Sombra dolorosa

It's amazing that he has developed such a distinctive style. As soon as it begins you just know it's Maddin.

An overall lack of sense is saved by a few genuinely hilarious moments. The eating of the father is lovely.

SOMBRA DOLOROSA is probably the best Guy Maddin short I've seen yet! Filmed in vivid color and edited in Maddin's rapid-fire collage style, it follows the story of a Mexican widow who must defeat El Muerto (think El Santo as the Grim Reaper) in a boxing ring in order to save her husband from death. When she fails, El Meurto must eat "The Meal of the Dead" before the solar eclipse so that her husband's soul may be released from his belly.

The short is extremely funny and a little bit unnerving. It shares the "dead father" motif, intertitles, and artificial atmosphere of many of Guy Maddin's works, but the colorful Mexican backdrop puts it into a class of its own.

Definitely check out SOMBRA DOLOROSA!

Widow Paramo has lost her husband, Don Paramo, to the plague. Their daughter Dolores is inconsolable. With death in the air, Dolores is considering suicide, with El Muerto (the eater of souls) preparing himself to welcome her into the darkness. To save her daughter, Widow Paramo must battle the great El Muerto and defeat him. This battle, as with all existential wars, happens in a Mexican boxing ring and takes the form of a wrestling match.

To the casual reader, my plot summary may suggest that perhaps I should really try and cut down on my weed habit, stop drinking a bottle of wine a day or at least try to focus on the films I am watching; however, let me assure you that the story I have spelt out above is actually the story of this film. From the mind of none other than Guy Maddin (who else would) this short film sees all manner of weird stuff happening in his usual rapid-fire, silent fire style. It makes no sense of course, but it works because it is endlessly inventive, funny and interesting. In a feature, a total lack of substance with style carrying the load would be a major problem but in short films (and this short in particular) it works.

Those not familiar with Guy Maddin's better work will perhaps be left bewildered and keen to move on, but for those who know what he can do this film serves as a taster for better films while also being worth a look as well. Available on the "Saddest Music" DVD, this is perhaps the best way to see it – with other material, but it is still worth seeing simply because it is funny and very, very different from anything else you'll see soon!

A four-minute masterpiece of music and movement, montage and more; Sombra Dolorosa (2004) is typical of director Guy Maddin's work, filled with archaic film references and an appropriation of silent cinema conventions to tell a vague and enigmatic story that plays out in a dreamlike and metaphorical world rich in visual symbolism. Although Sombra Dolorosa isn't a silent film, as such - it does feature snippets of Spanish dialogue and a densely layered soundtrack of music and atmospherics - it still borrows heavily from the style and tone of silent cinema in a way that is reminiscent of The Heart of the World (2000) or elements of Brand upon the Brain! (2006). In this respect, we have the incredibly quick cutting style and bombardment of visual information that reduces narrative to mere montage; as well as the use of on-screen captions and inter-titles, which present to us the information that is spoken on the soundtrack in a manner that is deconstructive, but also slyly satirical.

Though the worry of being overwhelmed by the rapidity of the on screen information and the complete genius of the director's mise-en-scene is always apparent with Maddin's work, Sombra Dolorosa is never inaccessible. In fact, it is fairly easy to pick apart and interpret the vague semblance of narrative if we carefully follow the information as it appears on-screen; with the director gleefully taking influence from Latin American melodrama, with its roots in arts and magic-realist literature to chart a tale of lost love, life and death, and the extraordinary ability to overcome. It is, like the vast majority of Maddin's work, an absolute marvel of film-making energy and imagination, with the presentation of suicide attempts, death and regeneration, and that striking image of a wrestling match between a widow and the grim reaper all working alongside that continually striking use of colour, composition, music, design, performance and all to create a one-off visual experience that is sure to delight and overwhelm.