REVIEW: Corsage

7:00pm • Sunday, January 15, 2023 • Michigan Theater • SPOILER ALERT

I was easily absorbed into Corsage‘s slow-burning drama and sumptuous visuals. Corsage stars Vicky Krieps as Empress Elisabeth of Austria, Queen of Hungary, and imagines her story in the year following her 40th birthday. The movie explores themes of agency, beauty, and power, depicting Elisabeth struggling to free herself from the constricting roles of queen, wife, and mother. Its pace is slow and its tone is elegiac, defined by lush settings (the phrase that came to mind was fan-service) and the haunting, repetitive chords of Camille Dalmais’  soundtrack.

The movie leaned into the ever-salient, patriarchal ideology that a woman only has value to the extent that she is seen as beautiful. However, something I reflected on during the movie was that while Elisabeth was oppressed to the extent that she was a woman, she was also in a position of great power which could make her behavior feel hypocritical. Over the course of the movie, in order to accomplish her own goals of preserving her public image while achieving greater personal liberty, she exerted her authority as queen over her ladies in waiting. In particular, Elisabeth’s favorite confidant, Ida Ferenczy (played by Jean Werner), faced the brunt of the empress’s self-serving ill-treatment. Ida was prevented from marrying, and ultimately consented to impersonate Elisabeth at public functions so the queen did not feel the weight of preserving her image. Elisabeth demanded that Ida assume the austere diet she kept in order to maintain her famous 50cm waistline, while she finally helped herself to candied violets and cream cake. 

Of course, the narrative developed in Corsage was highly fictionalized, bordering on the counterfactual. This helped me put together some of the events which occurred near the end of the movie. In a move which was at the time inexplicable to me, Elisabeth enlisted an 18-year-old countess towards whom she had previously expressed envy to act as her husband’s mistress. This made more sense at the end of the movie, when Elisabeth threw herself off of the bow of a ship, a move which realistically seemed like suicide (or freedom, in the context of the movie’s themes).  This led me to interpret many of the film’s previous events as preparations allowing her to abdicate her many roles.

Overall, I enjoyed Corsage for its artistic cinematography and its complex depiction of power. I would recommend it whether you would like to untangle the film’s many salient themes or simply enjoy the outward beauty of its construction.

 

 

REVIEW: Simona

2:40 pm • Saturday, November 5, 2022 • State Theater

Simona was a lovely and in-depth documentary exploring the life of Simona Kossak and the marks she left on family, friends, and the broader Polish environmentalist community. A biologist and environmental activist who spent most of her life secluded in the Białowieża* Forest, one of Europe’s last old-growth wildernesses, Kossak’s story is told through conversations among family members, friends, and former colleagues, accompanied by archival photos taken by her life partner, Lech Wilczek.

I appreciated the candidness with which most of the interviewees discussed Kossak’s life. In particular, the ongoing conversation between Ida Matysek (the film’s main narrator) and her mother, Kossak’s niece, created an overarching narrative for the film that focused more on Kossak’s personal relationships with her family than her scientific career or activism. By balancing this narrative with insights from Kossak’s professional acquaintances and friends, not only did I gain a holistic understanding of how Kossak engaged with the world around her, but I learned about the dark as well as light sides of her history.

One of my favorite themes throughout the film was Kossak’s emotional connection with the animals in her care, which the film often  represented as intensely maternal. I came to understand that history would be remiss to say Kossak had no children–the devotion she demonstrated for the animals she raised was no less than that of a mother for a human child. In one heartbreaking story, Kossak raised a lynx she named Agata, who was killed in an domestic accident when Kossak’s partner, Lech Wilczek, lost his balance and dropped a bundle of firewood on top of her. Kossak canceled all engagements and grieved for months, and the incident also strained her relationship with Wilczek as if they had experienced the loss of a child.

Photo by Lech Wilczek; from Opowieść o Niezwyczajny Życiu Simony Kossak by Anna Kamińska, published by Wydawnictwo Literackie, Krakow 2015.

