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The Magdalene Sisters (DVDrip - 2002)

One of the Catholic Church's most infamous institutions is the focus of this controversial independent feature from Scottish actor and erstwhile director Peter Mullan. Set in 1964, The Magdalene Sisters hones in on the Magdalene convent, a place where purportedly wayward young women have been sent by their families for reform. Many of the girls are locked up in the institution for questionable "sins," and the movie presents several of them as case studies: Margaret (Anne-Marie Duff), who is sent away after being sexually assaulted by a cousin at a wedding; Rose (Dorothy Duffy) and Crispina (Eileen Walsh), who are both unwed mothers; and Bernadette (Nora-Jane Noone), whose licentiousness has raised the ire of her former orphanage. It soon becomes clear that the reformatory is more of a manual-labor prison, however, as their girls are forced to work long hours and endure endless physical humiliation and abuse at the hands of the head nun, Sister Bridget (Geraldine McEwan). As their degradation at the hands of the convent's administrators increases, each girl plots her escape, but each finds that she's never far enough from the sisters' all-encompassing reach.






Peter Mullan's (2002) film is based primarily upon the TV documentary 'Sex in a Cold Climate' by Steve Humphries which was first aired on RTE (Ireland) and BBC (England) in 1998. The documentary records the recollections of four Irish women who spent their youth and a good proportion of their adult lives as involuntary guests of uncompromising Roman Catholic nuns.

The film is set in a particular example of this institution which, somewhat akin to the English workhouses of the late 19th and early 20th century, became established in Ireland after the Second World War. The Magdelene Laundries took their name from the biblical figure of Mary Magdalene, a 'fallen woman' whom Christ befriended.

We join the main heroines of the movie - Margarette (Anne-Marie Duff), Bernadette (Norah-Jane No one), Rose (Dorothy Duffy) and Crispina (Eileen Walsh) in cameo as their entrance scholarships for the Magdelene Laundry are being sat.

What's most uncomfortable about this part of the movie, is trying to work out what's going on. Trying to work out what it is that's being whispered and what will be the upshot of it, and why. At first, it seems like the soundtrack of the film and the contrast have failed. But before long, it becomes obvious that the soundtrack of the film and the contrast have succeeded. The dark and deafening silence surrounding the circumstances under which these young women are being consigned to the unwelcome stewardship of the Magdalene Sisters comes through loud and muted.

We follow their induction into the laundry by Sister Bridget (Geraldine McEwan), ably assisted by the Sisters Jude (Frances Healy), Clemantine (Eithne McGuinness) and Augusta (Phyllis MacMahon) who contrive with formally celibate gentlemen like Father Fitzroy (Daniel Costello) to represent a world in which God's greatest ideal is achieved through punishment and penitence.

As the film progresses, we begin to understand why it is no accident that these institutions should have been laundries. They could - after all - have been bakeries, dairies, canneries or places where mailbags are sewn.

With every garment that passes through the process, unmentionable filth is cleansed - if the Sisters are to be believed. And if the Sisters are to be believed, the sins of the teenagers and the route to Heaven is bound up in hot water, salt and flagellation.

And as we follow these unsaintly girls on their hapless journey, we finally learn that salvation is as straightforward as a letter we are not privileged to read and a brother who arrives with a suitcase - as if there is anything that anybody could possibly want to carry away from a place like this.

This film is a powerful elegy to the suffering of these unfortunate girls who, constrained to silence for so long, have finally found a voice.





Las hermanas de la Magdalena. Los conventos de la Magdalena en Irlanda eran gestionados por las hermanas de la Misericordia en nombre de la Iglesia católica. Acogían a muchachas enviadas por sus familias o por los orfanatos, que allí quedaban encerradas y a las que se obligaba a trabajar en las lavanderías para expiar sus pecados. Trabajaban sin percibir ninguna retribución, 364 días al año, y se las hacía pasar hambre, se las sometía a castigos físicos, humillaciones, violencia fisica y moral. Miles de mujeres vivían y morían allí. El último convento de la Magdalena en Irlanda cerró sus puertas en 1996. Es una película de ficción, que lamentablemente se basa en una historia verdadera.





