Mariner of the Mountains (2022)
Mariner of the Mountains
”A filmmaker journeys to Algeria, exploring his identity and memories of his mother.”
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Why watch this film?
Awarded at Cannes and nominated for an Ariel for the movie 'The Invisible Life of Eurídice Gusmão', Brazilian and Algerian-ascended filmmaker Karim Aïnouz presents a personal film that works as a travel diary. With narration and a mix of subjective images (some of them fixed), it is an exploration of feelings of loss, as well as identity in displacement, with a melancholic tone reminiscent of Chris Marker's classic 'The Pier' ('La Jetée').
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Plot summary
January 2019. Filmmaker Karim Aïnouz decides to take a boat, cross the Mediterranean and embark on his first journey to Algeria. Accompanied by the memory of his mother, Iracema, and his camera, Aïnouz gives us a detailed account of the journey to his father's homeland; from the sea crossing to his arrival in the Atlas Mountains in Kabylia - a mountainous region in northern Algeria - to his return. Interweaving present, past and future.
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From the same director
Invisible Life
Grab a tissue before watching this historical drama that won the Jury Prize at Cannes' Un Certain Regard section. Seventeen years after directing 'Madame Satã', Karim Ainuz returns to mid-20th century Rio de Janeiro, this time telling the story of two sisters, Eurídice (Carol Duarte) and Guida (Julia Stockler), who are separated by conservative parents without knowing each other's whereabouts. As they try to reunite, they must continue their lives dealing with the machismo and conservatism inherent in Brazilian society. The highlight of the film is the moving performance of the young actresses, as well as the original soundtrack composed by German Benedikt Schiefer, the attentive art direction of Rodrigo Martirena and the photography of French Hélène Louvart (who, it is worth remembering, signs the also acclaimed 'Lazzaro Felice'). Even though short, the incredible participation of the Brazilian cinema lady, Fernanda Montenegro, stands out. For all this, it is no wonder that 'A Vida Invisível' was chosen to represent Brazil at the 2020 Oscars.
Central Airport THF
Besides having established himself in melodrama with films like 'A Vida Invisível' and 'Céu de Suely', filmmaker Karim Aïnouz also took a risk in documentaries such as 'Catedrais da Cultura' and 'Sertão de Acrílico Azul Piscina' -- however, always sharing the direction with other partners. Now, however, he takes his first solo flight in the genre with 'Zentralflughafen THF', awarded at the Berlin Festival. Here, he maintains his contemplative and melodramatic style to talk about the deactivated Berlin-Tempelhof airport, which today serves as a meeting point for Germans and refugees. Karim's own style is undeniable, making use of a repressed emotion in the portrait of the people who cross that environment full of stories. It doesn't have the strength of his dramas, but it shows, from this curious story, the award-winning filmmaker's look at everyday events. Those who like Karim's style of films will undoubtedly find solace here.
Nardjes A.
Directed by the talented Karim Aïnouz (‘The Invisible Life’), ‘Nardjes A.’ seeks to particularize a popular revolt, a revolution, from the point of view of this female protagonist who gives the feature its title. However, the feeling is that the idea does not evolve from there. Although the director has some interesting editing resources along the way, the plot does not evolve much and ends up skating in the middle of similar meanings. The interviewed character, meanwhile, is stuck in the middle of that crowd looking for a breath, an escape, anything. But it doesn't happen. Some viewers will undoubtedly find the documentary repetitive and a bit tiring. But pay attention: at the heart of the matter, there is a look at the individual struggle and the importance of each person.
Suely in the Sky
Karim Aïnouz is, among many things, a filmmaker of Brazilian drama, which in his filmography becomes much more than a genre, but rather a careful and deep reading of social context, regionalism and culture. These readings guide his filmography and create a unique and personal work that can communicate with anyone who sees the economic and social plurality of our country. A work of enchanting sensitivity, a contained drama and a simple narrative where every act is a socio-political manifesto that cries out for the recognition of the individual. They are people marginalized by their humble social condition, to whom the right to dream, make plans, and seek a better future is not reserved. Thus, Suely is a political body in a head of dreams, who wants to be able to see beyond the horizon and break out of her social norm. A portrait above all naturalist in all its details, which exudes Brazil and the Northeast in scenarios so true that they confuse reality and fiction. It is the beauty of the mundane, it is Aviões do Forró playing, a sound car, the mototaxi or the goodbye sign "Aqui começa a saudade de Iguatu".
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