I am left with questions about Kossak’s affection for animals as compared with her love for the forest at large. As a biologist, her interest was in animal behavior, and in her activism much of her work dealt with preserving the diversity of animal species existing in the Białowieża Forest. I am curious about whether she was equally devoted to the conservation of plant life in the forest. One of the stories included in the film was about her efforts to save dying chestnut trees around the school where she worked, but the film framed these efforts more based on her partiality to the trees for sentimental reasons than for environmental reasons. Much of my reading on the subject of forestry and conservation lately has dealt with the importance of trees in global ecosystems, and I know research on the social relationships between trees is gaining more traction in the scientific community as of late. I wish I could hear Kossak’s take on these issues, and see how she would engage in activism against the accelerating deforestation of her beloved Białowieża Forest today. If I can ever find English editions, I hope to add her books about the forest and her experiences there to my shelf.

 

*pronounced bee-ah-wo-vee-EDGE-ah

PREVIEW: Czarna owca (Black Sheep)

What: a Polish comedy/drama film, brought to Ann Arbor by this weekend’s annual Polish Film Festival

When: Saturday, November 5, 9:00pm

Where: State Theater

Tickets: available on the State Theater website, $9.25 for students

Czarna owca, or Black Sheep, is a Polish drama and comedy about a family falling apart at the seams. Magda and Arek have had a successful marriage of 25 years, and are now living with their adult son, Tomek, and his girlfriend Asia, while taking care of their aging father. However, a series of secrets and revelations soon cause chaos, prompting each character to confront their own closely-held desires and fears, while finding ways to mend the tears ripping apart their family. At least, that’s as much as I could find out from the few online synopses available for this film in English. Much of the plotline remains a mystery to me, and I look forward to discovering this family’s secrets alongside the characters this Saturday night.

PREVIEW: Simona

What: a Polish documentary film brought to Ann Arbor by this weekend’s annual Polish Film Festival

When: Saturday, November 5, 2:40pm

Where: State Theater

Tickets: free with reservation on the State Theater website [click here]

Simona is a documentary about the life of Simona Kossak, a Polish scientist and environmental activist. Based on what little I could discern from Google-translated Polish film reviews, Kossak, who was descended from a long line of famous Polish painters, was rejected by her family and chose to seclude herself in Poland’s primeval Białowieża Forest for the greater part of her life. There, she studied animal behavior and advocated for the preservation of the forest’s natural environment. The film explores Kossak’s eccentric life through the lens of her great niece, Ida Matysek, using photographs taken of Kossak by her life partner, Lech Wilczek. I hope the English subtitles for the film do Kossak’s inspiring story justice, and I look forward to learning about what seems like a magical life spent in one of the world’s oldest–and most threatened–forest environments.

 

Two people dancing the yonna

REVIEW: Birds of Passage

The beginning of Ciro Guerra and Cristina Gallego’s Birds of Passage opens with a symbolism-laden new beginning: a young girl’s transition into adulthood. The Wayuu people at the center of the film celebrate this occasion with a festival of family, friends and dancing. But it is the dancing that provides the clearest window into the future of this sprawling clan. The daughter on the brink of womanhood, Zaida, is dancing the Yonna, a fast-paced give-and-take between her and another man. She is dressed in a flowing red garment, racing back and forth to the beat of a drum, the camera closely following their faces and imparting the dramatic feeling that you too are being chased in the circle, racing around and around in the ambiguous fear of what might happen if you stop. Her first partner, a young boy named Leonidas, eventually trips and falls to the ground. The dance stops, but not for long, as an outsider to the clan named Rapayet steps up and enters the fray, outlasting the drum, and making his first mark on the clan he will eventually join.

The clan is led by a powerful matriarch, Úrsula, who makes clear from the start that her power lies in her willingness to do anything to protect her family. Rapayet, a suitor intent on marrying Zaida, strikes Úrsula as a danger, but possibly even she does not realize the depth to which he will uproot her family and her culture. The Wayuu of northern Colombia had persevered through the rise of the modern nation by their adherence to their traditional practices that Úrsula is determined to protect. As Rapayet ventures into the marijuana trade to finance his dowry for Zaida, he finds himself sucked into a whirlpool of greed and desperation despite his best efforts to preserve the culture of honor. It is only a matter of time before the consequences manifest themselves.

Rapayet, Zaida, and their two children eventually move into a grand stucco villa in the middle of the barren desert, a visual metaphor for the isolation their wealth has granted them. The film is a deliberate exploration of the fine line between providing for your family and sacrificing them in pursuit of these provisions. It showcases the delicate tension between the traditional ways and the allure of 20thcentury wealth and luxury, and the mythic power of the dollar, propelling business and violence across the Colombian desert in an ancient blue Jeep.

Now showing at the State Theatre. In Wayuu, Spanish, and Wiwa with English subtitles.