CIFF 2012 Day 4

V.O.S. (Cat/Spa) (site)

A last minute entry into one of the TBA slots in the timetable meant we could have a look at VOS.  Based on a novel about a screenplay within a screenplay, VOS morphs to a film within a film.  The romantic lives of two couples intertwine as two of them, Clara And Manu argue over how they should move on together after sleeping with each other, instead of their partners.  They also happen to be trying to create a rom-com film about the hijinks of two couples at the same time, and the lines between what is their own life and what is being acted out frequently blur and tease the audience, just when they think they have a handle on the situation.

Some may be frustrated with VOS's novel style, where clever story switches mean that the usual cutting between scenes is often replaced with the actors walking between wooden sets, and possibly their real lives, though again, it's deliberately hard to distinguish.  With a narrative a little like Satoshi Kon's Millennium Actress, you will either relish the challenge of understanding the whole story from the clues hidden away, or you will become frustrated and give up as their reality changes again and again.  Personally, although the film was dialogue-heavy and subtitled, I found it an entertaining extra layer on top of an appealing and original work.  7.5/10

Big Boys Gone Bananas!* (Swe) (site)

It might sound like the tackiest title for gay porn film you have ever heard of, but Frederik Gertten's meta-documentary is serious stuff from the get-go.  In 2009, he made Bananas!*, a documentary about a lawsuit against multinational fruit giants Dole.  In Nicaragua, a handful of plantation owners under Dole's control sued them as they believed the pesticides Dole was using on the crops were making them sterile.  As Gertten was about to premiere it at the Los Angeles Film Festival, Dole's lawyerbots sent out threatening letters to everyone connected - the festival, the sponsors, and especially Gertten himself, peppering the text with threats and denials, and making out the film to be full of lies, despite not having actually seen it.  When it did get shown, the threats of litigation were made real, and Gertten found himself with very few friends; least of all the press, who had swallowed Doles' early PR punch that they were wronged by a fraudulent documentary.


So this sequel of sorts was born of the experience, a fine example of corporate might brought down heavily to silence a small film company in Sweden by use of some plain nasty dark arts, practices and techniques employed all too often by dedicated PR firms for clients who want to silence any bad publicity.  Feating for his career and livelihood, and those of his staff, Gertten nevertheless recognised a precedent would be set if he did not fight his corner, and so somehow he did.

Though less impacting than yesterdays Call me Kuchu, and covering subject matter less immediately harmful than the earlier film that caused all the hoo-ha, Big Boys is an eye opener to just how much power still resides in the hands of those who least require it.  And techniques such as Astroturfing show that the internet is not as democratically free as you would hope it to be.  

Frederik Gertten was present at the screening which made for an enlightening half hour of Q and A (overrunning its timeslot in the process). As if there weren't enough revealing documentaries out there here are two more that I would recommend, on the subjects of third world mistreatment, and first world abuses of the justice system. 8/10


Shown under the Microcinema strand, dedicated to films made on a shoestring budget (the excellent 2007 film Kin was also shown here previously), Frank is an example of what can come of a film with creativity unrestricted by corporate interest, or trying to satisfy the most punters.  That can sound dangerous but in the right circumstances can expose new talent.

Frank is a single man with mental problems.  Fallen through the cracks of the social systems meant to care for him, he lives alone in squalor in a nasty part of a dying seaside town.  Franks heart is pure but he has no direction or role model, and no-one seems interested in helping him.  When not at the charity shop helping out, he whiles away his hours at the sea shore, where one day he makes a discovery - a dead body washed ashore.

What follows is a masterful, if gruesome playing out of a broken mind trying to make sense of the new things entering his fragile world.  Tideland by Terry Gilliam is a close comparison to the premise, although the conclusion plays out far differently; the part of Frank played to perfection by Darren Beaumont, surely a face that will appear again soon.  Gritty and gruesome but by equal measure gentle and beautiful, Frank is another example that a small budget can create big things in the right hands.  8/10

Guinea Pigs (UK) (review

And for our last film, we have a psychohorror from the UK.  The spotless and professional-looking surroundings of the fictitious Limebrook Clinic get a new coat of scarlet on the floor, walls and ceiling, as the testing of their new drug, PRO-9 on a gang of volunteers, goes horribly wrong.  In the order they were injected, each of the volunteers, isolated from the outside world, succumbs to the effects of the drug, meaning a lot of paranoid creeping around wrecked laboratories for the survivors.

Though guilty of a few unresolved threads and a couple of silly moments, Guinea Pigs kept the suspense ramped up high after a slow build-up, although the suspense went limp towards the end, which though it wound up things competently, felt a little disappointing given the build-up of tension to that point.  If you like being scared however and are willing to forgive a few slipups, you have a solid night's screaming ahead of you. 7/10

CIFF 2012 Day 3

Flying Blind (UK) (site/interview)

The ordered and largely complete life of middle-aged aerospace engineer Frankie just needs a man to fill the man-shaped hole left by her ex.  So when an exotic and eye-catching student half her age at the university where she lectures takes an interest, her heart (and hormones) start making the decisions for her.  Khalil's mysterious air moves from romantic to suspicious, and the more Frankie presses him for details on his life the cagier he becomes, until the lies start coming out.  

Flying Blind is a tribute to the power of the heart over the mind, encouraging the suspicions of the viewer to surface about the motives of the mysterious Khalil, who remains an unknown entity throughout.  Frankie's numerous discoveries and mistakes about when to step back and leave her brain to decide what to do instead of her long dormant and naive heart deliberately frustrate, but any gesturing to the screen will have no effect.  Nevertheless its a compelling romantic drama dealing with a contemporary dilemma. 7.5/10

Jiro Dreams of Sushi (Jpn) (site)

Sushi is probably the most labored over of foods, with the explosion of popularity in the west during the 80's turning it from an expensive national delicacy to a literal conveyor belt industry available to the masses.  Still, in Japan sushi restaurants worth their salt do things the old fashioned way, and the modest little restaurant in Ginza train station owned by elderly Jiro Ono may be at the very top of the list.

