Another Planet (Másik Bolygó) (World Film Festival, Montréal)

Ferenc Moldoványi's documentary Another Planet is a jolting, quotidian examination of the harsh realities facing child labourers in Cambodia, Congo and Ecuador. One sells cigarettes in the streets at night, others work in scrap yards with dangerous machinery, some fight in wars, pick through garbage all day, or prostitute themselves to make ends meet. If you're searching for a film which provides living, breathing representatives of the humanistic articles occasionally featured in magazines such as National Geographic, representatives who stoically endure spiritual, cultural, familial, and social helplessness with the patience of Job and the resignation of Hephaestus, Another Planet is mandatory viewing, a stunning, cinematic triumph, whose existence is the product of Moldoványi's unwavering commitment. The footage is exceptional and as impressive as Herzog's best work in terms of seemingly insurmountable production obstacles overcome. Flames surround these children constantly and they can't stop in order to spot their source nor seek political means which would see them doused. My favourite scene shows a shoe shine boy gently holding a pigeon, taking a break, resting.

Summer Book (Tatil Kitabi) (World Film Festival, Montréal)

Seyfi Teoman's Summer Book portrays the complicated dynamics confronting a Turkish family after their eldest son (Veysel, played by Harun Ozuag) decides he no longer wishes to study at a military academy (an action which will likely ensure the stability of his future). Veysel fails to convince his father (Osman Inan) to let him continue his studies elsewhere and his supplication is supported by his less prosperous uncle, Hasan (Taner Birsel). Veysel's father eventually suffers a massive brain hemorrhage after which his uncle rethinks his position. During this time, Veysel's younger brother Ali (Tayfun Gunay) travels about town, suffering the abuse of older, nastier classmates (one of whom steals his highly cherished Summer Book). The slowly-paced and meandering cinematography effectively accentuates his lonely saunter, enabling its audience to both relive long forgotten youthful haunts and feel the pains of his sensitive spirit. As Veysel discovers the dangers facing Ali, he begins to realize those which will confront him outside of the academy as well, and is forced to question his idealistic goals. However, the idealistic life presented by a secure future is subtly lampooned, as dogmatic governmental proscriptions are consistently shown to be humbug, thereby frustrating the matter further, as Veysel's adolescence flutters away.

Summer Book's patient pace fittingly adorns its content, although the overall aesthetic is somewhat drowsy. Further, its realist style works all to well, at times, making me wish, I'd just, gone for a walk, through Parc Lafontaine, in order to read Benjamin, while thinking about gardening, swimming, festivals, and celebrations. But Teoman's uniform design fluidly captures a summer of change whose currents will be permanently tendered, simultaneously demonstrating the problematic nature of ideals and the complex social matrix maintaining their appeal.