12 Anos de Escravidão

12 Years a Slave (2013)

Who can possibly argue against the power of this kind of movie, and the injustice that it waves as a welcome reminder? Superbly directed and acted (especially leading man Chiwetel Ejofor playing Solomon Northup), and set with high levels of realism in pre-Civil War America, there is little to separate what the filmmakers intended and what they achieved. A work of excellence.

It is not, however, quite the masterpiece it might have been. I don't mean the story or the level of competence here at all. I mean the way the story is told, the choice to simply tell it like it was.

That means that the presentation is quite linear (excepting a few gratuitous flashbacks that seem like a last minute editing decision). And uncomplicated. This is the biggest surprise. I mean, the basics might seem enough—a free black man in Saratoga goes to Washington and is kidnapped and made a slave, and he remains a slave until his recovery 12 years later. But that is actually the entire movie.

Oh, I know, the details are missing in that sentence. But it is these details where the movie succeeds too well. We are shown the horrors of slavery and made to experience them. It isn't that this is ignoble or unimportant. On the contrary, this is an "important" film and should be seen. But in some weirdly surreal way, we already know everything that happens in these details.

Do we need to see a woman, naked and tied to a post, whipped and whipped and whipped, with screaming in our ears? Many will say yes. We need to feel that horror even a little bit (through a movie) to understand how utterly unbelievably horrible slavery was. I would just argue back that I don't really want to be tortured directly to confirm what I already fully agree with. It's just a choice you want to make as a moviegoer. It's similar to watching a kidnapping movie—do you want to experience the inner and outer torments of the kidnapped, or see some larger view of a kidnapping situation and the complexities of that kind of plot?

For me, then the movie was excellent at being literal, but that's not enough. For example, there is absolutely no hint at what the family did when Solomon didn't return home after his trip to Washington. Did they search? Worry? How? Who helped, who ignored them? Etc. That's just one of many complexities the movie avoids for the sake of a direct experience of the protagonist.

I hope that gives a sense of where this unpleasant, terrific movie leaves you, and whether to watch it.

Solomon Northup's story of his kidnapping and sale into slavery got widely read upon its original publication but then disappeared as the Confederates built up an idealized image of the antebellum south (exemplified in "Gone with the Wind"). Now that Northup's story has gotten brought to the screen, it's important for everyone to see it. "12 Years a Slave" not only takes an uncompromising look at the sheer brutality of slavery, but also shows how nothing could take away Northup's dignity and his hope that he would one day be a free man again. One of the ugliest scenes is the whipping of a slave for perceived disobedience.

Most of the credit goes to Chiwetel Ejiofor as Northup, showing him to be a man who wouldn't let even the most vicious treatment break him. The rest of the cast deserves ample kudos, but Steve McQueen deserves credit for bringing to the screen a story that got suppressed for over a century.

This movie should also motivate us all to take a serious look at the plantation system and the fact that the US economy got built on it. George Washington and Thomas Jefferson owned slaves, and the White House is the product of slave labor.

In the end, this definitely deserved Best Picture. Three quarters of a century after the pro-Confederate "Gone with the End" won big, we are finally seeing atonement. If you see only one movie this year, make it "12 Years a Slave".

A random and encounter has led Solomon Northup from living freely in New York to being kidnapped and sold into slavery in Louisiana, getting handed over to various slave owners. There, Solomon witnesses numerous acts of cruelty that no man should ever face.

As I stared at the movie screen with full dread, I was reeling back at certain scenes I had just witnessed. There were good films and television shows about slavery before, and they had various nuances at how to tackle slavery. This film is part of said resurgence of the sub- genre, hot on the heels of "Django Unchained" and "The Butler". But while the former relinquishes on Spaghetti Western entertainment more than attempting to address the issue in a political light as the latter, Steve McQueen's "12 Years a Slave" shuts those two up, and perhaps the entire sub-genre, for good. I doubt any future slavery-themed film will be as harrowing as this one was.

Steve McQueen is a fearless filmmaker, continuing his streak of unfiltered brutality within human depths. He frames his actors' faces in extreme close-up, the eyes staring into despair, the nostrils fuming in aggression. Naked flesh are shown not because of erotic content, but rather because of desperation and futility. Long takes and wide shots are not uncommon in his films, and here they showcase a plethora of fantastic scenes and performances that work to discomfort the viewer as much as possible. McQueen doesn't just allow the audience to tackle slavery, he guts the audience and leaves them for the consequences. This is an extremely uncomfortable film to watch. Beautifully shot locations are placeholders for unsettling sequences before and after, contemplated by Hans Zimmer's poignant and at times horrifying score. This all works to create a nightmarish time and place where hell walks on Earth.

Central to all of this is the performance of Chiwetel Ejiofor as Solomon. Ejiofor showcases that he is a natural force to be reckoned with in this film, after a decade of mostly supporting characters. He spaces out in despair as the camera lingers onto him for solid minutes, not a word spoken. Another sequence shows him mourning the death of a fellow worker, in which the singing of the surrounding group compels him and shakes him down to tears. These scenes follow earlier ones where he is a classy, free man in the upper states, mingling happily with the crowd and partaking in fanciful music sessions. It is a tour-de-force performance.

