First off, apologies for the lengthy gap between my last post and this one. I had some technical problems with my domain host, and then with WordPress, but everything is all fixed!
Here we go, my Top 10 movies of 2021. Although, as I’ve said, any of the top 20 could have been in contention for these ten slots. It was a great year for movies. There’s not a domestic film in this batch, but films from Poland (two!), Mexico, Australia, and Brazil. As for directors — four women, and one man. Love to see that.
#10 – Never Gonna Snow Again, directed by Malgorzataa Szumowska and Michal Englert (Poland/Germany/Netherlands) – Szumowska’s magical film, in my eyes, is a post-modern superhero story that also addresses climate change, and the socioeconomic challenges faced by Poland (and indeed, most of the Western World). With imagery that alternates between stark realism and the gauzily fantastic, expertly handled by cinematographer, co-writer, and co-director Englert, and powerfully effective lead actor in Alec Utgoff (Stranger Things) NEVER GONNA SNOW AGAIN has a haunting resonance that skirts the edge of cheesy and comes down squarely on, if not poetic, then powerful.
Alec Utgoff is perfect as lead character,Zenia; his imposing physicality, and his open, innocence allows him to present himself as a mystic confidante, or a potential threat at any moment. The camera captures him longingly the way his massage clients do, and DP Englert does she great camerawork with both the people, and the settings. The only recognizable actor for me was one of Zenia’s clients: a bitter, drug-taking environmentalist played nearly unrecognizably by Agata Kulesza (IDA, COLD WAR) but all the actors do a fine job. Szumowska certainly has a unique eye, and with NEVER GONNA SNOW AGAIN, she has certainly proven to be a filmmaker to explore. ****1/2
#9 – Sweat, directed by Magnus Van Horn (Poland/Sweden) – Swedish writer/director Magnus Van Horn traveled to Poland to make his second feature film about the self-involved, soul-harrowing life of a celebrity Instagram influencer. Sylwia is a fitness guru, whose positive energy, warm persona, and energetic workouts we first see in the opening minutes of the film in a shiny, modern shopping mall. After the workout, her devotees flock to her and she rewards them with hugs, selfies, and effusive praise and encouragement. As she and her workout partner, Klaudiusz, head back to their changing room, the mask slips a touch, but only momentarily, and only with a flutter across her face. For the most part, Slywia buys whole-heartedly into her persona. As the film progresses, we see what Slywia’s life is truly like, living alone, feeling somewhat isolated other than her beloved little dog, constantly checking her Insta feed and posting videos that feature various product endorsements When, in a moment of humanity, Slywia posts an emotional video discussing her abject loneliness and desire for someone who cares for her, allowing actual, real tears to be shed, one of her sponsors gets a little concerned, and sends her a cautionary message through her agent. As Slywia wrestles with this dichotomy of a public persona and a personal life, she notices a man parked out she of her condo building watching her as she plays with her dog. She confronts him, banging on his car window and discovers him masturbating while he watches her. This discover, and a subsequent apology the man sends through IG, sharing his own abject loneliness stirs both disgust and a bit of pride knowing she has her own stalker. Things spiral downward, drawing Sylwia into a violent late night encounter that forces her to confront her life in realities terms.