Claims about Jiro's restaurant come with rare Michelin 3-star accreditation, unique in his profession.  Now 85, the still very active Jiro, his eldest son and their apprentices work from dawn til dusk repeating, improving and serving food to their lucky customers, who pay 30,000 yen or more to sit at one of the ten seats.

The effort and level of detail put into the preparation is unlike anything you have seen; the sourcing of the food to the right temperature of the handtowels are meticulous, and Jiro's apprentices have many years ahead of them before they are even allowed to touch the food.  It may sound pretentious to labour so hard on food that is gone in a mouthful, but Jiro's energy and philosophy are infectious ingredients to the film, which moves beyond the food, to concentrate on the family; most notably Jiro's legacy (if he ever retires!) and the fate of the restaurant in the future.

Beautifully accompanied with succulent shots of fresh made sushi for the eyes and some equally palatable music, the humanity behind the food however, is surely it's strength. 8/10

Khaana (UK) - a short film about what it is to live as a Muslim in the UK today.  A mother to be walks through town in a burqa with her husband by her side, showing how life is pretty much as it is for others in society, except for the staring and casual racism.  7.5/10

Tales of the Waria (US/Ind) (site)

In Indonesia, 'Waria' is a term that refers to transgender men, that is, those who are biologically male but identify as women.  As the country with the largest Muslim population, a religion not well known for its progressive treatment of non-straight people, you might think this condemns them to a life of self-denial and clositedness, or being chased through the streets.

However, in Makassar, Indonesia they are tolerated as historical throwbacks to the royal protectors who were tasked with taking care of the king.  Though this means they have a more tolerably pleasant life than the average gay Ugandan (see below) their existence is typically peppered with suspicion and complication.

The film focuses on a handful of Waria - men who live openly as women, many looking to achieve the same status and acceptance as an Indonesian woman, which often means finding themselves a husband.  Some are still looking, while others have been lucky enough to find men who are willing to love them even through the withering stare of a disapproving society.   Sometimes this means compromises.  Mama Ria, a middle-aged Waria has to share his partner with his wife, although she seems more than happy to have him out of the house for a bit.  Akmal on the other hand is in denial, choosing to leave the Waria lifestyle to have a wife and kids, though its pretty obvious to his family and everyone else he misses it terribly.

Similar to 2006's Paper Dolls, this film exemplifies how a group of people, typically oppressed by society can be accepted in the most unlikely of places, albeit with some complications along the way. After we have finished visiting their lives what we are left with at the end is not a nicely wrapped up set of issues with everyone living a happy life of acceptance, but instead a mishmash of fulfilled and failed dreams, but forever hope for the future.  8/10

Call Me Kuchu (Ug) (site)

Of all the places to not be in now, Uganda must be up there in the top three.  A massive AIDS epidemic, women and girls being raped, and the ever growing presence of fundamental religion, especially Christianity brought over from America by people such as the despicable Scott Lively, fueling fear, suspicion and hate.  Girls are tried, convicted and killed for witchcraft, and often have to live in excruciating pain due to FGM, passed on from mother to daughter for nothing other than tradition.

That's all before we even hit the subject of this film, but it serves as a dreadful backdrop to the other Ugandan atrocity: the atrocities committed against gay men and women across the country.  They are called Kuchu - a derogatory term for homosexuality. 

From all angles they are attacked; the government declares homosexuality evil and against the will of god.  The evangelicals preach with rabid vigor the need to purge the kuchu from the lands before god will allow any milk and honey to flow.  The corrupt police do nothing to protect and actively encourage violence; the newspapers have no truck sending out print with inflammatory headlines blaming gays for terrorism and rape, and calling for them to be hanged.  Finally, the public are stirred into action by these elements to do away with these people wherever they hide, as part of their civic duty.  And all of that is before the new anti-homosexuality bill is considered, making it punishable by death and carrying jail terms even for neglecting to tell the authorities of someone you suspect.

Given this awful situation, it is a testament to the bravery of those that do speak out, who challenge the laws and choose to stand up and protect them.  This is a massively important film shedding light on the day to day struggles of several individuals brave enough to be filmed, but in particular following the last months of the prominent activist David Kato, who was brutally murdered in 2011.  Powerful, direct footage on the front line will leave you angered and aghast, but this film needs to be seen by as many people as possible. 

A luta continua. 8.5/10

Comic-Con Episode 4: A Fans Hope (US) (site)

What with all the depression wreaked by Call Me Kuchu, we needed something to put smiles back on our faces, and the latest film by increasingly prominent director Morgan  was just the thing.  Anyone wondering if the Comic Con in Paul was a real thing should see this celebration of the event, which in the last 30 years or so has gone from a small niche gathering, sneered at or ignored by the news suits, to the largest event in the US.  The fans make the show, and they come in their thousands.  Cosplaying, collecting and above all, buying.  And the pop culture manufacturers have caught on.

To call it exclusively a celebration of a phenomenon is inaccurate, as it also laments the passing of the 'proper' con - the comic part is now largely sidelined in favour of movie tie-ins and big celebrity Q and As - but the film never gets in the doldrums about it, preferring to concentrate firmly on the exuberant geekiness of the whole thing, and show the fans in a (mostly) positive light, alongside several celebrities of the culture such as Kevin Smith, Grant Morrison, Matt Groening and a whole load more.

Spurlock wisely decides to keep to the other side of the camera this time, which works well as he is not really part of the phenomenon he is presenting to the viewer.  Instead, he just lets it happen without even a word of narration.  The result is a film that everyone can enjoy.  The 'geeks' (of which I count myself one) can indulge their passion while comfortable in the realisation that thousands of others do the same, while 'jocks' (for want of an equivalent english term) will laugh and feel a sense of superiority over their more computer literate enemy, at least until they see a boarding for one of their favourite TV shows and realise they are 'one of them'.

