Tag Archives: Children of Men

SBIFF: An Evening with Alfonso Cuaron

At the emotional core of Alfonso Cuaron’s seminal works is sacrifice. Take his latest film ROMA, where he not only secured his second Academy Award as a director but also legitimized Netflix as a game-changing powerhouse. Within the fertile layers of the background, middleground, and foreground is a woman who is bound by servitude, putting the wellbeing and lives of the children she cares for above her own, as well as her unborn child. Clive Owen, Julianne Moore, and Michael Caine all selflessly end their lives for the greater good in CHILDREN OF MEN, and same could be said for George Clooney in GRAVITY.

Alfonso Cuaron SBIFF

Speaking at a Q&A with Yalitza Aparicio after a free screening on ROMA at the 34th Santa Barbara International Film Festival, Cuaron spoke to memory and how for one to truly understand a memory, in particular, one of a deep personal meaning, they have to understand the present and where they currently are in their life. He then went on to caution how “memory is the biggest liar” and indirectly stated how memory creates a false sense of the past, allowing us to not just romanticize it, but also how we condition ourselves to be selective and allowing nostalgia to trump the continuity of our past. To quote Cormac McCarthy’s THE COUNSELOR, “reflective men often find themselves at a place removed from the realities of life.”

CHILDREN OF MEN is Cuaron’s most important work. It is not just some dystopian future shot by the remarkable Emmanuel Lubezki with tracking shots stacked atop one another; it is a premonition and it is a film that becomes all too real as we embark into the unknown future of humanity. Not only does is champion the current plight of migrants fleeing their warzone homeland and being put into cages, but also government propaganda strategically laced with a populous message of population control; all of this orchestrated by an overbearing and overreaching government to sew seeds of discontent in a power-grab that is designed to numb the minds of the people with the ultimate goal of total and complete control.

Upon a fresh viewing of the film, presented on the big screen by SBIFF as apart of the director’s showcase, what was striking was Michael Caine’s character Jasper, the once renown zany political cartoonist who has since become the voice of reason in a world that hasn’t just been forgotten and abandoned, but been erased. His glasses were circular shaped, he listened to music that came from a time and place of deep meaning and philosophical importance. His hair was long but parted perfectly, and his lexicon and accent were remarkably striking.

Michael Caine, Children of Men

“I don’t know if this is off base, but I could not help but think that Michael Caine’s character was John Lennon if he had not died.”

Cuaron’s eyes got big and smiled as he threw his head back.

“Yes! That was all Michael. He said, “I want to play it like John.” I said, “John who?” And then he said, “Lennon!” and then I thought to myself, oh but of course that is who Jasper is! It was all Michael’s idea. From the glasses to the wig with that was parted just like Lennon’s hair.”

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Cuaron is enigmatic, he is a stone cold auteur; a maverick filmmaker who constantly changes the formula of cinema, producing a pristine mosque with each new picture. His eye for detail is painstaking, birthing films that are so atmospheric that one can smell the cigarette smoke, feel the sweat, and obsess with the phantom ring in their ear. His films are unique, they tend not to string together aesthetically or thematically, yet with each one of his seminal works lies and unapologetic and selfless acts of sacrifice.

ALFONSO CUARON’S CHILDREN OF MEN — A REVIEW BY NICK CLEMENT

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Prophetic. Speculative. Provocative. Chilling. Alfonso Cuarón’s Children of Men is one of the best films of my lifetime, a totally immersive experience where ideas and action coexist in an effort to tell a deeply human and thoroughly harrowing story of mankind’s last hope for survival. Clive Owen was fantastic in the leading role of a lifetime, while the supporting cast including a stony Michael Caine, a mysterious Julianne Moore, the shifty Chiwetel Ejiofor, the slimy Danny Huston, and the scene-stealing Peter Mullan all get a chance to shine. The blunt, forceful, incredibly streamlined screenplay (by four credited writers) is all forward narrative momentum, while Cuarón and cinematographer of the century Emmanuel Lubezki plunge the viewer into the middle of any number of violent spectacles, including large scale military battled, close-quarters combat, and vehicular mayhem, all shot with a constantly roving camera that’s prone to some very, very long and elaborate sequences without any noticeable edits. The film is a technical knock-out, a marvel on a story level, and it’s a total embarrassment that one of the most ambitious and challenging action pictures ever made wasn’t given any Academy recognition. Cuarón would later get his trophy for his spectacular thrill-ride direction on Gravity, and while that film is certainly accomplished in ways that very few other movies have ever been, Children of Men is an absolute all-timer, and a reminder that big, bold ideas can still intermingle with overwhelmingly visceral action.

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