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January 14, 2023January 14, 2023

My Favorite Books Read in 2022, #’s 14 & 15

End of year usually people an opportunity to create an arbitrary of their favorite “fill in the blank” from the previous year. Every year, I do keep track of the books I have read, and 2022 was not the best year for me with regard to reading. I only read 26 books, which, while I haven’t gone back and done a survey of how many books I’ve read each year over the past few years, seems a little light. But I still managed to create a list of 15 titles that were worth mentioning. I will be posting my Top 15 books read in 2022 over the next week or so, so I hope you enjoy, and maybe even get a recommendation or two.

#15) My Heart is a Chainsaw by Stephen Graham Jones – My #15 book of the year also happens to be the first book I finished in 2022. Stephen Graham Jones’ bestseller is an interesting addition to the horror fiction genre. It features a Native American, high school outcast from rural Idaho named Jade Daniels, whose encyclopedic knowledge of slasher films (we’re not talking horror, we’re talking specifically slasher) comes in handy when a body count starts to rack up in Proofrock, a small mountain community nestled by the shores of Indian Lake. Naturally, Proofrock has its own horrific history, with a woodbound camp nicknamed Camp Blood for reasons we learn through the course of the book, and it’s own legend, of Stacy Graves, the Lake Witch.

Jones’ inclusion of Jade’s frankly astounding knowledge of slasher films, her indigenous background, and the personal circumstances that force this socially outcast, suicidal high school student to the fringes of community elevate the book above the usual horror fare. It has been a long time since I’ve read a novel from this genre, and while it didn’t frighten me, it does go to extreme length to include some truly grotesque moments, one involving a mountain of rotting elk corpses that I will have trouble shaking.

#14) Cress Watercress by Gregory Maguire – Young rabbit Cress Watercress, is relocating with her mother and younger brother after losing their father to a mysterious, but most certainly dire fate. Cress is in the early throes of grieving, and is more unhappy about leaving her home. The beleaguered family finds sanctuary, and a steep rent, at the Broken Arms, a near dead tree with a strict, blind owl as landlord, and takes residence in a tiny apartment beneath its roots.

Cress reluctantly gets to know the other residents of Broken Arms, including an elderly mouse couple, a rambunctious family of squirrels, and a couple of songbirds. There are threats all around, from her younger brothers respiratory problems, to a clumsy bear, a hungry fox, a conniving skunk, and a rarely seen but dangerous snake. As Cress navigates the challenges of adolescence, the loss of her father, and the arduous task of making new friends, the dangerous, yet magical life of these woodland animals combine with a sweet coming of age story, compete with gorgeous illustrations by David Litchfield.

January 1, 2023January 1, 2023

Remembering Christine McVie

As we all age, I knew we would be losing some of my favorite performers in the coming years. Earlier this summer, it was hard to hear about Olivia Newton John’s death, but the loss of Fleetwood Mac’s Christine McVie in November hit me hard. She was my keyboard idol since the 70’s. She was a master pop songwriter. She was a superstar who preferred to stand out of the spotlight and just be one of the band. It was a dichotomy that underscored her talent and made her even more special. Christine is right up there with Kate Bush when it comes to my musical pantheon.

I discovered Fleetwood Mac along with many of the folks my age, with the blockbuster self-titled album, commonly referred to as the “white” Fleetwood Mac album. My older siblings loved Fleetwood Mac, and for me, at the age of thirteen, they were the first “adult” rock & roll band to really capture my attention. Like many young, gay boys, Stevie Nicks fascinated me. Her song Rhiannon was steeped in mythology, and her mystical leanings were quite the draw, but the musician in me was really captured by the smooth, sultry voice and blues-rooted keyboard stylings of Ms. Christine McVie.

Her songs on that album were some of her best. Warm Ways, Over My Head, Say You Love Me and Sugar Daddy all made indelible impressions on me. I thrilled to her organ licks, and her rhythmic piano playing. The incredible harmonies that she spun with her bandmates, Stevie Nicks and Lindsey Buckingham were intoxicating. Rumours followed and Fleetwood Mac became one of the biggest bands in the world, selling more copies of an album than anyone before them. I went back and bought all of Fleetwood Mac’s earlier albums that featured Christine, starting with 1971’s Future Games, and through 1972’s Bare Trees, 1973’s Mystery to Me, and Penguin, and 1974’s Heroes are Hard to Find. Then came the rest of the catalog including 1979’s Tusk, 1980’s Live, 1982’s Mirage, 1987’s Tango in the Night, 1990’s Behind the Mask, 1995’s Time, 1997’s The Dance, as well as three solo albums, 1970’s The Legendary Christine Perfect, 1984’s Christine McVie, 2004’s In the Meantime, and an album with her bandmate Lindsey Buckingham in 2017 simply titled Lindsey Buckingham/Christine McVie. That was to be her last recorded music.