No matter though.  This is a fantastic, funny, warm and thoroughly indulgent film which will hopefully get a full release, allowing everyone to see what happens when you release these people en masse into their natural habitat.  I loved it.  8.5/10

CIFF 2012 Day 2

Blind Spot (Lux) (facebook)

The perennial figure of the stressed, broken cop forced to confront his life is explored once again in this drama from Luxembourg.  Olivier's brother is found shot in his car, just as he is booted off the team for a fiery temper - brought on by a combination of a stormy marriage and some personally compromising situations, for which he could soon be exposed to his wife and his team mates.  Sensing an immovable object, his ailing super brings him back on board for the investigation, on a tight leash.

With a slower pacing than Point Blank, and feeling a little like a movie adaptation of The Killing, Blind Spot moves decisively toward its conclusion, predictably with some unpredictable twists messing with your perceptions towards the end.  It won't leave you breathless like some examples might, but its a meaty, satisfying chunk of Danish murder drama. 8/10

Starbuck (Can) (wiki)

David's early adult life was well funded, it seems.  All he needed was a few quiet minutes to himself, a supple wrist and a relaxed mind, and several deposits to the sperm bank later, he was as financially solvent as a teenager ever ought to be.

Many years later this past life is about to catch up with him.  He is older, fatter and generally no more mature.  He can't keep to the duties of his job, his girlfriend Valerie is less than pleased with his attentions, and he has just found out that, due to his unusually virile deposits of yesteryear, he is the father of several hundred children - a good portion of which are bringing a court case to have his anonymity blown.

Fortunately, or not as the case may be his friend Avocat is a lawyer of sorts, not the biggest fan of his own children and slavering at the prospect of a big time case, he takes it on, with David only partly in control of his new destiny, but now with a dilemma - does he let curiosity about his many offspring get the better of him, or remain detached for the sake of keeping his responsibility free life?

It would be unfair to bill Starbuck a 'screwball farce' along the lines of The Hangover, which the CFF brochure did.  It's a far deeper and more satisfying chunk of family drama, curious 'what if'-ery, covered with some sharp comedic turns alternating nicely with genuine moments of pathos. 8.5/10

Fire in the Blood (India) (site)

'Big pharma' has a lot to answer for in the world - much of it good, such as the development of many new drugs for treating illnesses of every kind.  Drugs like aspirin have no doubt saved millions of people around the world, and eased the suffering of many others.  But the major pharmaceutical companies also create a lucrative trade for the patents industry, originally divised as a method for protecting an inventor from others profiteering from his hard work, the patents used and misused in pharma allow them to charge whatever prices they want for as long as the patent lasts.  Thus, life-saving drugs can be placed out of reach of the poorest countries' residents - often those who need them most.


Cheaper, 'generic' drugs can be made at a fraction of the cost but this relies on the national nature of patents and the lucrative laws that stop imports of generic alternatives from nations where the patents no longer apply.  People have been and are in jail for bringing a cheap generic drug into a country where it is not permitted, to save lives.

Fire in the Blood attempts in a straightforward manner to chronicle the ongoing patent war between the developing countries and the west and it's major pharma companies, with respect to the complex drugs used to treat AIDS, from their release in the late 90's to the current time.  Much like Countdown to Zero and Inside Job the bottom line is the driving force of complacency and corruption on one side and the attempts to get round the crazy laws as the third world counts its dead in their millions in the other.  And much like those there are some pretty unpleasant facts being presented which paint the US administration in particular as cold, heatless bean counters on strings.  A fine addition to the investigative documentary genre. 8/10

The Lodger (UK) (wiki)

Alfred Hitchcock is the subject of one of CFFs retrospective strands.  The Lodger is one of his earliest works as a director.  1927 is still in the silent film era and I for one was surprised his body of work stretched back this far (this is actually not even his first directing role). 

The lodger in question is a dark shadowy figure who comes to stay at the house of Daisy and her parents, as the streets are buzzing with news of 'The Avenger', a murdering cad hell-bent on killing every fair-haired young woman in London.  Mysterious and strange, his boyish good looks and dangerous smile capture Daisy's heart and distance her from her helpless parents and hopefully amorous Joe, the local detective and fellow lodger who happens to be on the Avenger's tail.

The Lodger shows influences from earlier silent films and its clear Hitchcock hasn't entirely found his own style at this point, but you can see little flashes of elements from his later films.  It would have been a perfect retrospective experience were it not for the unnecessary 'improvements' made by the restoration team.  The overlaid music was okay except for a few inexplicable scenes where they put a modern drum beat in the background and, even worse had some actual singing.  And the colour filtering on the different scenes was questionable too. 7/10

Tower Block (UK) (facebook)

The residents on the top floor of Providence House, a soon to be demolished towerblock for some reason don't want to leave.  Hardly a community, the isolated residents keep their eyes down and their doors firmly locked at the first sign of trouble.  Such tactics lead them into big trouble one day however, after a young teen is beaten to death and no-one wants to help find the killer.  Suddenly the block becomes a giant shooting range for a mysterious gunman looking for revenge.  No way to call the police and if anyone dares put a finger out the window it is shot off with high caliber fire.  Whoever it is, they don't have much concern for bystanders.

A plucky British offering on a low budget sees Sheridan Smith of 2 Pints fame as an isolated girl thrust into the centre of the chaos, next to a neurotic alcoholic Russel Tovey (Being Human), a possible love interest.  Bonus points go to Jack O'Connell from Skins as the horrible but strangely likeable chav Kurtis.  If you ignore the numerous continuity errors and a couple of mild head scratching moments, and just go with the flow you get a pretty good survival horror with a fair amount of blood splattery. 7/10

CIFF 2012 Day 1

Cambridge - city of people on bicycles trying to kill you whether you are on the road or pavement.  It was good to be back.

