Documentary Review: Indigenous People are the Front Line of Brazil’s Environmental Struggle — “We Are Guardians”

It’s hard to have much hope that the people of planet Earth will ever have a day of mass enlightenment to the environmental crises scientists and tuned-in politicians and activists have warned us about for decades, and which are plainly and evidently coming to pass right before our eyes.

But movies like “We Are Guardians” attempt to give that hope that in a world where well-financed propoganda organizes ignorance, greed, poverty, naked corruption and racism into an alliance against taking action on saving a polluted, deforested planet from the consequences of short-term thinking, some people aren’t going quietly.

Filmmakers Edivan Guajajara, Chelsea Greene and Rob Grobman, backed by producers Fisher Stevens, Leonardo Di Caprio and others, present us with an inside look at the front lines of efforts to save the rapidly-shrinking Amazon rainforest, “the lungs” of our planet — responsible for mass carbon sequestration, vast oxygen production and the single biggest rain engine in the Earth’s ecosystem.

It is a struggle in which Indigenous rainforest tribes have been forced onto those front lines. It is their land, in most cases, that is being poached, logged, clear cut and systematically stolen by outside interests using Brazil’s poorest as their labor force and political bloc to back nakedly corrupt and racist leaders such as the former president Jair Bolsonaro.

Malcan is a tribal activist taking training on how to organize and arm himself to chase off often murderous loggers and farmers and Big Ag workers who have worn out the Portuguese phrases “Why go after me? I’m the little guy!” and “Just this once” or “I need money to feed my kids/for coffee and sugar,” etc. in decades of defending themselves for their roles in the vicious cycle.

Tadeu is a landowner who bought pristine acreage decades ago for a nature preserve with a small rainforest hotel/lodge in it, only to walk his acreage and see fresh incursions or “invaders” and “looting” by “criminals,” whom he confronts on his land and who to a one just shrug off his complaints.

It’s “the biggest environmental crime on Earth,” he declares. His many official complaints to the authorities fall on deaf ears. They’re in on it, and have been for decades.

Scientists like Luciana explain the rainforest’s function, and reporters such as Bruno lay out the layers of corruption that trap emerging economies like Brazil in Third World politics — oligarchies and kleptocracies.

Chainsaw-and-pistol-packing Valdir and others we meet at the bottom of the rainforest-raping ladder brush off the illegality and immorality of what they’re doing and rationalize how their lives came to depend on this stealing.

But Indigenous activists like Puyr dress in native garb, protest, talk on TV and speak to crowds to try and mobilize their countrymen on behalf of people their then-president described as “wretched,” with no right to protected lands.

It’s customary in such films to try and see the point of view of the “little guys” on the criminal food chain — the manual labor force committing the crimes — sneaking into forests, marking trees, then planting fence posts and later wiring up the fence to complete the theft. Once the harvestable trees are gone, the land is burned and in come the soybean and cattle farm operations, huge and small.

But decades of such sympathy have hardened us to see these as the same “easy money” laborers who opt out of the struggle to prep oneself for a more productive and socially acceptable life in any economy.

“We Are Guardians” also does a good job of naming names among the big corporate beneficiaries of this blind-eye sanctioned looting and environmental disaster in progress. Burger King, McDonald’s, Cargill, JBS, Kroger and Food Lion are among the beneficiaries of deforestation — corporations on the receiving end of beef and soy raised on stolen, illegally cleared land, greenwashed rainforest lumber illegally harvested and shifted through multiple companies before it winds up in the U.S., Canada and China.

Yes, it’s a little disappointing to see some of these names. Et tu, Costco?

As hopeless as literally everything on this perpetually back-burnered crisis can seem to be, with brainwashed masses demonizing Greta Thunberg but lionizing the Kochs, Bezoses, Bolsonaros and Trumps of the world, “We Are Guardians” reminds us that some fights you can’t give up, even as they seem more impossible with every step-backward election. And that some people realize that one hard truth before the rest of us.

Rating: unrated

Credits: Directed by Chelsea Greene, Rob Grobman and Edivan Guajajara. An Area 23a release.

