THE 22nd International Film Festival of Kerala, held from December 8-15, 2017 in Thiruvananthapuram, became an occasion where political statements and debates capturing the spirit of the times we live in today attracted as much attention as the films.
Acclaimed actor Prakash Raj gave a powerful speech at the festival's Opening Ceremony, condemning the intolerance and hatred that are being foisted upon the country by the ruling RSS-BJP dispensation.
"When I come to Kerala, I don't come with a script to talk, because there is no censor here. I love you, because this is one state where I can breath without fear... It is not just the creative voices, it is not just a journalist's voice, any form of dissent is sought to be silenced. And I have started talking, because I want to tell them that when they silence a voice, a louder voice will be born," he said. "They are threatening me, I laugh at them. They are trying to silence me, I started singing... They have a problem with a film called S Durga. But the same people have no problem with Durga Wine and Bar. They have no problem if a street named Durga is dirty.... And since those people who do these believe in janmas, trust me, they are the reincarnations of Hitler."
His words were received with thunderous applause by the massive audience at Nishagandhi auditorium.
The festival also saw vibrant discussions as part of the 'Open Forum', with the Open Forum discussion on the Women in Cinema Collective – a new initiative which has been raising important issues concerning women in the Malayalam film industry – attracting much attention.
Among the films which witnessed the largest crowds at the festival was The Young Karl Marx (2017) by Raoul Peck. The Haitian filmmaker would have been more than pleased had he seen the Kerala audience’s reaction to his film – the viewers erupted frequently into cheerful applause during its three screenings.
The Young Karl Marx (2017) depicts the period from April 1843 – when the Prussian Government’s ban on the Rheinische Zeitung (Rhineland News) where Marx was the editor-in-chief took effect – till the publication of the Communist Manifesto in February 1848. Apart from Marx and Engels, Marx’s wife Jenny von Westphalen and Engels’s lifelong partner Mary Burns figure prominently in the film.
Perhaps it is no surprise that the screenings of the movie saw packed houses and enthusiastic response at a festival in Left-ruled Kerala. Never-theless, the moments which drew applause also were instructive and stood as testimony to how close Marx and the ideals he espoused are to the hearts of so many people here.
For instance, Marx’s famous words from Theses On Feuerbach appear in the movie as part of a conversation between Marx and Engels: “The philosophers have only interpreted the world, in various ways; the point is to change it”. The massive audience at the 2500- seater Nishagandhi auditorium cheered as if they were just waiting for the words to be uttered.
Likewise, Jenny’s words “Happiness requires rebellion. Rebellion against the establishment, the old world… And I hope to see the old world crack soon” met with spirited applause. While Marx and Jenny were living in Paris with their baby daughter, Engels, who was in England, asks Marx to join him in London to visit the leaders of the League of the Just. Jenny urging Marx to go ahead – an indication of the sacrifices that she had to make – drew warm appreciation.
Apart from rousing dialogues, vital moments in the young Marx’s rise as a leading thinker also saw the audience applauding – for instance, the scene which depicts the publication of The Poverty of Philosophy, Marx’s response to the French philosopher Proudhon’s work The Philosophy of Poverty.
And of course, there were loud cheers, for the renaming of the League of the Just as the Communist League and its adoption of the motto suggested by Marx and Engels – “Workers of all countries, unite!”
A selection of Raoul Peck’s films including Lumumba (2000) had been screened at the 14th IFFK in 2009 under the section “Contemporary Master in Focus”. He had also delivered the Aravindan Memorial Lecture at the festival that year.
The timing of his new film could not have been more apt, coming as it does on the 150th year of the publication of the first volume of Marx’s magnum opus, Capital. The coming year also marks the 200th anniversary of Marx’s birth, and his ideas have seen a revival in popularity across the globe with the persisting worldwide economic crisis. It might be fitting, therefore, that among the movies that were screened at the IFFK 2017, the economic crisis found particular resonance in the movies from southern Europe. Portugal and Greece in particular, with 11.2 per cent and 23.6 per cent unemployment rates respectively, provided the setting for some gripping movies shown as part of the World Cinema section at the festival.
THE NOTHING FACTORY (2017)
From the Movie Nothing Factory
The Young Karl Marx ends with the iconic words from the Communist Manifesto, beginning with “A spectre is haunting Europe, the spectre of Communism.”
The Portuguese film The Nothing Factory which was screened at IFFK paraphrased these words, with the line: “A spectre is haunting Europe, the
spectre of its ending.”
The three-hour film directed by
Pedro Pinho is inspired by true events
at an Otis lift factory in Portugal.
The Nothing Factory begins with workers stopping machinery and equipment from being taken out of the factory at night. Soon it becomes clear that the management wants to shut down the plant. The savvy Human Resources manager seeks to present layoffs of workers as “reformulations” and “readjustments”.
The workers start pickets to protect the factory, to prevent more equipment from being taken out. The workers are asked by the management to wait at
their machines during the day, but they have no work as production has stopped.
It has become a factory that produces nothing.
While the management calls the workers one by one to negotiate retrenchment and severance packages, the workers face the challenge of staying united without falling prey to the temptations dangling before them. The human resources manager, a woman, even goes to the wife of Ze, one of the workers, in order to ask her to persuade him to accept the management’s offer.
