Film Reviews: ï Life and Debt ï Aberdeen ï Under the Sun ï Liam ï A Love Divided ï Repertory Notes Paying the Piper in Paradise ëLife and Debtí Offers Jamaica as Argument Against Globalization by Ky N. Nguyen Life and Debt" lucidly illustrates the negative impacts of corporate globalization in Jamaica. A country rich in natural resources is steeped in dire poverty, leading to riots in the streets, while its international debt continues to mount. Fifty-two cents out of every dollar collected is siphoned off the top for interest payments. Stephanie Blackís stylish documentary arrives in Washington, D.C., on the eve of the now-canceled annual meetings of the International Monetary Fund (IMF) and World Bank, previously scheduled to begin Sept. 29. Black, who has produced segments in Jamaica for "Sesame Street," begins with the familiar side of Jamaica. Tourists arriving at the airport on their way to their resort follow beautiful images of the ocean and landscape. Serving as an off-camera tour guide, author Jamaica Kincaid soothingly narrates the words adapted from her book, "A Small Place." Produced by Tuff Gong, the film employs a soundtrack of reggae superstars including Bob Marley, Ziggy Marley, Peter Tosh, and Mutubaruka. Their rebel protest songs complement the sociopolitical ideas central to the movie. Kincaid laments that the Jamaica she knew as a child no longer exists. Following Jamaicaís independence from Great Britain, it lacked the economy necessary to sustain itself. Desperate for investment dollars, former Jamaican Prime Minister Michael Manley turned to the IMF. Its deputy director, Stanley Fischer, explains the loansí well-meaning restrictions: Jamaica must become part of the global economy by eliminating tariffs and reduce spending. Manley notes that these cuts end up mostly in health and education programs. Black juxtaposes images of Rastafarians talking economics and religion, Jamaicans amid the riot-filled streets, and tourists enjoying their "tropical paradise." Kincaid slyly notes, "When you sit down to eat your delicious meal, itís better that you donít know that most of what you are eating came off a boat from Miami." Without tariff protection, local farmers calmly testify that they are unable to compete against imported agriculture because of high interest rates demanded by IMF-imposed currency devaluation. Ironically, Fischer explains that the devaluation is intended to make exports more competitive by making them cheaper. The farmers are also handicapped by a lack of current agricultural equipment. "How can the machete compete with the machine?" Black also documents the economic "free zones"óa tax-free no manís land exempt from Jamaican lawsówhere multinational corporations, such as Tommy Hilfiger, have set up factories, paid for by the Jamaican government with loans from the World Bank and IMF. When the non-unionized workers protest the poor labor conditions, they may be fired. Often, the companies have simply closed the factories, leaving the government still paying the construction loans. "Life and Debt" cogently explains the deleterious effects of globalization, but it skims over how to make the Jamaican economy competitive. It raises important questions but doesnít provide detailed analysis or substantive recommendations. As the film itself suggests, itís nearly impossible to go back to the past, which was no paradise anyway. If Manley and his successors knew the conditions of international lenders were so Draconian, why did they repeatedly agree to the Faustian bargains? What is the solution for a third-world country like Jamaica to the endless cycle of debt? A politically aware audience would be aware of some current proposals such as debt forgiveness and infrastructure modernization, but theyíre merely pieces of the jigsaw puzzle thatís yet to be put together after decades on the table. The complex economic, social and political issues involved cannot be adequately simplified in one hour or in this review. In life, no easy answers exist. "Life and Debt" (English, 86 min.) is now playing at Visions. Hellish Quest to ëAberdeení Without question, "Aberdeen" is the finest movie I saw at Filmfest DC 2001. Six months later, the unforgettable images of a fiery Lena Headey (English actress from "Gossip") and a slobbering Stellan SkarsgÂrd (Norwegian actor from "Breaking the Waves") still burn in my memory. Both give intensely vivid performances as Kaisaóa resentful London yuppieóand Tomasóher estranged, alcoholic father. Theyíre forced to face their collective demons on a road trip from Norway to Aberdeen, Scotland to see Helen, Kaisaís dying mother (Charlotte Rampling, the always sublime British actress seen recently in "Under the Sand"). The barren winter landscapes, both rural and urban, reinforce the emptiness in the protagonistsí lives. Though U.S.