Running time: 1:23

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Movie Preview: A Man must prove to The State(s) that he’s not who they claim he is — “I’m Not Stiller”

It’s a German film with a German (Albrecht Schult) playing an American arrested and identified as someone who disappeared after getting caught up in murderous political intrigues.

This adaptation of a Max Frisch novel features Paula Beer as the missing/”dead” man’s widow, called on to make an ID, looks intriguing and timely in the saddest sense. The whole German-playing-an-American game is as common as Americans playing Brits, Italians, French, Germans, Russians, etc., speaking English with a stage accent hinting at wherever they’re from. Such movies from overseas (“Purple Noon” comes to mind) historically rarely make it to the North American market.

But this one piques one’s interest. It does.

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Movie Preview: A Nepo Baby singer-songwriter battles the memory of her Pop Legend Dad — “Singing in My Sleep”

Malin Akerman plays the perfectly credible rock-star widow/baby momma who raised a singer-songwriter (Jessica Belkin of “American Horror Story”) who is in denial about following in her “all he left me was a song” dad’s footsteps, resentful of the “all they want me for is my last name” leg up that being the child of the famous endowed her with.

I don’t see a release date on this one yet, so let’s just leave it at “coming soon.”

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Classic Film Review: Coming of Age with a Kestrel — “Kes” (1970)

“Kes,” the break-out feature of Ken Loach, is an unblinking, unsentimental coming-of-age tale about a boy and his kestrel. It’s a Yorkshire “Yearling” from one of the greatest “kitchen sink realists” the British cinema produced, and one of the last.

This 1970 dramedy hangs on one of the cinema’s greatest child performances and offers a grim snapshot of the last years of working class coal-mining and the inflexible class system that kept most from ever escaping it.

Loach, the socialist filmmaker who’d go on to direct “The Wind That Shakes the Barley,” “I, Daniel Blake,” “Jimmy’s Hall” and “Sorry We Missed You,” and only recently retired with “The Old Oak,” was a stickler for authenticity and a filmmaker who made mostly working class movies that had something to say about class and work even if that wasn’t ostensibly what they were about.

So “Kes,” adapted from a Barry Hines novel, is about a boy who steals a kestrel chick from its nest and teaches it falconry. But it’s more about a lower-class latchkey child in a fatherless home, brutally bullied by an older stepbrother, neglected by his mother and judged by the system then in place to be best-suited for dropping out and learning a trade.

Billy (David Bradley, raw and real) is an almost Dickensian urchin, 16 and rail-thin and looking much younger when the film was shot, a veritable Artful Dodger in 1960s Barnsley, Yorkshire. He’s a thick-accented Yorkie determined to “not go down pit” into the mines, like generations before him and his bitter, brutish stepbrother Jud (Freddie Fletcher).

He’s got a pre-school paper route and a habit of swiping milk and cheese from the milkman, whom he’s cheerfully befriended, and pilfering from others, no matter how much he swears “I haven’t been nicking for ages” to his boss.

Sleepy, distracted and probably a little hungry at school, he’s an indifferent student where a short-tempered headmaster (Bob Bowes) and punishment-crazed teachers can’t cane him enough to change his attitude.

But he’s got this idea about catching and training a baby kestrel. And once he does, his whole life revolves around the care and education of the bird. He swipes a book on training birds in falconry, needs meat to feed it and doesn’t care how he gets it or the money to pay for it.

Loach tells that story but makes it just one element of this award-winning classic. We get a heavy dose of school life, how the problems hanging out with the wrong crowd (the kids who smoke) helps circumscribe one’s future, the drudgery of low-expectation classes with berating/name-calling and quick-to-punish teachers doubling down on giving up on the kids who can’t make themselves care.

Actor and screenwriter Colin Welland (“Chariots of Fire”) plays a cinematic cliche, that “one teacher who cares.” The other kids rat out Billy’s real obsession, and Mr. Farthing indulges himself and everybody in class by letting the kid with that word-dropping/archaic accent hold forth on terminology, methodology of connecting with these wondrous trained-but-untamed raptors.