The management says that the international crisis has affected lift
sales, but how is it that they are driving around in Mercedes cars while the company is supposedly becoming insolvent, ask the workers.
They occupy the factory, and as the owners abandon the factory, the workers decide to form a cooperative to manage the factory of their own.
The movie is interspersed with a voiceover that offers commentary on
the larger events and the capitalist crisis – the voice apparently belongs to
Daniele, a filmmaker who is a sensitive observer of the crisis and who takes a keen interest in the developments at the factory. Stylistically eclectic, the film reveals a touch of surrealism in a scene in which ostriches appear in a
field, almost out of nowhere. Towards the end, the workers break out in songs and dances, with one of the shots
happily reminiscent of the classic play Machine by Indian street theatre group Jana Natya Manch (founded by the legendary Safdar Hashmi).
The film also shows intense debates involving Daniele and some other
thinkers on cooperatives, the possibili-ties that they offer as well as their limitations. A cooperative, as long as it participates in the market, is still a
market agent and has to “succeed” in the market. It is still subject to the logic of
the capitalist system. But it opens up a
new path, with workers learning to manage the enterprise themselves and picking up new skills, thereby at least reducing the supposed basis for the enormous inequality in pay packets between the workers and those at the top. (Kerala has its own experience of successful cooperatives, such as the Uralungal Labour Contract Cooperative Society, the subject of a new book by TM Thomas Isaac and Michelle Williams.)
The workers also engage in heated discussions regarding the future of the company, on how it should be managed, and regarding whether to hire professionals with higher salaries to
help manage the factory. Meanwhile an offer of help arrives in the form of an
order from a cooperative in Argentina.
Will they succeed? Only time will tell.
The social dislocations spawned by the economic crisis and wars waged by the imperialist powers constitute a major theme in the French-Greek film Djam, directed by Tony Gatlif.
Djam, a young Greek woman, is sent to Istanbul by her uncle Kakourgos to find a motor-boat part. In the Turkish city, she meets Avril, a French girl who had come to volunteer with refugees. Avril has run out of money, and Djam takes her along on the way to Mytilene, the capital of the Greek island of Lesbos which is separated from Turkey only by a narrow strait. Their journey is enlivened by exciting encounters and music. The free-spirited Djam doesn’t mince words to condemn fascists – including her own grandfather – with the pithy line, “I piss on those who ban music and freedom”.
There are strong pointers in the film
to the devastation of human lives in
Syria, a direct result of wars waged by
the US-led NATO in collaboration with their allies – the Gulf monarchies led by Saudi Arabia. The devastation caused by war led people to take huge risks to
migrate to Europe seeking refuge.
A scene in Djam shows a large number
of abandoned boats – which carried refugees to Greece – washed ashore a Greek beach with large black pebbles. Nearby, there is a mound of thousands of life jackets. One of the boats is named Hikmet, reminding one of the great Turkish poet Nazim Hikmet and his poem “A Sad State of Freedom”, which talks about the “great freedom to be out of work”, and the “freedom to be arrested,
go to prison, even be hanged”. “This freedom is a sad thing beneath the
stars”, wrote Hikmet.
With the intensifying crisis, the bank seizes the property of the Kakourgos family, but they are unbowed, determined to fight on.
(Another film screened at IFFK this year – the Malaysian film Aqerat – depicts the atrocities that the Rohingyan refugees fleeing from persecution in
their homeland have to face.)
A Scene from the fIlm Colo
Colo, a Portuguese film directed by Teresa Villaverde, is the story of a family which finds it increasingly difficult to sustain themselves amidst the crisis. The film shows the various ways in which people respond to the upheavals in their lives. Sometimes they react with compassion and solidarity, sometimes with anger. And often they are overcome by human frailty, atomised and drained of empathy as families are ripped apart by the storm of the economic crisis.
The Nothing Factory, Djam and Colo portray the lives of people caught in the interstices of the human tragedy which has become the marker of the times we live in – a tragedy fuelled by the systemic failures of the capitalist system.
As the voiceover in The Nothing Factory points out, the welfare state died with the collapse of the Soviet Union. It was, after all, a response to the Soviet bloc. Without the “threat” of a socialist takeover, there is no need to rub oint-ment on the back of the poor; hence the utter callousness with which the capitalist class has responded to the crisis.
Taken together, these films lead us to face up to some unavoidable questions. As the crises that have engulfed our planet lead to increased barbarisation of society, will humanity allow itself to descend to more barbarism? Or will we build alternatives and fight to transcend the monstrous capitalist system which is leading our planet to catastrophe?
The highest honour at the festival, the Suvarna Chakoram (Golden Crow Pheasant), was won by the Palestinian film Wajib, directed by Annemarie Jacir. Set in the historic town of Nazareth, Wajib tells the story of a father and son who were estranged since the son left for France, and who are brought together once again as the son returns to help out with preparations for the wedding of his sister.
The Audience Poll award went to I Still Hide to Smoke, a powerful indict-ment of Islamist fundamentalism and its assault on women's freedom in Algeria. The film is Algerian filmmaker Rayhana’s debut directorial venture.