259. Lesotho’s film director Lemohang Jeremiah Mosese’s second feature film “This Is Not A Burial, It's A Resurrection”(2019), based on his original script: One of the most remarkable films from the African Continent

 

“Let the dead bury the dead, you shall leave no trace. Bury your existence, lest they say there lived a sufferer. The soul-less march of time has surrounded you, like an old cloth turned into a dry beetle. The (church) bells speak when people can’t. Little children cheer up. The dead buried their own dead. You will do so in future. You can hear the church bells under the water”

---words of a song sung in the opening sequence, where the time stamp is revealed by the electricity that lights up the room (the rest of the film is lit by candles). The song is sung, aided by a Lesiba, “an unbraced mouth resonated bow,” by the film’s actor Jerry Mofokeng

 

Lemohang Jeremiah Mosese is one of the best directors from the African continent today, if not a wider geographical area, and his 2019 film This Is Not A Burial, It's A Resurrection testifies that fact. How original is the tale of the film depends on whether he had seen a remarkable US film Northfork (2003) directed by Mark Polish with an original script written by the brothers Mark and Michael Polish. The essential similarity between the two are limited to the impending acquisition of land to make way for a man-made lake, the shadow of forcible relocation of the inhabitants of a town/village, a Christian priest (Nick Nolte, in the Polish film; Makhaola Ndebele in Mosese’s film) who provides spiritual succor, and relocation of buried remains of the dead before the waters are released. Both are remarkable films. In both films, we have inhabitants resisting change. In both films, the villagers/townsfolk battle powerful wealthy capitalist groups who promise a better life if the inhabitants agree to move out.  Unlike Polish’s film that focused on diverse characters in a town, in Mosese’s film, the focus is on a single inhabitant--an 80-year-old  widow named Mantoa (Mary Twala Mlongo, who is stunning in this film) mourning currently her son’s death and his burial. Similar to the work of the Polish brothers, there is a priest in Mosese’s film to comfort her spiritually but Mosese goes a step beyond the American film, he brings in sheep as non-human mourners in a twist of magic realism to comfort a widow whose house was once burnt in a fire that consumed all her possessions and, possibly, her bedridden husband. To capture the movement of the animals from an overhead shot was a masterstroke, reminding one of Terrence Malick’s shot of grazing wild bison surrounding the lead actors in To The Wonder (2012).

Mantoa played by Mary Twala Mlongo, who won
5 Best Actress Awards at various international
film festivals for this role

The opening song sung with a Lesiba
(the room has electrical lights)

Death and burial are important elements of spiritual and social discussion in This Is Not A Burial, It's A Resurrection. The film begins with Mantoa mourning the death of her son who had been working in a mine in neighboring South Africa, that landlocks Lesotho. The script of Mosese reveals in fits and starts that Mantoa has lost her bedridden husband, her daughter and her granddaughter. Her cumulative grief is relieved for a while by the consoling words of the Christian priest quoting the Bible passages. Yet this only leads to a crisis of faith in the strong Mantoa, who merely impassively listens to the hymn “Abide with me” sung in the local language by members of another burial procession passing by her hut. Mantoa is preparing for her own death and burial in the background of the imminent “death and burial” of her “weeping” village called Nasarethe (a variant of Nazareth, the town Jesus grew up in the Bible) under the waters of the proposed lake.  Mantoa calls all the womenfolk of the village and gives guidelines on her own burial reminding one of Abbas Kiarostami’s quest for a suitable person to bury his fictional character Badil in the 1997 Golden Palm winner at Cannes, The Taste of Cherry. For Mantoa, her death is certain and around the corner and her burial wishes will be complied with; for Badil, his plan is dependent on future intangibles. Mosese presents Mantoa, a woman of strong will and character, a ‘Mother Courage,’ who pays a villager in advance to dig her grave next to her husband’s and son’s graves.

Mantoa grieves her losses to a fire sitting on
a charred bed while sheep magically
surround her as co-mourners

After the fire, the rebuilt elegant hut of Mantoa
(note the art direction/production design)

Mosese’s film presents an unforgettable mix of script, visuals and sounds that are rarely captured so effectively and evocatively in a film. Almost every shot in the film, often wordless, express the affinity of Mantoa to her immediate surroundings that goes beyond the cemetery, the church with its well-described historic bell, and the dead bodies buried in the graves. The colorful attires of Mantoa indoors are regal and yet simple. The exterior shots silently describes the single individual swallowed up by the vast well-endowed land that produce useful flora for the humans and feed for the sheep, not to mention the rainwater that blesses the country.