Cambridge also a city of great architectural beauty and around this time of year, also becomes home to the film festival.  It looked like CIFF 2012 would be missed off my calendar once again as it had been in 2010 and 2011 (in favour of Edinburgh), but a last minute decision to head down and see what we could changed that, and so here we go.

Grandma Lo-Fi (Den/Ice) (site/review)

A lovely documentary to start the festival.  Sigríður Níelsdóttir spent a large amount of her life artistically dormant, until finally at the age of 70 she started to write and compose her own music.  Beginning with just some novel percussion sound effects made from kitchen utensils and whatever other noises she could record from around her environment - in a charmingly lo-fi way we would do when recording tunes off the radio with a nearby cassette recorder jammed to the speaker.  Slowly but surely her confidence and output increased.  She bought herself a keyboard, and a 'proper' hi-fi unit with twin mixer decks and a microphone, and in time she had hundreds of hand crafted songs and nearly 60 home recorded albums.  She is somewhat of a cult icon in Iceland, and receives requests for her home-made CDs from around the world.


This recount of her life and celebration of the quaint, self-taught methods is all Sigríður's own, spiced up with the warming effect of several example songs put to cut out collages and 'covered' by musicians in a kind of lo-fi video celebration of her considerable work.


Whether you think her output to is entertaining or naff, you can't fail to be impressed by the place she has made for herself in the indie music scene.  It gets a bit repetitive, but it's made all the more interesting by it's grand implausibility and cosy Super-8 graininess, and Grandma Lo-fi charms the socks off all but the most cynical of stony hearts.  It's quiet, disarming, massively unpretentious and a comforting washed-out tea towel of a film.  And I mean that in the nicest way possible. 7/10

Salma and the Apple (Ira) (review)

Middle-eastern films have a tendency to be shrouded in a cloak of cultural fog, to the eyes of a westerner. So it is with Salma and the apple.  With echoes of The Temptation of St. Tony, (which is also being shown, but i'm not sitting through it again), we follow Salma as he takes a spiritual journey through his homeland after returning from religious school.
Young and idealistic, his belief of a life lived best though repeated reading of holy texts is tried outside of the narrow field of view given by his tutors, and into the day to day goings-on of his community, which seems to contain goodness in people largely detached from his daily flagellation.

But as the film moves on it becomes increasingly abstract, concentrating on Salma's minor theft of an apple dropped from a tree beside him while praying - the traditional biblical symbol of temptation - and his attempts to selfishly clear his mind of guilt by finding the owner of the field and seeking forgiveness.  He meets a string of characters along the way who attempt to help or confuse him, and challenge his notions as well.

But it is very abstract and quite impenitrable.  Though the film may be appreciated better by someone more familiar with an Islamic point of view, it falls a bit awkward on western eyes, and we must see it as a mysterious, not always explainable journey (with some beautiful music and scenery to content the senses) to get the most out of it. 6/10

A Holiday in Post-Uprising Egypt: Part 7

Dendera Temple, Late Night Trip
Our time in Egypt was fast running out, but today had been promised to us as one of the highlights of the trip.  Our first and only destination would be the Dendera Temple complex, one of the most impressive sights in Egypt.  Given that we were already getting a bit of temple fatigue by now, this was quite a claim, but Hani's expressive wording as we sped along the country roads were very encouraging.
We were quite some time on the roads, and this gave us an opportunity to get a taste of the small towns and villages on the way.  Every so often the coach would slow down and the main Qena-Edfo road would be met at a crossroads with a smaller street, which would at one side head between stone entrance pillars, or maybe just some wooden posts, and beyond the dust track and the trees, a hubbub of individuals going about their daily routines could be momentarily glimpsed.  Typically the road in the other direction would pass over the canal that ran straight alongside the main road, and then off through the trees or fields to who knows where.  It all had a very straightforward design to it.
Because of the then-upcoming elections, these rural scenes were quite often peppered with the posters of hundreds of regional candidates, mostly but not exclusively men, although those that were women, in the more remote areas, would most often be veiled or in the most conservative districts, posing wearing a burqua.  One poster in particular lined up several female candidates in such dress, with their eyes the only distinguishing feature.  
All candidates were pictured next to a graphic of a recognisable household object - a ball, or a ladder - some simple symbol that allowed those villagers not blessed with a reading education to make the right choice in the voting booth without being able to read off the names.

Fields and villages briefly gave way to Qena, a large and modern-looking city in stark contrast to the lands we had just zipped through, and a little while after crossing the Nile on the eagle-themed bridge, we arrived at our destination.


Once through the ticket barriers, the complex makes you work for the views.  A considerably long pathway was interrupted only by 90-degree turns around large square areas of ruined foundations nestled amongst green scrub.  In the distance, a large and ominous trapezoid shape loomed up; a dark image contrasting with the bright and pleasant gardens bathed in the early morning sun.  The building was fronted with large, thick stone columns and something was odd straight away - all the temples so far had a light and airy feel; being in such a ruined state they had little above them for the darkness to hide behind, but this place - the void between the columns was eerily dark.  This place had a roof.
Once through the mostly ruined outer wall, you got a full appreciation of the size of the main building.  Small, ruined mini-temples to the side were dwarfed by the sheer size of Hathor Temple.  Wasting no time, Hani led us inside out of the blazing sun and into the cool, sheltered air of the Hypostyle Hall.