En 1964 dans la campagne Irlandaise, 4 jeunes fille sont condamnées par l'église et leur famille à entrer dans le brutale et déshumanisant Asile Magdalene. Elles sont ici pour expier leur pêchés: pêché d'être une femme non mariée, d'être jolie, moche, simple d'esprit, trop intelligente ou victime d'un viol qu'on ne veut taire. Pour ces pêchés, elles doivent travailler... 364 jours par an, et sans être payée.

Les 4 jeunes fille se rebellent face à ces violences. Mais quelle victoire possible alors qu'elles ne sont pas plus que des exclaves? Rongées par le colère, sans aucune lueure d'espoir, elles rêvent d'évasion.

Two boys growing up in a violent neighborhood of Rio de Janeiro take different paths: one becomes a photographer, the other a drug dealer.

Based on true events and characters who live in the overlooked and poverty stricken slums in the shadows of Rio de Janiero, where life expectancy doesn't reach the 30's and drug dealers are kings.

The tale of the City of God, and its myriad of characters is told by Rocket, a young man who struggles to make something of his life, other than to wind up another victim of drugs or gang wars.

Not only are the characters in City of God absolutely fascinating, and also very endearing, but also convincingly acted by groups of young and unknown actors. The stoies are well-told, and at times, funny, and at others, brutally shocking.

The cinematic style of the film gives a nod to Tarantino, with some clever time-jumping, freeze-framing, and texts indicating another chapter of the film. In every sense, a bit of a Brazillian "Pulp Fiction" or "Goodfellas", but with its own unique flavour to it.

The City of God is a marvel, and a highly recommended film to watch, but not recommended for the over-sensitive or easily distressed.

http://www.imdb.com/title/tt0317248/










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Rabbit-Proof Fence (DVDrip - 2002)

This is the true story of Molly Craig, a young aboriginal Australian girl who leads her younger sister and cousin in an escape from an official government camp, set up as part of an official government policy to train them as domestic workers and integrate them into white society. With grit and determination Molly guides the girls on an epic journey, one step ahead of the authorities, over 1,500 miles of Australia's outback in search of the rabbit-proof fence that bisects the continent and will lead them home. These three girls are part of what is referred to today as the "Stolen Generation".






This is a very powerful film from the wonderful Phillip Noyce (The Quiet American) and its based on the shameful history in Australia where aborigine children were taken by force from their families and tribes to camps and taught to be servants. In the film 3 sisters escape and venture to walk 1,500 miles back to their tribe. The title refers to a fenceline that stretches for thousands of miles and the girls follow it. The wonderful aborigine actor David Gulpilil (Walkabout) plays a scout that is tracking the girls and Kenneth Branaugh plays an officer that is in charge of the whole operation. I guess the main flaw in the film would be the middle where most of the walking takes place and the film really slows down but its not a major complaint. The 1,500 mile trek is expertly paced and the film is by no means dull. Rather, its fascinating! The real footage that we see at the end of the film is so powerful that the whole essence of what you have just watched becomes even more devastating. This is more than just an important film, its a documentation of an ugly and shameful part of Australian history.IMDB comment.






Generación robada.Trata la historia verídica de Molly Craig, una niña aborigen que se lleva consigo a su hermana menor y a su prima en su huida de una institución gubernamental establecida como parte de una política orientada a instruir a los niños aborígenes para devenir trabajadores domésticos, introduciéndoles así en la sociedad blanca. Armada de valor y determinación, Molly guía a las niñas en un viaje verdaderamente épico y siempre un paso por delante de las autoridades, a lo largo de más de 2.400 kilómetros del campo australiano, a la búsqueda del cercado de alambre a prueba de conejos que divide en dos la isla y que puede retornarlas a casa.