In what appears to be her first lead role, 31-year-old Magdalena Kolesnik turns i a nuanced, tour de force performance, capturing the seemingly industry-made celebrity, with a real vulnerability of a young woman struggling with her life. Moments of narcissism blend with true empathy in striking scenes including a chance encounter with a high school friend, and an awkward family birthday gathering for her mother, with whom she has a rather distant relationship. Van Horn does a terrific job balancing the two aspects of Slywia’s life in a way that rings true, and both compels and horrifies us. The final moments of the film beautifully capture the struggle Sylwia face, and shows the viewer the humanity sometimes buried deeply beneath the veneer of celebrity. It’s not an innovative story, but it’s a very well-told one. ****1/2
#8 – I Carry You With Me, directed by Heidi Ewing (Mexico/USA) – About two-thirds of the way through I CARRY YOU WITH ME, the gorgeously saturated, lush romantic drama shifts from Mexico to the U.S. and along with that shift comes a remarkable change in tone to a very documentary style form of storytelling, that was notable and a bit shocking, until I remembered that this film was directed by Heidi Ewing, Chlotrudis-nominated documentarian responsible for such films as JESUS CAMP and DETROPIA. Hold that thought for a bit, and we’ll come back to it. It’s the 80’s in the city of Puebla, when two young, impossibly beautiful men, meet at a bar and fall for each other. The problem is one is closeted, with an ex-wife and son, who would risk visitation rights should he come out. The other is more or less out, but has a disapproving father who made his life hell as a child. In addition to living a secret life that only his best friend Sandra knows about, Iván comes from a blue-collar family and is on his own, trying to find opportunity as a chef. But washing dishes and cleaning the kitchen sees him getting passed over and over again, as friends of the restaurant owner, or the head chef get promoted ahead of him. He dreams of going to America to see his dreams come true. Gerardo’s family owns a large ranch outside of the city, and he’s got enough money to get by. But he can’t stand in Iván’s, even though the only possibility for his journey to America is crossing the border with the help of coyotes, a dangerous expedition at best. Iván decides to make the journey, promising to return in a year, and Sandra goes with him. Despite horrific perils where they risk getting shot, arrested, or die from exposure and dehydration the pair make it to New York, but find that life isn’t so easy for a couple of illegal Mexican immigrants as they thought it would be. One year turns to many, and Iván sees no way to return. His son grows into a teen without him, and Gerardo tries to legally visit the States but is foiled at every attempt. Eventually he realizes that despite his better connections than Iván, his only recourse is to cross the border illegally as well.
The bulk of the film takes place in Mexico, giving substance and heart to Iván and Gerardo’s story. It’s a beautiful romance, a harsh family drama, and a gritty look at what it’s like to be gay in Mexico. It’s also gorgeously shot, with intense close-ups, suffused in darkness, or water, or fog. Every character, even the coyotes, or Gerardo’s abusive father are just beautiful, as is the land and the city. It’s sweeping and intense, like a 1950’s melodrama. I read after seeing the film, that Iván and Gerardo are real people (changed names) who were friends of the directors. Ewing wanted to make a documentary about their success as illegal immigrants who eventually opened their own restaurant, and the perils of their journey to the American Dream, when she got the idea to tell their backstory as a narrative. It’s an audacious and incredibly successful way to tell this story, and each form suits these incredible men’s tales beautifully. I highly recommend this film, which is still playing at the Kendall Square Cinema in Cambridge, or if you miss it, watch for it when it’s released to stream. *****
#7 – The Power of the Dog, directed by Jane Campion (Australia/UK/Canada/New Zealand/USA) – Very interesting takes on this film… always love a divisive movie. I really loved it. I was really surprised at how much this film surrounded me and drew me in. And while I agree that the main character, particularly, was tough to like, I found all the characters believable and I felt various ways about them at various time. I also felt that Rose’s character change was quite believable and I was the reason was quite evident… even to the point of Campion pointing another character’s obliviousness to the reasoning in a rather amusing way.
“This was actually the first time I thought Cumberbatch gave a great performance (since Sherlock, at least) and I quite liked Kirsten Dunst quite a bit in a challenging role. I knew nothing about this film going in, except for the fact that it was a Western, as was quite surprised at where it ended up. I think Campion is a intriguing filmmaker, and even the films that aren’t as good are interesting to watch. For me, this was both good and interesting to watch, and I would even go so far as to give it *****.
#6 – The Fever, directed by Maya Da-Rin (Brazil/France/Germany) – I was quite taken with THE FEVER as well. It was vaguely reminiscent of Apichatpong Weerasethakul’s TROPICAL MALADY, characters living near the rainforest and becoming afflicted with a mysterious fever, but for very different reasons. I’ve really been enjoying this recent spate of films focusing on indigenous peoples and how they are being displaced, or moving to more industrialized cities for work, and the effect it has on some of them. There’s a bit of a generational aspect going on as well, as Justino’s adult children don’t seem to be as impacted by the displacement.
The cinematography was quite stunning underscoring the contrast between the industrialized port where the mai character works, juxtaposed with the mysterious rain forest. Regis Myrupu gave quite a performance in the lead role of Justino, torn between two worlds, and I would also make note of Rosa Peixoto who plays Vanessa, Justino’s daughter. Maya Da-Rin ‘s direction really brought it all together, intertwining the themes in a way that was subtle, yet powerful. *****