The first thing you notice is the decoration; a long while ago the paint used to bring life to the reliefs of the various temples we had visited, had been worn away by thousands of years of sandblasting, plus an element of human interference no doubt.  Only in relatively protected areas, such as the Valley of Kings we visited were there any traces of what Egyptian eyes would originally have seen.  Here was a rare glimpse of very fragile art several thousand years old.
The huge stone pillars sent your eyes tracing naturally upwards to the impressive stone roof, which looked pristine - in fact it had just been recently cleaned and restored, revealing the beautifully preserved artwork that covered every inch.  The face of the goddess Hathor looked down on us from four sides high up on each of the internal pillars but unfortunately even here the vandalism of religious zealotry was present, and most of the faces had been deliberately chipped off as beliefs were transitioned down the ages.

Hani spent some time explaining his take on the regal and godly scenes depicted high above us and then led us further into the temple.  We spent some brief time in some of the royal chambers, and I squeezed myself down through the narrowest of passageways into the intensely claustrophobic basement; a restricted storage room (or maybe hidey-hole), where the ravages of sand and time had not managed to dull some of the most perfectly preserved reliefs so far.

Then Hani took us where we least expected - up a set of well-worn stone stairs around a spiralling square passageway until we finally arrived on the roof.  We could see where we had just been, through the gaps in the massive stone blocks as we passed over them, the dim striplights below were dizzyingly far away and reminded  you that what we were standing on had been there an awful long time, long after many other temple roofs had caved in.

Still, it felt pretty sturdy.  The view over the sides of the semi-collapsed walls to the ruined temple grounds were otherworldly; a sea of millions of fragments of temple stone, shattered pottery and mounds of dry earth were punctuated by the foundations of buildings that were not as fortunate as Hathor temple when the revolutions came.  In the distance, the heavily battered and near-disintegrated walls did little more than mark out the boundary of the old palace.

The views were impressively dystopian but that was not the reason Hani brought us up there.  Taking us across the way we caught up with another crowd who were slowly dissipating under a covered area.  As they made their way down the exit stairway we shuffled into the claustrophobic room, barely tall enough for some of the taller members such as myself to stand up straight.  In my stooped position, I hadn't noticed the subject of Hani's latest talk - the Dendera Zodiac.
A large, bronze mural (or rather a recasted copy, with the real one safely locked away in the Louvre) covered the ceiling just above our heads.  We were actually inside a tiny rooftop chapel dedicated to the god Osiris.  The walls were heavily decorated with small, intricate carved reliefs, but it was the Zodiac itself that demanded the attention. It contained several of the well-known symbols of the modern zodiac, along with several others that were cast aside along the way.  Far from being simply a method of predicting how a person's day was going to go, it's original purpose was as a combined calendar and star map, detailing how the 36 periods of the original Egyptian year were split and measured as the days passed.

Down through a dimly-lit staircase that seemed to go on for ever, we arrived back on the ground floor; Hani disappeared and we were all allowed to explore for a half hour or so.  Dendera was an adventure playground of sorts, although with all sorts of health and safety violations.  Little viewing rooms at the top of ladders, huge open areas to run around and of course the entrance yard stacked with huge pillars to hide behind.  We admired the floor-to-ceiling murals and reliefs for a while until it all began to merge together and then we headed outside to get a closer look at the views we had seen from the rooftop.
Hathor's temple was covered on the outside as well with godly reliefs, and these were sunk deeper into the stone so they were visible from some distance.  Ramesses in his usual combative pose could be seen the most often, taking up most of the height of the considerably sized building on all sides, letting those beyond the outer walls know that he meant business and they perhaps shouldn't invade.
We headed around the sides of the temple where blocks of carved stone lay on wooden blocks; as elsewhere it was not clear whether these were due to be put back in place (many of the ruined temples have been rebuilt to varying degrees) or were sitting in their final resting place so the tourists could see some inaccessible stuff up close.  The tidiness immediately around the building was helped by the well-preserved (or perhaps rebuilt) stone pathway, but beyond the stone blocks the otherworldly scene of complete ruin ruled.  As we rounded the far end, this was all that could be seen beyond a large outer building - an acre or so of undulating ground criss-crossed with pathways and covered with broken pottery as far as the eye could see.  How the archaeologists were going to sort that lot out we could only guess, although if they attempt to put the thousands of pots back together again they will find a bit missing, which is now on my computer desk.

All photographed up, we headed back, but not before a quick explore of the ruined buildings near the temple entrance.  Dendera earned a status as an ancient hospital of sorts, and the outer grounds were peppered with representations of Bes, a deity who watched over mothers during childbirth.  The buildings to the side were originally places where expectant mothers would be cared for, but during the Roman occupation they were damaged and eventually became some of the first chapels of worship of the new god on the block.  Walking through the ruins you can see blocks re-appropriated and re-sculpted with roman decoration, where the early worshippers would have sat and listened as the old gods died away in their memories.

We got back on the bus and after a little bit of worried headcounting everyone was eventually accounted for and we headed back on the long journey to the Nile.  Now mid-afternoon, the return journey took us down busier roads with individuals on either side of the pathless tarmac being brushed with vehicles of every size.  Still the driver did not slow, not even after we passed a bus similar to our own with it's front end smashed in, which must have crashed not an hour or so earlier.  We grabbed the armrests on our seats.

The early evening lights welcomes us back to the ship, and we had the rest of the day with no trips out planned.  We ate our fill and then stretched out like beached whales on the bed.  Ms. Plants was pooped but I was still in a shopping mood.  Our hurried look around a papyrus shop the previous day piqued my interest for something to stick on the wall when I returned, and all these photos would have to be put somewhere, so maybe a market stall or tourist shop could satisfy my requirements.
Promising to only be gone an hour or so, I went alone off the ship, confident of my ability to not get murdered or bartered to death.  Of course, not long after I started walking along the waterfront, I was spotted.  Two young men slowed their horse and carriage and called out to me, asking where I was going.  Simply going for a walk in the cool evening air wasn't something they believed a tourist would do for some reason, and so they pressed on, knowing my British sensibilities wouldn't allow me to ignore them for long.

