Medium follows message

Alejandro Gonzalez Inarritu’s latest film, “Babel,” consists of four interconnected, intercontinental stories about miscommunication. The theme seems perfectly suited to a director born in Mexico City, who studied under Polish director Ludwik Margules, and whose films have earned Oscar consideration in the U.S.

The 43-year-old director, speaking in the District last month, agreed that he’s had his own communication problems in Hollywood. But they don’t seem too severe. For “Babel,” he attracted top-rank talent — Brad Pitt and Cate Blanchett — whose roles were barely bigger than those of the locals he recruited in Morocco.

With those “actors,” who had never been in a motion picture before, he did have to use translators to be understood. “Babel” features six spoken dialects, as well as sign language. Perhaps Mr. Inarritu is an exceptional communicator. Without even speaking their language, he coaxed compelling performances out of the two teenage boys whose sibling rivalry results in an international incident.

The Moroccan extras were a bit harder to work with, he admits. The director laughs, recalling: “It was difficult to get them to quit smiling at the camera.”

“Babel’s” four stories are tied together by a rifle that changes hands. Although it’s used to tragic effect and Mr. Inarritu counts himself a supporter of greater gun control, the director insists, “I wasn’t trying to make a political statement.” The “story” is key, he says.

Story also explains why his films — “Babel,” 2000’s “Amores Perros” and 2003’s “21 Grams” form a loose trilogy on death — have gotten bigger. The events of his debut took place in Mexico City, while “Babel” spans the globe.

Mr. Inarritu says it’s not because his budgets have gotten larger. His ideas dictated the move toward the epic; the message dictated the medium, he explains.

Gesturing with his hands, he comes up with a fitting analogy for what he’s trying to say: “You serve champagne in long flutes and tequila in small shot glasses.”

Old Europe’s new films

European directors are doing plenty of interesting work, but you’d hardly know it from a look at your local multiplex. So the AFI Silver Theatre and Cultural Center, run by the American Film Institute, is doing a public service by hosting the 2006 European Union Film Showcase.

From now through Nov. 19, film fans visiting the Silver Spring theater can choose from 27 films from 21 countries. This year’s festival, co-sponsored by the Cultural Counselors of European Union Member States, is the largest in its 19-year history.

Five countries’ official Oscar selections for 2006 will be shown: Germany’s “The Lives of Others,” Denmark’s “After the Wedding,” the Czech Republic’s “Lunacy,” Austria’s “You Bet Your Life” and Sweden’s “Falkenberg Farewell.”

If any pattern emerges from the selections, it’s that a number of entries have a literary pedigree: “Lunacy” is based on stories by the Marquis de Sade and Edgar Allan Poe, France’s “The Bridesmaid” is based on a book by British crime novelist Ruth Rendell, and Austria’s “Silentium” is based on one of Wolf Haas’ comic crime novels.

A highlight of the English entries is “Starter for Ten.” This college comedy set in the 1980s stars James McAvoy, fresh off his performance opposite Forest Whitaker in “The Last King of Scotland,” as a working-class freshman aiming to get on a quiz show. Audiences — including this critic — enjoyed it at the Toronto film festival in September.

Film fans can find the full schedule online at www.afi.com/silver. Tickets are $9.25 for general admission, $7.50 for seniors, students and AFI members. Weekday screenings before 6 p.m. are $6.75. Buy tickets online or at the theater in downtown Silver Spring at 8633 Colesville Road.

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