Julio Medem's film will be tiresome for those that have no knowledge of the Basque region of Spain or its history with the surrounding areas. But for those who have even the slightest knowledge of what it means to be a Basque person this is a rewarding film full of beautiful imagery and complex themes and metaphors. Medem infuses all of the different myths and "histories" of the Basque people into one film about two rivaling families over the span of three generations. What he believes about Basque nationalism remains unclear--his many messages contradict each other--but what he believes that the people believe they are comes through very clear.
A note about the Basque people from someone with the most basic understanding of the subject: Like German nationalists in the 1930's, they have a complex history of disunity, strong religious beliefs, a paranoia that their land has been invaded by outsiders, and a distrust of modernization.
A new Carlist soldier steals the blood of his fallen neighbor in order to disguise himself and save his life. He is branded as a coward, and his actions have repercussions for the next in his family line. the story jumps forward in time and suddenly Manuel is an old man. He paints cows, is obsessed with a magical pit in the middle of the forest that divides his house from his neighbor's, and tends to his family. His son, and later his grandson (which becomes slightly confusing) are played by the same actor. The message places emphasis on the continuation of the bloodline, and the importance of biological purity.
Unlike Manuel, his son Ignacio is no coward. He is the best woodcutter in the land, which is the best and most masculine achievement that one could hope to have. He supports his wife, gains prestige, and emasculates his neighbor--who is already slightly crazy--by his amazing talents with an axe.
The grandchild, Peru, whose father is slightly suspect, moves to America, only to return as a photographer during the Spanish Civil War.
All of these stories are challenged by their cultural roots, incestuous themes, and the power of love. This film is overseen by mysterious white cows ('vacas' is 'cows' in Spanish), a traditional Basque symbol, and the presence of the mysterious stump to which sacrifice is made. For some this will be an impenetrable bit of post-Almodovar surrealism, but for others this will be a powerful and thought-provoking journey into the mind of an entire group of people who lead a life of religious and political extremism.
The challenges of this way of life are not really examined sufficiently, and some of the writing is hackneyed, but this is an absorbing film with lots and lots to say. I do wish that Medem knew exactly and succinctly what it was that he wanted his audience to take away, though. For example, when analyzed, the incest involved references the continuation of the blood purity which the Basques value. But if incest is a bastardization of nature, perhaps he is making a larger point about Basque nationalism. That would be all well and good except for the fact the two people who engage in this act are the hero and heroine of the story. We sympathize with them, and even though I, of course, was disgusted by the acts that they committed I still found myself rooting for their love to succeed. Where Medem's views came into play and where it was simply story-telling remains unclear. Perhaps he simply wanted to start a discussion. It certainly got my mind working.
When looking at it as simply a film, I think it works. There are fine performance, beautiful--if startling--imagery, and interesting camera work. It does not seem like the work of a novice film maker, but it was Medem's first film which I think is very impressive. Perhaps an editing eye would have done good things in focusing his work.
3/4
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