I had gone my particular way to try out another shopping district, rather than visiting the market bazaar again.  At the end of the promenade the map we were given told of tourist shops aplenty, but when I got there it was a sorry affair.  A few tatty buildings - what looked to be the last of a line of shops that were being demolished as the Luxor refurbishments come in - were living out their swansong barely open and not containing anything other than a few faded postcards and some dusty ornaments.  Even the shopkeepers seemed to have given up on the idea of actually selling anything and were sat on deckchairs outside, lacking the enthusiasm to get up and try and bother me.

So I turned round and headed back.  And the horse and cart was waiting.  My enthusiasm for finding anything worth buying had pretty much ebbed away to nothing, so I resigned to getting back on the ship.  My guard down, I started to explain the situation to the men - who began talking enthusiastically of just the shop down the road, conveniently just too far to walk on foot.

So I bartered for a ride and, somewhat nervously, got on once we shook on a price.  The cart started away and the ship disappeared into the night, away from the well-lit main streets and into the parts of the city the tourists don't usually see.  We sided the body of the sphinx avenue and down dirt track roads, bustling with people getting the last things done before the night.   Eventually, and just too far from the starting point to be comfortable, we pulled up at a well-lit, white building.

Promising to wait for me while I was inside (I fortunately hadn't paid them yet), this was a 'government building', which apparently meant it was cheaper and better quality than one of the dusty old shops I had seen on the seafront.  Sure enough once through the entrance the building was transformed in much the same way as the Papyrus and Alabaster buildings Hani had shown us around earlier in the trip - clean, air-conditioned and tiled to within an inch of their lives, I had put my trust in the right people - it looked like the perfect spot for some tourist shopping.

On the ground floor was the Papyrus shop; paintings of all shapes and sizes on the walls; they all claimed to be half price in a sale which sounded a bit convenient, but the prices were pretty good so I wasn't about to complain, and since I was through the door and 'caught' now, the assistants new better than to badger me and kept back.

Eyeing a couple of possibilities I headed upstairs to the first floor, which was full of Alabaster and stone carvings, but no decent Ibis statue could be found.  The top floor was full of clothing and rugs, the latter was too big to hulk back and nothing in the former looked good enough to wear.  Somewhere along the way I managed to buy an overpriced photo album, with gold-leaf-style Egyptian artwork on a faux-leather cover.  The papyrus people were happy enough when I bought a papyrus/lotus painting for my parents and a 'tree of life' print for my own spot.

To my relief the men were waiting patiently on my return and to even greater relief they honoured my decision to return to the ship rather than their suggestion of an extended tour, and even though they moaned a bit when I gave them twice what we agreed (I was feeling generous and it wasn't that much anyway) I'm glad I stuck my neck out and braved a little of the unknown.  And yes, my inept bartering for the album was royally mocked upon my return.

New Target of the Religious Right: Thinking Too Much

File this under 'Reasons why unfounded belief can affect and harm others'.

America is slowly pushing itself towards a middle-eastern sense of theocracy-controlled government.

'Americaistan' is just around the corner, if things like this can pass.  It is the GOP Party manifesto for the year, and the latest thing in a series of plain disturbing events coming from the American right.  How is it that Americans are becoming so ill-trained in the skill of interpreting the world around them that they are scared of a paper cup on some string?

The republicans, realising that critical thinking and wanting evidence for stuff causes people to question the beliefs of their parents have done the most logical thing - oppose the teaching of critical thinking in schools.
We oppose the teaching of Higher Order Thinking Skills (HOTS) (values clarification), critical thinking skills and similar programs that are simply a relabeling of Outcome-Based Education (OBE) (mastery learning) which focus on behavior modification and have the purpose of challenging the student’s fixed beliefs and undermining parental authority.
Right there on page 12 of the official GOP document, nestled amongst the other madness.  Really, it's a depressing read.

Yes, higher-order thinking is out for Texans if these people get in.  The bizarre irony of effectively trying to un-evolve a whole state's worth of people to an earlier form in a country decidedly unconvinced of our evolutionary ancestry would be funny if it were not actually happening.

So, higher-order thinking is now demonized because it challenges a students 'fixed beliefs'.  Challenging a belief is bad only when you have a belief that won't stand up to being challenged (and often that means such people complain about the erosion of 'religious freedom').  Instead of using the experience to refine a belief by casting aside the stuff that plain fails to maintain it's plausibility, the solution seems to be to brick up the windows to stop the light shining in.

Putting the GOP's concern-troll sentence into other, less obfuscated words reveals a long-term plan to increase their standings: the age-old process of parents - mindlessly parroting their beliefs onto their kids during the years where their minds are thirsty sponges, soaking up information from people they trust - is being rendered less effective by those kids being taught how to think too much.  The right has cottoned onto the fact that the more edumacated these kids get, the wider their eyes will open, and learn to question those things that don't stack up with what the world around is telling them.  Ergo they become more secular, more sceptical, and are less likely to vote for religious nutjobs and the GOP/Teaparty republicans don't get in.

It's in the best interests of these parties to ruin the education of millions of kids, so that they can win elections - standing on the backs of voters trained not to think, or to question.

If there is a thin silver lining to this, these idiots have not accounted for one thing: Kids aren't stupid.  The more they get told not to look at stuff and do stuff without being given a reason why, the more likely they are to take an interest.

I can only hope that this, and the education of present-day American public is enough to stop this self-serving lunacy in it's tracks.