Mantoa in mourning attire
(note the candles.)

Mantoa, in better times, (note the rich colors.)

 (In reality, not stated in the film, the multi-million dollar Lesotho Highlands Water Project, which commenced in 1986 with the help of the World Bank, the African Development Bank, and the European Investment Bank, captures stores and transfers water and generated electricity to South Africa, earning Lesotho hundreds of millions of dollars in revenue annually.)   

The typical cinematography of the film, accentuating
Mantoa's stature against larger forces,
of rainwater from the clouds that can bring
prosperity and the cemeteries that will go under water 

 

Director Lemohang Jeremiah Mosese, as the director, screenplay writer and editor has made Lesotho and Africa proud with his second feature film winning plaudits all over the globe.  African cinema is on the march while showing indirectly the effect of development in the region.

P.S.  This Is Not A Burial, It's A Resurrection has won 20 awards worldwide at film festivals including Athens, Durban, Hong Kong, Kerala, Montreal, Reykjavik, Sundance, and Taipei international festivals. At the Kerala festival (IFFK) it was chosen the Best Film in competition. Five of these awards were for Mary Twala Mlongo as the Best Actress at the respective events. At IFFK, too, the late Mary Twala Mlongo earned a Special Mention. The film participated at the Denver film festival,  This Is Not A Burial, It's A Resurrection is one of the author's best films of 2020. Mark Polish’s film Northfork (2003) and Terrence Malick’s To The Wonder (2012), mentioned above, have been reviewed earlier on this blog. (Click on the names of the films in the post-script to access the reviews.)

258. US director Henry Butash’s debut feature film “The Atlantic City Story”(2020), based on an original script by the director: Charming and different, crystallizing the potential and power of independent, low-budget cinema

 

There are films that begin to mesmerize a viewer when you watch the initial sequence closely. This is often the case when you view a debut film that is also built on an original script written by its director. The quiet sophisticated strength of the opening sequence of Henry Butash’s debut film The Atlantic City Story will grab the attention of any mature, attentive viewer and the viewer is likely to be hooked until the film ends. This critic recalls the same feeling while viewing the opening sequence of the British director Sir Ridley Scott’s debut film The Duellists which went on to win the Cannes film festival Best Debut Film award in 1977, Scott’s sole honor at Cannes to date.  Similar to The Duellists, Henry Butash’s film, too, has an opening sequence where the spoken conversation is minimal, and even the lead actress Jessica Hecht playing a middle-aged married woman called Jane (an appropriate name for the character) hardly moves from a table where she is sitting and drinking her morning hot beverage, as her husband greets her fleetingly and rushes off to work. Her posture, the lighting and the camera almost mimics a static shot providing some introductory information for what is to follow. A regular Hollywood studio film would never allow for such a minimalist opening sequence as in Butash’s The Atlantic City Story. These are aspects that regular filmgoers used to loud music and fast action sequences would perhaps discount.  This is probably why The Duellists is rarely discussed even today among Ridley Scott’s works even though Cannes spotted its value ignoring his blockbuster films that he made in his later career.

Taking a break from her cheating husband:
Jane (Jessica Hecht) at Atlantic City on 
the shores of the Atlantic Ocean

Those who have visited Atlantic City, New Jersey, USA, in recent decades could anticipate a socio-historic story of the gambling hub on the Atlantic coast especially in winter months when the numbers of visitors dwindle. The wooden boardwalk parallel to the ocean shore would be empty in winter and but crowded in summer. Butash’s film captures the winter scenario with the boardwalks almost empty though the casinos work quite in contrast without a break with sufficient numbers of customers gambling away night and day just as they do in Las Vegas. The only difference: Atlantic City, seems to be on the decline while Las Vegas appears to be unaffected with time.

However, Butash’s film is not about the City as it prefers to focus on the story of two lonely individuals, Jane and Arthur (Mike Faist), who accidently converge on the city for different reasons at almost the same time. Jane is a married woman with sufficient money to spend and wants to spend time anonymously away from her husband, who she suspects is having an affair with another woman. Arthur, the other individual, is a young bachelor, considerably younger than Jane, who has stolen money and an engagement ring from his family members and is possessed by an urge to compulsively gamble. Atlantic City offers the anonymity and escape that Jane briefly desires, and for Arthur the false hopes of becoming rich and hopefully returning the stolen money to the family he so loves. Jane and Arthur, total strangers, meet in that somewhat less-crowded-than-usual Atlantic City.