Loach finds chuckles in local club entertainment — off-color novelty sing-alongs and the like — and laughs in an extended soccer game in which the childish physical education teacher (Brian Glover) picks the teams, puts himself on one as its “Manchester United” star, coaches while playing and cheats in his other role as the game’s biased, bullying and vain referee.

Billy seems hapless at this, climbing the goal posts that hold no net in this school, and aside from that kestrel recitation, seems doomed to menial jobs in a future that the school and system are anxious to shove him into any day now. But he’s cleverer than that. He wants to check out a falconry book, but the librarian wants him to get a parent to fill out a card (Billy can’t be bothered) and points out how grubby his hands are, and how he’ll dirty any book he checks out.

“But I don’t read dirty books,” he protests

His accent and speech and low birth sentence Billy to the future he isn’t clever enough to delay or avoid. “Kes,” his name for his female kestrel, is all that matters and he never thinks to mention his way with animals to people who might be able to arrange a more useful and perhaps meaningful future.

But the point of it all is that generations of people of his class have been pigeonholed and limited by a system that is so stunningly hidebound and unfair that it’s a wonder Britain has been able to avoid open class revolts.

People like Billy are trapped, trained and kept under the thumb of their betters — fed just enough to keep them hungry and eager to please — if ou’re looking for kestrel metaphors.

Loach gets a marvelously unaffected performance out of his star, a working class child from mining country as natural the speech as he is at learning how to train a bird as he is helpless in mastering anything useful in school, on the soccer pitch or enlisting anyone to help change his fate.

Although the film is quite dated in some of ways, it remains fresh and vital and poignant in all the best ones. “Kes” a hard-nosed look at growing up in a place where that wasn’t easy, where “growing up” came too soon and where choosing the future life you wanted to lead was out of the question if you didn’t have family, teachers and peers to help you find your dream and figure out how to pursue it.

Rating: PG-13, violence, bullying, corporal punishment, nudity, alcohol abuse, teen smoking and profanity

Cast: David Bradley, Freddie Fletcher, Lynn Perrie, Bob Bowes, Brian Glover and Colin Welland.

Credits: Directed by Ken Loach, scripted by Barry Hines, Tony Garnett and Ken Loach, based on a novel by Hines. A United Artists release on Tubi, Amazon, etc.

Running time: 1:51

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Movie Preview: Bill Hader voices “The Cat in the Hat”

A new animated take — amped up beyond the wildest anarchy Dr. Seuss ever dreamed up, with fart jokes — on one of the most beloved children’s books in English comes our way Feb. 27.

The brand is established. It’s been filmed before — animated for TV in the ’70s, given a live action Mike Myers take in the early 2000s.

And no way is Warners not milking that intelletucal property for a few more millions.

Feb. release will give it a clear field of family filmgoers. And one gets a strong “The ‘New’ Minions” vibe from the way Thing One, Thing Two et al are being treated here.

Hader seems like a safe choice for The Cat.

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Movie Preview: Limey Ladies meet by Accident — “Portraits of Dangerous Women”

You’d think, from the summery, sunbaked scenery you’d be hearing Aussie accents in this comedy about a car crash that brings three women together.

But no, there’s Tara Fitzgerald (“Brassed Off,” “Hear My Song”), Jeany Spark (“Red Light”) and Yasmin Monet Prince of TV’s “Supacell,” with Abigail Cruttenden (“The Theory of Everything”) and “Eastenders” alumna Annette Badland, so Sussex it is.

Cute? Could be. This comes out July 11.

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Movie Preview: The Challenges of Coping as a Non-binary teen — “I Wish You all the Best”

Corey Fogelmanis, Lena Dunham, Cole Sprouse and Alexandra Daddario star in this adaptation of Mason Deaver’s novel.

This is slated for Nov. 7 release.

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Movie Preview: Elle Fanning is an actress wondering what she’s gotten into working for Stellan Skarsgård — “Sentimental Value”

A November serving of Oscar bait from Neon, Joachim Trier, his “The Worst Person in the World” muse Reinate Reinvse, Inga Ibsdotter Lilleaas, Stellan Skarsgård and Elle Fanning, as an actress who will work for the cranky “genius” filmmaker (Stellan S.) because his semi-estranged daughters don’t want to.

