We need more directors willing to take risks with films like Get Out.
It is so rare to find a movie that people reach out to and embrace, a movie that makes you feel cleaner and more alive. "The Green Wall" is a movie like that. It came to the 1970 Chicago Film Festival with little advance publicity (all we knew was that it was the fourth feature ever made in Peru). But the Chicago critics fell in love with it at a preview, and their advance reviews helped inspire a sold-out house for its festival screening.
When it was over, the audience rose in a joyous standing ovation Its director, a big bear of a man named Armando Robles Godoy, stood there grinning through his shaggy moustache, and there were tears in his eyes. There was a feeling in the theater that we had been present when a great movie came into the world.
"The Green Wall" is inspired, to some degree, by Robles Godoy's own life experience. It is about an office worker who sickens of the big-city chaos of Lima and enlists himself and his family in a government program to colonize the forest. He is given a large tract of land in the wilderness, clears the rich soil and grows coffee. He builds a simple, comfortable bamboo home for his wife and his small boy, and it has a cool veranda that overlooks a little stream.
The boy loves the trickle of water, and builds his own tiny city there out of blocks and pieces of tin and glass and string. There is a waterwheel that goes around and around and tinkles against a glass jar. Its music is part of the soft murmur of the forest: the bird cries, the leaves brushing against each other, the calls and coughs of the animals.