En 1931, à Jigalong, près du désert de Gibson, trois filles aborigènes vivent heureuses auprès de leurs mères : Molly, quatorze ans, sa cousine Gracie, dix ans, et sa soeur Daisy, huit ans. Sur ordre de Mr Neville, protecteur en chef des Aborigènes pour l'Australie occidentale, le constable Riggs arrache les fillettes à leur famille pour les transférer au camp de Moore River, situé à l'autre bout du continent.

Là-bas, les conditions de vie sont sinistres. Les enfants sont entassés dans d'immenses dortoirs, mal soignés, mal nourris. Molly décide de fuir avec Gracie et Daisy, et toutes les trois entament un périple de plus de 2 000 kilomètres...

Un Oso rojo (DVDrip - 2002)

Argentine social realism mixes with stylized gunplay in this film from director Adrián Caetano. Oso (Julio Chávez) is an inexpressive, heavyset convict who tries to start a new life after being released from jail. His young daughter Alicia (Agostina Lage) has forgotten him and her mother (Soledad Villamil) has long since found a new man--the weak but faithful Sergio (Luis Machín)--with whom she and Alicia share a small home in a rundown Buenos Aires neighborhood. Oso tries to reestablish himself in Alicia's life, but his past keeps getting in the way, eventually causing him to take one final, dangerous job for his scheming old crime boss, the Turk. While the film's mythic western story arc of violence and redemption is nothing new, it's still powerful and moving thanks to Caetano's skill in capturing the subtle beauty of his rundown locations and struggling characters. As with his earlier BOLIVIA, this film provides a nonjudgmental window into Argentina's financial problems, revealing how a proud, richly cultured nation has been driven to extreme measures by economic depression. Performances are naturalistic and strong, with Chávez a standout as the quintessential loner, Oso. With almost no changes in his character's glum exterior, he manages to hint at a concealed wealth of deep emotion; his scenes with Lage are quietly heartbreaking.






"A Red Bear" is daylight noir. The setting is bright, sunny but the characters have shades of gray. Julio Chávez plays an ex-con trying to do good while attempting to reconnect with the daughter he had left behind. But this type of anti-hero is never meant to live happily ever after. Although the film tells a familiar tale, I thought the milieu of a small town in Argentina gives the story an interesting edge. It's a nice change of pace from the usually gritty American landscape. The performances are good too. Chávez is excellent and Soledad Villamil registers in the small role of Chávez's ex-wife. Nice music by Mariano Barrella and Diego Grimblat. Director Caetano is a natural with the camera. If you are fan of noir you won't be disappointed.






Aunque sólo Oso lleva la cuenta, han pasado siete años desde que cayó preso por homici-dio y robo a mano armada. Es un hombre par-co, impredecible, violento por naturaleza o por necesidad, y es probable que en todos estos años no le haya dicho a nadie lo que oculta en sus silencios y la tristeza de su mirada. Alicia, su hija, cumplía un año el día del asalto y Natalia, su mujer, quizás nunca lo haya perdonado. Ahora, mientras sale a la calle en libertad condicional, Oso piensa que tal vez pueda volver a empezar. El Turco le debe todavía su parte del asalto y a través de un compañero de celda contacta con Güemes, que lo emplea como chofer en su agencia de taxis. Oso ha perdido a su mujer que vive ahora con Sergio y su hija apenas lo recuerda, pero Oso está dispuesto a recuperarlas o al menos a reparar los daños.




L'Ours rouge Après avoir passé sept ans en prison pour meurtre et vol à main armée, Oso obtient sa libération conditionnelle. Sa femme Natalia et sa fille Alicia vivent désormais avec Sergio, un chômeur qui s’endette en jouant aux courses. Oso espère les reconquérir, les aider, mais pour cela il doit maîtriser sa maladresse et ses élans irrépressibles de violence. Lorsque Turco tente de l’entraîner dans un nouveau « coup », il comprend que la seule issue possible pour prendre en charge l’avenir de sa fille sera hors la loi...