-trained, the Norwegian-born Hans Petter Moland ("Zero Kelvin," also with SkarsgÂrd) wisely declines to glamorize his stars a la Hollywood. Still, their intrinsic charisma shines through the bleakness of this small character study. Itís hard to imagine stealing the show from seasoned veterans SkarsgÂrd and Rampling, but relative newcomer Headey blazes through her melodramatic scenes like a diva. Ramplingís wonderfully understated supporting performance is matched by British actor Ian Hart ("Liam"). As Clive, he plays a trucker who picks up Kaisa and Tomas, unable to escape their vortex. Like the audience, Clive eventually stays with them until the bitter end. "Aberdeen" (English, 113 min.) is scheduled to open Fri., Oct. 5 at Cinema Arts. Unlikely Love ëUnder the Suní "Under the Sun" is a quietly suspenseful old-fashioned love story powered by warm cinematography and richly authentic details. The filmís lyrical pacing draws the viewer into the leisurely rhythms of 1950s rural Sweden. Olof (Rolf LassgÂrd), a lonely, good-hearted farmer, places an ad for a young, attractive housekeeperówith surprising results. His dreams come true when beautiful, sophisticated Ellen (Helena Bergstr^m) shows up. What is this enigmatic refugee from the city doing here? Olofís young "friend" Erik (Johan Widerberg, son of director Bo), who himself has been taking financial advantage of the illiterate farmer, is very suspicious of her motives. A former sailor who considers himself worldly, Erik canít understand what Ellen could possibly see in Olofó a clumsy, inexperienced 40-year-old virgin. Compelling acting makes all this melodrama believable and rewarding. Widerbergís violent outbursts as the despicable Erik sharply contrast with LassgÂrdís gentle portrayal of Olofís honesty and kindness. Most important, Bergstr^m slowly unwraps the mystery behind her apparent femme fatale with a subtle, finely tuned performance. This is the third Oscar-nominated Swedish film directed by English expatriate Colin Nutley, whoís married to Bergstr^m. It premiered in D.C. at AFIís EU Showcase in 1999, with Nutley, Bergstr^m, and Widerberg in attendance. "Under the Sun" (Under Solen) (Swedish with subtitles, 122 min.) has an expected Fri., Oct. 12 opening at Visions. ëLiamí: Eyes of a Child Without resorting to cheap sentiment, "Liam" is an exceptionally well-crafted account of the eponymous 8-year-old boyís perspective at the onset of the Great Depression in Liverpool. At first glance, British director Stephen Frears appears to be covering the same territory as Alan Parker did with the romanticized "Angelaís Ashes": a young Catholic boy grows up in a poor but loving family. After the father (Ian Hart) is laid off from his welding job at a shipyard, the dark tone of "Liam" quietly comes to the foreground. While somber, the film always maintains the viewerís interest through steady, documentary-like pacing, effective ensemble acting and well-designed, restrained cinematography. For a project born as a BBC telefilm, "Liam" uses minimal dialogue, primarily relying on the eloquent visuals to tell the story. "Liam" captures the mood of 1930s Britain with precise personal and political details. The stuttering protagonistómarvelously acted by Anthony Burrowsógrapples with his First Communion and his confusing disco very of the opposite sex. His sister Teresa (Megan Burns, Best Young Performer at Venice) denies her Catholicism to obtain a job as a maid with the family that owns the shipyard, who turn out to be Jewish, not Protestant. That only fuels the bubbling bigotry of Teresaís father. Seeking a scapegoat for his misery, he joins a Fascist groupówith unintended tragic consequences. There are no heroes or villains, only everyday people trying to get on with their lives. "Liam" (English, 91 min.) is scheduled to open Fri., Oct. 5 in the Washington, D.C., area. Love