Arthur (Mike Faist) gambling with money
stolen from his family

Jane is initially attracted to Arthur by merely watching his hands on the roulette table. Jane notices that Arthur is losing money and is gradually becoming penniless. Jane follows and discovers him alone one night all wet on the seashore and suspects that he has no place to go and as a kind soul brings him to her room. A bond forges between the two as they spend time in the empty exteriors of Atlantic City over the next few days.  Director Butash had worked on three recent films of Terrence Malick (as post-production assistant in Knight of Cups and Song to Song and as an additional editor for his Voyage of Time). It is therefore not surprising that certain exterior sequences of Jane and Arthur in Atlantic City remind the viewer of Malick’s style of the ballet-like camera movements capturing the almost silent duo (bereft of Malick’s usual voice overs and religious philosophy) conversing only briefly. Butash invests considerable screen time focusing on their body language and that results in better dividends than films that rely on lengthy spoken dialogues.  That’s what makes Butash’s film stand out from most other films.

Butash and cinematographer Derry creating images 
akin to works of Malick and cinematographer Lubezki

If the viewer is familiar with a particular work of the Russian playwright and short story writer Anton Chekov, The Atlantic City Story would recall elements of Chekov’s short story The Lady with a Dog. That short story dealt with an unhappily married woman, on a vacation (alone with a dog and without her husband) walking up and down a walkway on the shores of the Black Sea meeting up with a lonely married banker for the first time, while passing each other. The Chekov story was adapted into a wonderful 1960 Russian film directed by Iosif Kheifits with the same title as the story and had officially participated in the Cannes Film Festival that year. Cineastes who have watched the Kheifits film will note the common strains with Butash’s film. The boardwalk of Atlantic City parallel to the Atlantic Ocean shore is similar to the walkway in Kheifits film next to the Black Sea shore. The main characters of both films include married persons who indulge in a brief extra-marital tryst before departing to their respective homes. But the common elements of the two films end there.

Butash’s script does not adapt Chekov’s story any further but instead looks at the brief tryst of Jane and Arthur as a medicine to heal their personal psychological wounds. The ending of Butash’s tale is considerably different from Chekov’s tale. Jane being elder to Arthur notices Arthur’s dangerous gambling addiction and proactively comes up with a solution to help him on the right path and return to his family. Jane is able to reflect on her own life and marriage and resolve that fracture too in an interesting way.

Jane: Escaping a fractured marriage,
or repairing it with a short absence?

The admirable aspect of Butash’s original script is in contrasting Atlantic City as a haven for tourists and compulsive gamblers, against those rare well-meaning visitors who could go out of the way to help a compulsive gambler to seek a new productive life and even encourage that person to consider joining Gamblers Anonymous. The script is also admirable because the director/scriptwriter positively focused on saving crumbling marriages and broken family ties set against a bleak backdrop of empty stores and almost empty sandwich outlets that had attracted Arthur’s parents in the past when they visited Atlantic City decades ago enabling Arthur to recall the sumptuous sandwiches of the outlet from memory. The images of Butash's film are starkly in contrast with the well-populated boardwalks of the City during high-tourist periods of the year captured in Louis Malle's film Atlantic City (1980).

Arthur's life is changed by
a well-intentioned stranger

Pivotal to The Atlantic City Story is actress Jessica Hecht, who has very few lines to speak and yet dominates the screen fleshing out the character that Butash had created. Butash cleverly zeroed in on Ms Hecht possibly to extract a credible low-key but mature performance required of the character. Similarly, cinematographer Justin Derry’s outdoor cinematography is magical at times and quite possibly influenced by the work of cinematographer Emmanuel Lubezki in several of Terrence Malick’s later films.

Henry Butash has made a commendable debut film that offers restrained entertainment and thoughtful and positive outcomes with a difference that independent cinema can offer in USA. One hopes the debut film of Mr Butash will sow the seeds for a similar growth trajectory as the debut film of Sir Ridley Scott did for Sir Ridley.  

P.S.  The Atlantic City Story is making its debut at the 2020 Denver Film Festival, USA, and is nominated for the Best American Independent Film Award. This critic had visited Atlantic City in November 1996 and experienced first hand the lack of crowds on the famous boardwalk at that time of the year depicted in the film.  Ridley Scott’s debut film The Duellists and Terrence Malick’s Knight of Cups mentioned above have been reviewed earlier on this blog. (Click on the names of the films in the post-script to access the reviews.) The Atlantic City Story is one of the author's best films of 2020.