Those with a dream to fulfill have a better chance of survival. This is the idea put forth to Diego Fairman, a once-famous film director, as he lies in his hospital bed. He’s dying of cancer at the moment, given only a few months to live, his body ransacked by the disease at every turn. Diego’s life outside his body has been ransacked, too, the cancer boiling within him such that deep issues in his marriage, his family and his work all bubble to the surface. The ailing artist knows he wants to survive, but he doesn’t yet know that this means more than simply “staying alive.” Even if you’re in perfect health, your chances of survival are better with a dream to fulfill.
My Hindu Friend unfurls the story of Diego (Willem Dafoe) methodically, with the mixture of matter-of-fact realism and dreamlike romanticism that one should expect from writer/director Héctor Babenco. The former finds grounding in Pixote, Babenco’s documentary-esque 1980 film about Brazil’s delinquent youth; elements of the latter can be traced to Kiss of the Spider Woman, Babenco’s transcendent 1985 endeavor to bring Latin American magical realism into the mainstream. It’s fitting that Babenco’s own art impact My Hindu Friend, as the film is based on true events from his life. Inasmuch as Diego is a stand-in for Babenco, the inextricability of art and “survival” is always at the forefront.
Rather than a standard film review, we’ve been compiling a visual glossary of likely inspirations in Paul Thomas Anderson’s 2012 film The Master. Huge props go to Fandor, A Bittersweet Life and various others for compiling similar versions of this over the years. We’ll periodically update this article with new additions as we find them, so hit the comments at the bottom if you think you’ve spotted another visual cue.
Alejandro González Iñárritu‘s follow-up to his Best Picture-winning Birdman will be The Revenant, starring Leonardo DiCaprio as a frontiersman left for dead by his fellow trappers after being mauled by a bear. A revenant is “a person who has returned, especially supposedly from the dead”, according to the OED (I love that especially supposedly bit), a term derived from High Middle Age folktales. These tales generally held that revenants would return from the grave either to seek revenge on a killer or wrongdoer or just simply to harass friends and family members. That latter class of revenants really sounds like a bunch of assholes.
The story upon which Iñárritu’s Revenant will be based (specifically a 2002 book of the same name by author Michael Punke) has already been filmed as Man in the Wilderness, casting Richard Harris in the central role of Zach Bass (DiCaprio will be “Hugh Glass”, but it’s the same character). Wilderness and Revenant are the same story told two different ways, and one would assume that Iñárritu’s approach would hew much closer to the more recent book. It will be interesting to see how influential Wilderness actually is, though, because it holds some sequences and motifs that kind of seem at home in Iñárritu’s wheelhouse.