A Holiday in Post-Uprising Egypt: Part 6

Karnak Temple, Luxor Temple, and the Market Bazaar

Early morning came. I was impatient to get back up onto the deck and taste the sweet morning air and for some reason the boat had dropped it's speed to a crawl. We were back at the Edfu Locks, following another cruise ship and waiting our turn.
When we passed this before, it was floodlit by powerful lights sending strong beams deep into the night air, but now it was a fine, clear morning.
Once again, the vendors who were most eager to make a few pennies were out with large rugs and sofa throws spread between their outstretched arms. As we entered the lock we were safely out of reach but they knew the trick; our large boat was manoeuvred gently into the narrow passageway with little more than a couple of feet each side, and before their widening eyes sank slowly as the water was pumped away, delivering us gently into the clutches of the men. I put away the camera and left the deck briefly to the few other passengers that had ventured out at 6am.

Free of the sellers, we spent a pleasant morning moving up with the current of the Nile.  The morning sun was warm and not too bright, and quickly heated the deck, burning away the mists on the water to reveal the familiar shoreside views; marred only slightly by the lead boat which had drifted too close to the side and appeared to have run aground as, when we passed it there was some frantic propellering in forwards and reverse gear, which was doing little more than spinning the poor ship about it's grounded point.  Putting out of our heads the thought of a similar fate, we headed down for some breakfast and waddling back upstairs we found the rare towelsnake on our beds.  By the time we had settled our food we were watching the boats pass us as we entered Luxor harbour, from our bay window.

Hani gathered us up and we headed up the gangway and past the sellers who seemed to have been waiting for us since the last time we were here.  Coaches were waiting to take us across the city to Karnak Temple, the first of the two great temples we would be visiting.  Our coach passed Luxor temple along the seafront and then headed inland, winding it's way through what must have been every back street through some semi-acknowledged one-way system before finally hitting a stride along the straights and heading to it's destination, deftly sweeping through chicane barriers and losing as little time as possible on the speed bumps.  Every now and then, a house or wall would flash by with graffiti or stencil art, invariably telling Mubarak where he could stick his regime.

When we hit Karnak temple, the politics disappeared and was replaced with carefree tourism for a while.  The sun was at it's height but the open areas were fresh and a little breezy.  We moved as a group through the mini-museum and out across the pleasantly tiled west entrance court as the giant pylons of Karnak rose from the ground ahead of us.
The first thing you notice when you get close is the line of semi-ruined Sphynx statues, each raised on a plinth and pointed towards the visitor on either side as they make their way to the entrance.  Those that have them are topped with the heads of rams, rather than human heads, as a symbol of Amun himself.  Karnak temple is a huge complex - larger in landmass even than the pyramids at Giza, though much of the original layout is in ruin.  The entrance we were going through took us into the Amun-Re Precinct, a relatively new addition to the complex and thus more complete than others.  In fact, Amun-Re is the only section open to the public, representing a small proportion of the total area.

Hani gestured towards the south side of the complex and pointed into the distance.  Past the trees, roads, churches, mosques and assorted dusty buildings that lay beyond was the tip of the ruins at Luxor pointing out of the haze.  From the ruined south entrance, back a mile or so to that other temple, the Sphynx Avenue once extended, linking the two. And below the dusty roads and layer upon layer of earth, rubbish and stone, it is thought to still stand, largely intact.  Work is progressing to uncover the avenue and restore the hundreds of statues to their ruined best and this has been largely completed, although there remains a tricky issue about the remaining sections.  Several churches and mosques are situated on top of the avenue, and Egyptian policy is that they cannot be destroyed, and any movement must be universally agreed by all parties.  This is the main reason (other than regime change and a general lack of money) that the work is still not complete.
Amun-Re alone was large enough to command a good viewing.  Entering through the massive pylons, symbolically representing the 'feet' of the temple god, we saw a much ruined - though partially restored - line of columns that would originally have held up the stone roof.  One pillar had been completely restored, and showed the fluted lotus capital - the topmost decorative stone - to give a feeling of the common themes of the architectural artistry.
As work to restore the ruined temple progressed from the turn of the 20th century onwards, not only the stone structures were retained.  Behind one of the entrance pylons, in the shade from the sun stood a pile of earth and rocks, scaling almost as high as the pylon itself.  Far from being wrecked, the top of the pylon was missing because it had not been finished - as it's construction coincided with the end of the period of power and prosperity of the Egyptian gods.  The pile of earth buttressed the semi-complete structure and served to explain how the pylons were built.  On the way up, successive layers of earth were built up in tracks to allow huge stones to be lifted to the build level until the structure was complete.  Then, as the earth was taken away, the exposed stone was carved to create the murals.

Karnak's next section was the biggest draw. The Great Hypostyle Hall comprises sixteen rows of huge columns, holding up the now largely missing roof many feet above.  Each column is intricately carved with the proclamations of high-ranking kings, who after Seti's original construction had murals depicting their power and deeds carved into any spare section of wall.  Walking into the sun-dappled room is a humbling experience in terms of the scale and effort that these ancients managed with just the grunt power of oppressed slavery to get the job done. The columns had been extensively restored, and in order to remain brutally honest with the viewers of their restoration, UNESCO covered the damaged parts of each column up with plain, modern plaster without attempting to copy the original style, so you could see which bits were authentic and which was a repair.
Beyond the relative order of the hall lay an inner area, made up of more ruinous structures and small theatres and rooms.  Huge and imposing piles of stone blocks shut out the sun above and looked in an ominous state of near collapse.  In among this random placing of loose jigsaw pieces sprouted large stone obelisks, their relative good condition making them appear to be new growth rising from the ruins of the old.

