Author: BRWC

Yves Saint Laurent: The Last Collections. By Fergus Henderson.

After twelve years of imprisonment, Olivier Meyrou’s uncompromising documentary on legendary fashion designer Yves Saint Laurent’s final collection is released. Meyrou was prevented from releasing it by Saint Laurent’s partner Pierre Bergé, and within minutes one completely understands why.

It is a totally unsentimental view on Saint Laurent, who in 1999 at the time of filming was in profound decline. Bergé commissioned Meyrou’s film knowing full well that poor Saint Laurent’s physical and mental health was deteriorating, and yet perhaps seeing it portrayed so lucidly was still too much.

Of course, this is not to say that Meyrou has simply recorded things as they are and presented the situation objectively. He has fashioned a harsh, sparse documentary, deliberately focusing on Saint Laurent’s frailty. From the opening close up on his hand as he begins to sketch something before his inspiration swiftly wains, through his apparent shock at his own reflection, Saint Laurent is painted as a man floating through his own creation, watched closely by staff-turned-carers.

There is no myth making in this doc, no particular interest in the process of creating the collection, certainly no curiosity in Saint Laurent’s creative role, which has been ceded to staff and to Bergé. Indeed after the shock of how little Saint Laurent even really factors into this documentary has worn off, Bergé becomes the primary focus of Meyrou’s pitiless camera. Initially he doesn’t come across well whatsoever. He is rude, hostile, condescending. In one surreal scene he is taken up in a crane to view the obelisk at the bottom of the Champs-Élysées, which he promptly criticises for its poor placement. Elsewhere he scowls from doorways behind Saint Laurent’s back, silently conducting affairs. The doc at times seems like a hit job on him.

For the documentary’s first half we are presented with an infinitely pitiable view of things, several scenes soundtracked by unnerving, dark music running counter to the mundane proceedings. Meyrou is making sure here (in a very uncharitable way) that we get the message that everyone involved seems unwilling to process the disastrous state of Saint Laurent’s health, allowing him to bumble through the end of his legacy (and life) so that they can push the damn thing to the finishing line. He seems shocked by the loss of dignity within the situation at large.

And yet, towards the end, the documentary reveals itself to be concerned with the ambiguous role of the carer, the role that Bergé has taken on. Dignity and kindness is at last located. If at first Bergé seems bitter at Saint Laurent, it is understandable that, having essentially assumed Saint Laurent’s role in the company, he might resent such a heavy burden.

In one poignant moment Bergé disputes Saint Laurent’s claim of having found peace. Bergé instead calls him a sleepwalker. His job is not to wake him. The carer cannot fool themselves as others can. 

What we see in this film is fundamentally a loving act: one man, Yves Saint Laurent, desiring to disappear, and another man, Bergé, helping him do so. That this is happening in the middle of a hurricane makes it all the more powerful. 

By Naseem Ally. Ernesto’s Manifesto is a heartwarming feature film starring Fernando Hidalgo, that centres around his character Ernesto, a charming, humble man who is doing his best to get by in Los Angeles. Unfortunately, Ernesto’s constantly receiving the short end of the stick in life. Things don’t seem to be going his way anytime soon. However, after enduring a series of bad breaks, there are glimpses that his fortunes are about to change.

Speaking of fortunes, a fun fact about this film is that it was solely funded from Bitcoin profits – nice!

Fernando Hidalgo is great as the lead role in this film. His charisma and dry humour are along the lines of Ricky Gervais from the British series ‘The Office’. Yes, the British one, not the American one – sorry.

At the beginning of the film, Ernesto is somewhat of a ‘doormat’, but a lovable one that you can’t help but laugh at, and yet at the same time feel pity for.

He somehow manages to put up with Veronica, his snobbish girlfriend who doesn’t think too highly of him, but whom he’s still smitten for. Ernesto is unlucky in life as well as in love.

Ernesto’s Manifesto opens up with a beautiful wide shot of Los Angeles greenery. There are some breathtaking hillside views, after which the camera pans downs towards the suburbs of L.A, where we meet Ernesto who is California dreamin’. A solid opening for the film.

With L.A being accustomed to great weather, the director has definitely taken advantage of this with the majority of the film being shot during the day. The natural lighting really complemented the sets and costumes used in this film, and it’s overall feel which is quite laidback.

The sound used in this film is a fitting backtrack to the playful vibe, that resonates throughout Ernesto’s Manifesto. From the very beginning, you can definitely hear the Latin influence in the score. There’s some salsa, and to my ears at least, a touch of reggaeton.

In the first quarter of the film when Ernesto was having a few flashbacks of some previous work ‘incidents’, I loved the simple yet effective sound effects used during the quick transitions. It was very sitcom-esque in a similar vein to ‘The Big Bang Theory’.

The overall pacing of this film was well thought out, and none of the sequences felt rushed. It follows a similar format to the typical ‘day in the life of’ tv-shows where the audience gets to gauge and develop an overall feel for the protagonist. It doesn’t jump from one scene to the next, and it doesn’t drag out either which is a plus.

Within the first five minutes of Ernesto’s Manifesto, you’re invested in the story and looking to see where it’ll go next.

Fernando Hidalgo is the centrepiece for this film and delivers with perfectly timed one-liners, which sound even better in his dialect. He is constantly perplexed by some of the ‘expressions’ used by people in the film, and this makes for some hilarious scenarios.

The thing I appreciated the most about his character is that his charm and humour is pretty much effortless.

He’s not necessarily trying to be funny, which is a great thing because his performance doesn’t feel forced.

Even though Hidalgo really carries this film on his shoulders as Ernesto, there are some weak spots in this film, no doubt. Unfortunately, the rest of the characters seem to be doing a tad too much on the comedic punchlines, when they don’t need to.

They should take a page out of Hidalgo’s book for any future comedic roles. Sometimes, just keeping it simple works. Simple jabs are more effective than hooks. It’s just a shame that Hidalgo didn’t really have anyone he could bounce off of.

Watching Hidalgo’s display in Ernesto’s Manifesto reminded me of ‘Yehya’ and ‘Guillermo’ on ‘The Jimmy Kimmel Show’. Like, how could you not love em’. They’re brilliant!

You just root for Ernesto to win in this film and quote-unquote ‘stick it to the man’.

This had the potential to be something special, but some of the weak links in this film dampen it, just a tad. I did appreciate the comedic attempts from the supporting cast and it seemed like they tried to take a leaf out of ‘Curb Your Enthusiasm’ or ‘Modern Family’, but they weren’t quite up to par.

With that said, it’s still worth a watch as Ernesto is the main attraction in this film, and he definitely delivers.

Ernesto’s Manifesto is released in U.S theatres on December 13th and across all digital platforms on January 14th 2020.