White Elephant (2013)
White Elephant (2013)
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Critic Reviews for White Elephant
'White Elephant' throws us into the fray of an urban slum without in any way demonising or romanticising the theatre within which Trapero's meandering story unfolds.
[Trapero is] as thoughtful and perceptive a filmmaker as ever, using tools appropriate to the goal of drawing attention to systemic social ills.
Michael Nyman's sweepingly majestic score lends an epic dimension, which feels right alongside the straight-forward passion depicted by an evenly balanced, top-drawer cast.
Produced on a grand scale, this powerhouse of a movie recounts a true story with skill and artistry, highlighting an extremely volatile situation and the brave people who put themselves in the middle of it.
Audience Reviews for White Elephant
Trapero delivers another hard-hitting drama with many wonderful long takes and Darín in a fantastic performance (as usual), depicting without concessions a hard reality where faith and commitment seem futile in a society dominated by an endemic neglect and lack of care.
After barely surviving a village massacre, Father Nicolas(Jeremie Renier) returns to the city slums to rejoin Father Julian(Ricardo Darin) in his continuing work that goes beyond just their ecclesiastical duties. So, while the residents work on constructing their own housing, the priests get to handle the bureaucracy, aided by Luciana(Martina Gusman). Proving once and for all that nothing can compare to location work, "White Elephant" seeks to tell a moving story about martyrdom in South America, while honoring a real life martyr at the same time. Even with some exquisite tracking shots, the fact that the movie is not as successful as it could have been is down primarily to its being more focused on Nicolas than on Julian, the more interesting of the two priests. Plus, while Jeremie Renier is certainly not chopped liver, compared to the great Ricardo Darin, one is free to choose whatever lunch meat metaphor wants.
Julian (Darin) and Nicolas (Renier) are two priests who, along with social worker Luciana (Gusman), work tirelessly to improve the lives of the inhabitants of an over-crowded Buenos Aires slum. With two rival gangs controlling the slum and the Catholic hierarchy showing more interest in political bureaucracy than helping the poor, Julian begins to doubt there is any point to his work. Meanwhile, Nicolas and Luciana are conducting a sexual affair in secret. A couple of years ago, Argentine cinema came to prominence with the Oscar-winning 'The Secret in Their Eyes', a film which dazzled viewers with some of the most outrageous camera trickery ever seen on screen. There's obviously something in the waters of the River Plate that makes film-makers reinvent camera movement as 'White Elephant' also features a raft of "how the hell did they pull that off?" camera tricks. Trapero seems to defy gravity with tracking shots that are baffling in their intricacy. From a technical perspective, his film is a must-see for students of film-making. Those expecting an engaging drama with well written characters will have to look elsewhere. Trapero's camera glides continuously through his unique slum setting, but never stops to let us get acquainted with any of its inhabitants. The slum-dwellers have no more depth than those we saw mowed down in 'Dredd' or 'The Raid'. The same goes for the two central priest characters. The elder priest, Julian's existential crisis is only touched on, while Nicolas leaves us with the frustratingly unanswered question of why a handsome young Northern European found himself in the priesthood. The subplot of his romance with Luciana is a well worn cliche where priesthood dramas are concerned. The film opens with the two priests escaping a massacre in a Latin American jungle but we never learn exactly what their involvement was here. It seems strange that Trapero would make a film in this setting as it's one he seems to have little interest in. Focusing so much on dazzling camerawork, as he does, creates the impression he's using 'White Elephant' as little more that a "come and get me" plea to Hollywood.
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