Thy Neighbor Sydney Macartneyís "A Love Divided" startlingly portrays how people living peacefully together can quickly be divided into entrenched sides. A small difference can build up into deeply rooted intolerance that can quickly escalate into violence. Macartneyís direction creates a tension-filled atmosphere recalling todayís troublesome current events from around the world. Based on a true story in the late 1950s, Sheila Kelly (Orla Brady) is a Protestant who chooses to marry Sean Cloney (Liam Cunningham), a Catholic, in Fethard-on-Sea in County Wexford, Ireland. Their palpable chemistry shows that theyíre very much in love despite their differences. At the time, the Papacy mandated the "ne temere" pledge that children of mixed-religion marriages will be raised Catholic. Nine years later, Sheila resists Father Staffordís (Tony Doyle) presumption that her oldest daughter be automatically enrolled in the Catholic school, feeling that it should be the parentsí decision. Sheila faces the wrath of the predominately Catholic community, led by the zealous Father Stafford. Taunted by his peers, Sean fails to back up Sheila, leaving her standing alone. Brady is entirely believable as the determined and articulate mother willing to sacrifice her marriage for principle. Doyle delivers his McCarthy-like rhetoric (intended to recall the Catholic Churchís firm anti-Communist stance of the 1950s) with inflammatory enthusiasm. His charismatic leadership realistically demonstrates how rigid dogma can lead to disastrous consequences. "A Love Divided" (English, 102 min.) is now playing at Cinema Arts. It premiered last year at AFI, with Brady present, at the Kennedy Centerís "Island: Arts from Ireland" festival. Repertory Notes Director Susan Seidelman will present "Gaudi Afternoon" (Spain) at the opening night of the Reel Affirmations Film Festival (http://www.reelaffirmations.org) on Fri., Oct. 12 at 7:00 p.m. Other buzz-filled selections, some sponsored by embassies, are "Phantom" (Portugal), "Metrosexuality" (UK), "Iron Ladies" (Thailand), "The Monkeyís Mask" (Australia), "The Adventures of Felix" and "Come Undone" (France). More Washington premieres include "Km. 0" (Spain), "The Perfect Son" and Quentin Leeís "Drift" (Canada), "Burnt Money" (Argentina), "Oh Baby, A Baby" (Austria), "Waterboys" (Japan), "Fleeing by Night" (Taiwan), Family Pack (Belgium), "The Girl" (USA/France), and "Confusion of Genders" (France). World Treasures, the Library of Congressís program of international cinema, continues at the Mary Pickford Theater (http://www.loc.gov/pickford; 202-707-5677). Highlights include "Throne of Blood" (Akira Kurosawaís Japanese adaptation of "Macbeth"), Fritz Langís silent crime epic "Dr. Mabuse, the GambleróParts 1 and 2" (Germany), and 1931ís Spanish-language production of "Dracula" (USA)óintended for export release in the early years of the talkies. The popular annual European Union showcase, programmed by local embassies, kicks off Oct. 29 at the American Film Institute (http://www.afionline.org/nft, 202-785-4600). On Oct. 3 at 7:00 p.m., La Maison FranÁaise (http://www.la-maison-francaise.com, 202-944-6091) screens 1955ís chilling "Diabolique," a more typical work by French thriller master Henri-Georges Clouzot, following AFIís recent engagement of "The Mystery of Picasso." Cinema Art Bethesda (http://members.aol.com/cinemabeth, 301-365-3679) presents the Washington premiere of Iranian directorís Bahman Farmanaraís celebrated "Smell of Camphor, Fragrance of Jasmine." It plays Oct. 21 at 10:30 a.m. at GCC Mazza Gallerieís Club Cinema. Director Jules Dassin appears Oct. 7 at 4:00 p.m. with a screening of "Never on Sunday" at the National Gallery of Art (http://www.nga.gov/programs/film.htm 202-842-6799). Itís the finale of the retrospective honoring his late wife, Greek actress Melina Mercouri. The exhibit "Marlene DietrichóA Legend in Photographs" runs Oct. 6 to Dec. 14 at the Goethe-Institut, part of a citywide celebration of the German-born actress/singerís 100th birthday. On Oct. 8 at 6:30 p.m., the lecture "Marlene DietrichóA Life on Film" is presented with slides and video clips by film historian Max Alvarez, a former Washington Diplomat film reviewer and current programmer at the National Museum of Women in the Arts. Ky N. Nguyen is the film reviewer for The Washington Diplomat.