Neon says it’s holding this until November on the trailer, IMDb says it’ll sneak out at the end of August.

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Movie Review: A Maine Lobsterman can’t escape “The Ghost Trap” of his life

A script that leans into melodrama and wildly uneven performances are the undoing of “The Ghost Trap,” an immersive peek into Maine lobstering life and the people who live it.

Zak Steiner and others in the cast doing the baiting, dropping, hauling and emptying the traps from their weathered lobster boats give the picture credibility. But we can’t help but notice dashes of inexperience, amateurism and players who never learned to manage much more than affectation when “acting” was called for.

You’d have to spend time judging student films to see more people on one set who plainly don’t know how to fake smoking a cigarette.

Steiner plays Jamie Eugley, the latest and perhaps the last of a long line of lobstermen on Great Pound Island, Maine. His last name created his nickname among his mates — “Ugly.” But Jamie’s the Marlboro man of lobsterman.

The hunk works his boat with his longtime “sternman” and lady love, Anja (Greer Grammer), who is over the moon for him. He doesn’t really fend off questions about “When’re you gonna put a ring on it?” from the grizzled ships’ store owner (Heather Thomas). It’ll happen.

But of course that’s foreshadowing for the woman-overboard accident that leaves Anja with a brain injury. Three years of rehabilitation later and she’s still childlike, stuttering, struggling to regain what she might remember from their old life but sounding and seeming like a finger-painting six-year-old.

Jamie got her into this, so there’s nothing for it but to bear the guilt and spend them into the hole with rehab as he tries to support them in an embattled fishery where outsiders are elbowing their way in even as over-fishing, regulation and rising business costs turn the locals cutthroat.

Jamie’s got a lobstering pal (Taylor Takahashi) who drags him out fishing for summer season coeds at the local pub, a dad (Steven Ogg) who disapproves of his work ethic, a generations-old feud with the rival Fogerty family and a town that notices his every move, including his response to the cute coed turned charter sailing gypsy (Sarah Catherine Hook) who comes on hard with the “Forget your troubles. Let’s sail off to Key West!” pitch.

The “trap” of the title is a lobster trap dropped overboard without its float attached, or one left on the bottom because the line to that float has been cut. As a metaphor, it suits Jamie’s life — stuck in a business that’s going going under, tied to romantic obligations, buried in debt and lashed to a town where he feuds with the Fogertys because it’s the family way.

The assorted plot elements are introduced somewhat hamfistedly, which bends the drama towards melodrama. And just enough of the cast is “off” to stop too many scenes in their tracks with thoughts of “You couldn’t get somebody better?”

Not going to name nepo baby names, but somebody’s got no idea how to make “brain trauma” come off with believable symptoms.

And again, try not to notice the cigarettes as props.

Rating: unrated, fisticuffs, profanity, smoking, alcohol

Cast: Zak Steiner, Greer Grammer, Sarah Catherine Hook, Taylor Takahashi, Steven Ogg, Heather Thomas, Billy Wirth, Xander Berkeley and Whip Hubley

Credits: Directed by James Khanlarian, scripted by James Khanlarian and K. Stephens, based on a novel by Stevens. A Freestyle release on Amazon Prime.

Running time: 1:46

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Movie Preview: Coping with Dad Bryan Brown’s Dementia in Bruce Beresford’s  “The Travellers”

Generations of Australian cinema collide and connect in this dramedy starring Luke Bracey and Susie Porter as the adult children of a curmudgeon (Bryan Brown of “Cocktail” and “FX”) coming to grips with his slipping grip on reality.

Bracey was in “Elvis” and “Little Fires Everywhere” and Porter was in “The Artful Dodger.”

Writer director Beresford directed “Driving Miss Daisy” at his peak,. He was one of those who surfed the Australian New Wave of the ’70s. He directed Brown and Edward Woodward in their breakout film “Breaker Morant.”

Oct. 9.

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