Victoria Jelinek


Cambodia Pchum Ben RitualModern Halloween can be traced back to the Celtic Festival of Samhain (Sow-in), which took place two thousand years ago in Ireland, Scotland, and Northern France. Samhain marked the end of summer and the harvest, as well as the beginning of the dark and cold months. For these cultures, winter intuitively symbolized death, and this has remained the case in the arts and literature today. Two thousand years ago people commonly believed that the boundary between the worlds of the dead and the living were blurred at this time, which made it easier for Druids to make predictions about the coming year.

Prophecies such as this were an important source of comfort and direction for these tribes during the long, dark winters. However, the same was true of all societies at this time, who were equally dependent on a volatile, natural world. Celebrations marking the end of the growing season and a heralding in of the winter months, as well as folk traditions that told of the day when the boundaries between the living and the dead were lifted, were common everywhere. The manifestations of the celebrations differed slightly from country to country, from festivals, parades, bonfires, and costumes, to gatherings of families and loved ones in cemeteries to pray for the dead, to feasting or fasting, but the concept remained the same. The ancient celebration of the contrast between life and death, the living and the departed, is intuitively experienced when the changing of the seasons occurs. In parallel to Samhain, there was, and is, the “Dia de Muertos” in Mexico, born of the Aztecs; “Ged Gede,” a voodoo festival from Haiti; “Chuseok” in South Korea, born from an ancient Shamanistic ritual; “Tutti i Morti” in Italy; “Pitru Paksha” in India; “Dzien Zaduszny” in Poland; and “Pchum Ben” in Cambodia, for example.

The fact is that on a subliminal level, societies throughout the world recognize the magical possibilities inherent in the natural world, particularly at this time of year. In my opinion, the questions that follow are why it is that the Gallic rituals dominated to become our modern idea of Halloween? And, will the modern world return to these tribal rituals dominating culture – the consulting of priests, the convening with spirits, the sacrificing of animals – now that we are once again dependent on a volatile natural world?


I Am Love (Io Sono L’Amore)

51VEnx3iQ9L._SY300_Emma Recchi (Tilda Swinton) left Russia to live with her husband in Milan. Despite being a member of a powerful, ancient, industrial Italian family and the esteemed mother of three, she is unfulfilled. Then, a chance meeting with her son’s friend, a talented chef, Antonio (Edoardo Gabbriellini), revitalizes her.

One gets the sense you are watching a bygone era with the formality of tradition and the grace of luxury that pervades this film, supported by beautiful cinematography that sweeps over the tapestries, stones, tiles, chandeliers, polished tables, and the white gloves of servants. In the style of prior Italian directors, such as Antonioni or Visconti, the visual style is lush and sensual. While the plot is not original, and the movie is arguably melodramatic (one thinks of many stories about a working class ‘stud’ who rekindles passion in an aristocratic malcontent, namely D.H. Lawrence), the visual display and Tilda Swinton’s acting make this film fresh and authentic. From the opening scenes in which her face is controlled while she manages a grand family party, to the climax of the film in which it is in ruins, your gaze is absolutely fixed on her alabaster face. Long after its conclusion, her expressive face and its subtle reactions to the events and circumstances of the story, haunted me.