A fine ensemble of established and up-and-coming actors surround Ejiofor in his limelight - Paul Dano, Paul Giammati, Alfre Woodard, Sarah Paulson, even Brad Pitt and Benedict Cumberbatch, but none so ferociously as McQueen regular Michael Fassbender as the despicable, sadistic plantation owner Edwin Epps. So excellent and terrifying is Fassbender's portrayal of such a merciless and barbaric person, that the mere sight of him will either cause audience members unfamiliar to him to flinch.

I was left speechless as the credits rolled. A lesser film would have added tacked-on sentimentality/exaggeration and politically influenced claptrap. Not this one. This is a movie to watch as a reminder of how powerful the human spirit can endeavor, and how lucky all of us have grown past that dreadful time in history. The full effect of it has not been felt in movies before, until now.

If any contemporary director deserves to be in the mainstream spotlight without compromising their style, it's Steve McQueen. His debut, Hunger, already had the hand of a confident filmmaker taking a fly-on-the-wall style to the grimy art-house. Shame was one of the finest films of its year for its impeccable depiction of an addiction to one of humanity's primal survival instincts resulting in self-destruction. I'm so happy that his latest film has gracefully conquered early Oscar favourites from the output of David O. Russell, Martin Scorsese and the now delayed film from George Clooney to become this year's Oscar frontrunner. During its festival run when the buzz first began, I took it upon myself to read the screenplay. While I can usually sink scripts within a few hours, the poetic density of 12 Years A Slave took several sittings across a week or two. Even on the page it was a harrowing, exhausting experience. It's a film that needs a have a gut to truly display the length of time, but the script is bloated in its brilliance.

Naturally, scenes were cut (whether in the editing room or pre-production I don't know) and that's a blessing and a curse. Now in the film, we rush to Solomon Northup's capture, opening with scenes we shall revisit later on. I understand the decision to enter the world as quickly as possible, but I do feel it hurts its first act. As much as I jump for joy every time Scoot McNairy hides himself in a film, the transition from ordinary life to becoming kidnapped feels jarring and contrived. Who is Solomon Northup as a free man? What does he want? Maybe we don't know because there is no source for the matter. Maybe McQueen isn't interested in telling that story. At the very least, we definitely know that Solomon is a compelling character during his capture. Chiwetel Ejiofor is an actor I've always liked but he's never made an impression until now. His passion and commitment to his portrayal of Solomon is utterly captivating. While he can slink into the background of some scenes where he is not the focus, when it's time to shine he bursts a fuse.

Unfortunately during this cluttered first act, it concerns itself too much with subplots that we know will not succeed. While they accomplish establishing the stakes at hand and rule out the 'why doesn't Solomon just…' there's just too many abridged tales. Perhaps this is distracting just because I know the full stories from the script, but they should've went all or nothing with them. It results in editing that frustratingly refuses to let us into Solomon's headspace. We're along for the ride, but too frequently not Solomon's ride. During then we only get rare and rewarding glimpses into how he feels and his perspective on his past life stolen from him. Fortunately the film vastly improves once Solomon is free from the deliciously cruel Paul Giamatti to the spiteful live-wire Paul Dano. As the film focuses on his one-on-one conflicts and moral dilemmas, the film reaches intimate and truly challenging moments which is where the film's power lies. Fruitless subplots are dropped in favour of heartbreaking ones as we're introduced to the pitiful Patsey on the pathetic Edwin Epps' plantation.

Michael Fassbender and Steve McQueen have been one of the most enthralling director/actor combination in recent years. They always bring out the best in each other. Here, it feels like they've reached their finest work yet, but still feels like their collaboration has just began. Fassbender's Edwin Epps is the film's most fascinating and complex character, a man who sincerely refuses to believe he is evil. He demonstrates the thesis of the film in that the authoritative caucasians didn't believe they were doing anything wrong. Many people have laid claim that he is pure evil, but I don't think that's the point, he belongs in a misguided world where he thinks his lust and affection is apt praise for Patsey's talent. While I may not have sympathy for him, he is a tortured soul, a regrettable and irreversible tragedy of mankind and this is thanks to Fassbender's incredible performance. His victim Patsey, played by talented newcomer Lupita Nyong'o, is an utter revelation. She may not have a fully developed character but in at least two powerful scenes, she makes the best out of what she can for a character that warrants the tears you will inevitably shed.

One of the most consistent aspects of McQueen's films is the magnificent taste in cinematography and production design. Presumably from his art background, he's great at immersing you into his bleak visual worlds. Working with Sean Bobbit again, the cinematography is reliably enchanting. In true McQueen style, if a character must endure patiently, in this case Solomon hanging from a noose on the tips of his toes, we must endure with them. No shot this year, not even in the extraordinary Gravity, has been as stunning and unforgettable as the infamous long take of Patsey's lashes. It's a filmmaking masterclass in just a few short minutes. Despite the shaky first half hour, it's all redeemed in its harrowing final 15 minutes. It's the greatest sequence I've seen in a long time and I've never had a scene make me a blubbering mess quite like it. Yes, the jump to his kidnapping feels abrupt and there's no sense of relief to his inevitable freedom, but this is all calculated to mirror the struggle of his experience and we've felt every beat. 12 Years A Slave is a powerful testament to the endurance of the human spirit with its theme of injustice applicable to any point in history that earns the right to be one of the best of the year. After a string of lightweight Best Picture choices from the Academy, this will be a refreshing choice.