Our cameras were filled with geometric structures singed by the hot sun, and as Ms. Plants had had enough, she beckoned me back to the coach.  As usual, Hani's whistle-stop touring meant we couldn't dawdle too much.  As she quickened her pace I took a few final snaps and, on the way back across the entrance, passed a handful of tourist shops.  Always wanting a nosey but with a hurried sense of not wanting to walk back, I perused the wares of one whose owner assured me of no pressure to buy.  An assorted collection of polished black figurines covered a carpet under the shade of an erected canopy.  Pharaonic Gods mixed with sacred animals, pyramids and miniature obelisks were creatively mixed together, carefully arranged with the smallest at the front.  An Ibis statue, jet black and delicately carved, it's stick thin legs and slender beak threatening to break off at the slightest touch took my eye in particular, but the widening eyes of the attentive assistant and the thought of the revving coach engine and an impatient Hani (not to mention the other half) wrenched me away from any potential buying opportunity.

For the small coach ride to Luxor Temple, the thought of that statue on my mantelpiece simmered away, but any regrets on not shelling out there and then were tempered with the knowledge that these statues were ten a penny and for sale everywhere we had been up until now.  Another one was sure to surface.
The coach pulled into a gravelled area and Hani took us down through some bushes where the other end of the Sphynx avenue greeted us at the entrance to the temple.  The straight road extended far into the distance before the first modern obstacle brought the run to a halt; a large Coptic church jutting out halfway into the walkway.
Hani gathered us at the entrance.  A pair of pylons were joined two statues of Ramesses II.  A single obelisk stood in front of one of them, and a plinth for a second sat close by.  In the 19th Century, the Egyptian governor gave it away to the visiting Frenchies, who duly gave them a clock in return, which as with many examples of French engineering, stopped working in less than a year.. It stands impotently in a once-ornate clocktower in the Alabaster Mosque in Cairo, slowly rusting.

The statues were more interesting than first assumed; Ramesses II had his figure plastered all over the country in murals and statues, but these ones were slightly different.  As you entered the temple and saw them in profile it was clear that the rock from which one was hewn had an entirely different purpose.  A partial obelisk ran down the back of the right statue, suggesting that it broke as it was being carved and the huge rock was re-appropriated.
The Sphynx Avenue wasn't the only example of an ancient monument built over with modern structures; Luxor temple itself actually acts as the foundation to the Abu Haggag mosque, whose white and terracotta upper floors stare down at you as you enter.  Originally built as a Christian church, the builders used the innocuous stones jutting out of the hill as their foundation in the 12th Century, not realising until several hundred years afterwards that there was an entire temple underneath all that earth.  Initial attempts to have the mosque moved were resisted due to it's religiously intrinsic placing, and the merged structures remain to this day.
By now the sun was getting low in the sky, which made for some beautiful golden colourings of the walls and a pleasant cooling of the air.  The shadows lengthened as we headed further inside towards the sanctum, through beautiful open courtyards lined with papyrus-capital columns.  As we got further in, evidence of Romanic changes cropped up.  Alexander the great claimed the temple as his own and built a chapel, complete with a symbolic stone tablet announcing peace in the area.  Further still, the Roman empire stamped their authority, using the image of a carved stone eagle to represent their might and forced takeover of the temple, which still bears faint fragments of Roman murals, painted onto plaster renderings over the original Pharaonic ones.

We wandered around for a while in the dying sun as the lights began to come on.  The temple was bathed in a blood-red glow as we left for the bus once more.  We were back at the ship before we knew it and more than a little hungry.  Our towels had morphed into a huge lotus blossom when we got back.

We had a bit of a think after the food and decided that it was too early just to kip on some full stomachs.  The paper map of Luxor we had lying around since day one mentioned a tourist area full of places to see and shop, and since I still had a bit of Ibis-searching left in me, we headed off by foot.

As is usual, we were mobbed as we rounded the side of Luxor Temple.  Young men in charge of horse and carts in varying states of repair shouted over, asking us where we wanted to go, in the hope of getting us to board.  It was annoying but these were desperate times and the tourism had almost dried up.  We carried on as the map suggested it was just around the corner.

The middle of Luxor was alive with lights and cars and noises, and the call to prayer of the nearby mosques had begun.  You might expect everyone to drop what they were doing and pray, but the roads stayed busy, and the market bazaar, when we got to it, was heaving.

Ah, a proper market street, and for the first time we had let ourselves of Hani's leash and were walking amongst the locals on our own.  And boy did we know it.  The market bazaar is a long, narrow covered street, branching off every now and again, and stuffed to the gills with shops on both sides, the wares spilling out of the shops and into the street.  And our western faces and clothes did not go unnoticed.  The other half was wearing a 'Canada' sweater, and our language was tested at every turn with calls of 'Hey, Canada Dry'.  If we turned around to the caller without thinking, they knew they had an English speaker amongst them, and would be in with a shot of taking our money.

Making our way through the street was actually pretty tough going with this happening every five seconds or so.  At one point, we exchanged understanding glances with an equally harangued pair of tourists coming the other way.  We were actually glad of the odd time when we were invited in by a shop owner, containing his enthusiasm enough to assure us of 'no hassle', which bought us a few moments of peace, due to the unspoken agreement between the shopkeepers that they don't nick each others' custom.  To my surprise, my searches in this most bountiful of places didn't turn up a single Ibis statue of any merit, being only the (in my mind) ugly looking flattened ones, despite having perused a good dozen shops and stalls groaning with figures of all shapes and sizes.

Eventually, we took a chance in a spice shop; we both wanted to get some authentic Egyptian herbs and spices to bring back to the west for cooking.  If you go shopping in Egypt, this is certainly one of the places to go - the colourful sights and smells of the many exotic spices mix well with the hospitality, and I made sure to get some of the sweet tea that arrived on a tray carried by an enthusiastic young lad shortly after we entered.  The shelves were groaning with ready-packed spices, but we knew better than to go for those, as they could have been there a lifetime.  Instead we bought cumin, coriander, chilli and paprika pods from the bulk bins, and Ms. Plants, who was in her element, bartered the price down from an initially hefty number down to something more manageable by the use of stern talking and a withering stare.  I was in awe.

Striding out into the meleé once more we turned back and made our way slowly through and back to the boat.