trip to the Arctic tundra, in which scientist Matt (Kieran 0' Brien) reflects on his time with American exchange student Lisa (Margot Stilley), the film proper begins as the pair meet at a concert at London’s Brixton Academy. Structured, as the title suggests, with a series of tunes, the film reveals the lovers regularly returning to the venue to take in gigs by the likes of the Dandy Warhols and Franz Ferdinand. Much like the frank depictions of sex, these are sweaty, energetic and in-your-face scenes. There is little else to the film apart from the couple’s copulation, which builds from bouts of oral sex to finally a full-blown penetration sequence.
No doubt, many people will feel the flimsy plot is a mere excuse for titillation. But filmed in natural light on grainy digital video, this is hardly lurid, and Winterbottom is respectful enough to his performers. While the character development is thin, 9 Songs does aptly convey the very nuts and bolts of the human dynamic. It may be more suited to a late night Channel 4 slot than a cinema screen, but there’s no doubt that the film is an important addition to Winterbottom's body of work. (James Mottram).
.‘Je/et‘htd re/ease from In I 1 Mar
hitAMA LA NINA SANTA (15) 104min .00.
luither proof of the current renaissance in Argentinean cinerna comes Willi this elusive yet compelling second teature from writer director l ucrecia Martel. which evocatixrely t‘orheys the tittttltlSlth of adolescent feinale desire.
the drama unfolds during a specialist inedit‘al conxention at a provincial hotel. which happens to be the home of glamorous di\'oicee Helena ilvlercedes Moran) and her schoolgirl daughter Amalia (Maria Lachei, When one of the \isiting doctors (Carlos Bellosoi iuhs himself up against the teenager in a crowded street. the Catholic Amalia decrdes that this is her dryine calling to SLIM? the man from his sins. e\ en though he's also caught the me of her mother.
La Nina Santa is shot through wrth a febrile atmosphere of \, earning. SOtlth‘llH‘fltGSS and listlessness. and
50 THE LIST .4 ‘ ’ Mar 300:"
the Theremin music heightens this mysterious mood. The run—down hotel IS itself a key character. wrth its Creaking system of pipes. its antiquated. cage-like lifts and its shabby thermal pool. and the staff
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“HAL/1A SOMERSAULT (15) 106mm 00.0
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Name Gerard Jugnot
Born 14 May 1951, Paris. France Background As a founder member of the legendaw satirical tr0upe Le Splendid Jugnot he worked alongsrde Christian CIaVier, .Josrane Balasko, thieiry Lherniitte and Michel Blanc in cafe theatre before turning his attention to Cinema The troupe have all gone their own ways. carvrng successful iridiVidual careers. He has cornered the market as the diminutive Sallie everyman in such titles as Party Fart de la Resistance (1983; and Scout Tau/ours (1985). In 1991 he turned to directing wrth Une Epogue Form/’dab/e and to date he has made nine films.
What’s he up to now? He has JUSl finished starring in and directing a remake of the Jean Renoir (:laSSic Ber/(iii Sat/ire des Eaux wrth Gerard Depardieu in the role of the tramp. And he is about to team up again. 20 years on. with his Splendid cohorts in Patrice Leconte's reprise of the cult hit Les Bronzes. due to film in May.
What he says about working with kids in The Chorus “It was tiring and very neisy. And it was ([181 like being a teacher for real. and that's how i approached it. I suppose I'm a little bit famous in France so that gave me an extra advantage and an instant rapport. When you appear wrth children you never know what is going to happen — and you have to "steal" the right moments from them.‘
Interesting fact Until the end of the 805 he sported a seriously distinctive moustache. perhaps to make up for his foiically challenged pate — but he got fed up with it and shaved it off. And except for the odd role. it's stayed off ever since.
I The Chorus is on selected release from Fri 17 Mar. See review, page 49.
shocking and surprising as Harmony Koririe's Gum/no “which is probably its nearest cinematic egui‘xalent — there is certainl, a trendy New York vibe to Robert Humphreys' cinematograph/i. An inSidrOus. OFOlT‘lSlflg and difficiilt to forget debut ffOll‘ Shortlanrl and the deep, gifted CCUHSl‘; Paul Dalei
I Se/ectec' re/ease from Fri 4 Mar