9/10

12 Years a Slave tells the true story of Solomon Northup, an educated and free black man living in New York during the 1840's who gets abducted, shipped to the south, and sold into slavery. It is a film that stimulates at both an emotional level and an intellectual one.

Chiwetel Ejiofor plays Solomon Northup. He's been a "that guy" actor for sometime – film-goers may know his face but not his name. After this film his name will be known. He gives, quite simply, the best performance from a leading actor since Daniel Day Lewis in There Will Be Blood. Because of his character's position as a slave he is usually unable to speak his mind unless he is prepared to be beaten. As a result Ejiofor is forced to utilize body language and his eyes, which become enormous pools of emotion to express himself to the audience. He's forced to endure terrible things, but he always maintains a certain dignity and nobility that makes his plight even more affecting. It's a performance of incredible subtlety that may leave you speechless and in complete awe.

Micheal Fassbender gives the best performance of his already extremely impressive career, even besting his previous high marks from the films Shame and Hunger (both directed by Steve McQueen, who also directed 12 Years a Slave). He plays Edwynn Epps, a vicious and demonic slaver and perhaps the most loathsome and disgusting character ever put on screen. If alive today, he'd likely be a drunk with severe anger management issues. By turns pathetic and terrifying, he embodies the ultimate nightmare of a deeply flawed man given absolute power over other human beings, and through that absolute power finds only madness, which drives him to deeper cruelty. He's always a menacing and malignant presence even when not on screen, as his slaves must always be aware and prepared for his seemingly random bouts of sadism.

Other actors give excellent performances as well. Paul Giamatti, Paul Dano, Benedict Cumberbatch, Sarah Paulson, Alfre Woodard are all great in relatively small roles. But in this film of titans it's the one you've probably never heard of who perhaps stands above them all. In her first role in a feature film, Lupita Nyong'o, playing the pretty young slave Patsey - the object of Edwynn Epps demented and horrifying affections and the emotional epicenter of the entire picture, gives one of the most devastating performances I have ever seen. A portrait of unbearable sadness, her character is a mirror image of Solomon. While Solomon is a man who refuses to break and give up the dignity which he's known since birth, she is one who has long since been broken, and who never knew dignity in the first place. Her life is a living hell, forced to endure the "love" of Edwyn Epps and the brutal jealousy of his wife, she's trapped in a terrible triangle that she can't escape. Despite that, she retains a level of innocence that only heightens the tragedy of her character. It actually gets to the point where simply looking at this character might be enough to bring you to tears. It's a shattering performance.

Starting his career as a video artist before making full length films, Steve McQueen has an uncanny eye for imagery and contrast. He's also a very patient film maker, utilizing long, steady single shots to emphasize various things. In his prior films this has felt like a purely stylistic choice, here, it's a choice aimed directly at our heart. When the events on screen become their most horrifying and ugly is when his camera becomes the most unflinching. At times feeling perhaps like we're seeing out of the solemn eyes of the ghost of some murdered slave, watching in sorrow and rage. This is both McQueen's most accessible and artistically searing film yet.

There are also moments of stunning natural beauty that would make Terrence Malick proud. Alone, these shots would inspire wonder, but in the context of this film they make us feel more forlorn, as if the ugliness of man is encroaching on the natural beauty of the world.

Perhaps the most noteworthy thing about 12 Years a Slave is the way that it portrays slavery itself. Instead of taking the easy way out and limiting his exploration of the topic solely to the slaves, Steve McQueen increases the scope and we see how it affects those who profited by it. Take Benedict Cumberbatch's character. A seemingly decent and caring man who treats his slaves with some semblance of respect and kindness. He comes off as a relatively good man who is trapped within the powerful confines of the institution of slavery. In 12 Years a Slave, slavery is shown as a horrifying and destructive social construct that drains the humanity from everyone it touches, turning good men into moral quandaries, turning flawed men into monsters, and turning an entire race of people into livestock and tools.

To watch 12 Years a Slave is to be confronted with the grim reality of slavery in a way that's never been done before. To say this is the best film ever made about slavery feels trivial, as slavery is a subject in film that has been shown with naive romanticism from films like Gone With the Wind or silly exploitation from something like Django Unchained. Both of which serve to make the topic digestible. To watch 12 Years a Slave is to experience a level of despair and misery that can become overwhelming. It's a film of such ugliness, such blunt emotional trauma, that it may haunt you for hours if not days after seeing it. So why should you watch a film that could leave you reeling and devastated? Because, it's also one of the greatest cinematic achievements of our time.