Chris To honor Christine, I have compiled a ranked list of my favorite songs written by her. It was going to be a Top 40, but I couldn’t cut off there and ended up with my Top 46 Christine McVie songs. It’s not a comprehensive lists; there are many songs that didn’t make the cut, but it’s a great representation. Most are from her time with Fleetwood Mac, but her solo work is represented as well. Somewhat surprisingly, the top two songs were during Fleetwood Mac’s more obscure days, just before Lindsey and Stevie joined, helping to propel them into superstardom. In fact, both of the top two songs came from the Heroes Are Hard to Find album. Her first non-Fleetwood Mac song comes in at #15 from her self-titled solo album.

And here they are, my top 46 Christine McVie songs:

#1) Come a Little Bit Closer – Taken from the Heroes Are Hard to Find album, this track has everything you’d want from a Christine McVie song. A gorgeous piano introduction, her sweetly soaring vocals, and a sweeping string part played on her ARP String ensemble.

#2) Heroes Are Hard to Find – The title track from Fleetwood Mac’s 1974 album was a jaunty, upbeat number complete with a horn section! It’s one of Christine’s most playful song, and I would have given anything to hear this one performed live.

#3) Warm Ways – The instrumentation on this gorgeously, swoony lullaby shows off the best of Fleetwood Mac. The gently brilliant interplay between the electric piano and the organ, the subtly intricate guitar riffs, the gentle, rhythmic drumming, and the anchoring bass all serve to create the atmosphere for Christine’s warm, restless vocals to tell their tale.

#4) Think About Me – I’ve gotta give Lindsey Buckingham a little credit here because Tusk was his baby, and while this track is straight-forward, blues-powered Christine McVie, he applies a little punk-attitude with this hyper-distorted guitar and a little distortion on her Fender Rhodes to really pump it up. If Christine ever displayed a harder edge, it’s in this spunky, cutting pop song.

#5) Songbird – For many, this is Christine’s signature song, and there’s no denying the beauty of this concert closer and it’s message of love

#6) Sugar Daddy – This song from 1975’s Fleetwood Mac album doesn’t get a lot of love, but listen to Christine’s keyboard work. While the remastered version of the album track is first, and has a nice build, starting out being piano driven before the organ sweeps in, I’m going to include an early take that pumps up the organ right from the start. And that bass! It’s really a classic.

#7) Say You Love Me – The third single from the 1975 Fleetwood Mac album (following Over My Head and Rhiannon) this blues-fueled country-pop confection became their third top 20 hit from the album, peaking at #11. Nothing tops the three-part harmony of that chours.

#8) Hold Me – The first single from Mirage was a big step into the glossy, 80’s pop world. It’s also the first of several duets with Lindsey that Christine wrote and are featured on this list. From that great piano break to that offbeat chorus, this one is a special one for me.

#9) Just Crazy Love – This track from 1973’s Mystery to Me album is just so much fun. Christine lets her hair down and just let’s this boppy number take her all over the place. the free-wheeling vocals and that hammering guitar just put a smile on my face. She and guitarist Bob Welch worked well together.

#10) Over My Head – The lead single from the Fleetwood Mac album, and the band’s first song to crack the Billboard Top 20 is vintage Christine. It’s unique too because I think it was the first song I ever heard with a fade-in. I also include the live version which had a great little mini-duet with Stevie Nicks in the middle.

https://youtu.be/SXveFeQFyuU

And the rest…

#11 – You Make Loving Fun – A Rumours classic

#12) The Skies the Limit – Best thing from the post-Lindsey era.

#13) Honey Hi – Such a gorgeous song from Tusk

#14) Why – Such a unique song from Christine form Mystery to Me. Live version with Stevie & Lindsey is so cool

#15) Gotta Hold On Me – Christine never really wanted to be a solo artist, but her second solo album spawned this terrific pop hit.

#16) Love in Store – Another hit single and album opener from the Mirage album

#17) Never Forget – Lovely pop gem from the Tusk album

#18) Morning Rain – Amazing, bluesey number from 1971’s Future Games spotlighting her powerful vocals and fantastic piano playing.

#19) Don’t Stop – One of Fleetwood Mac’s biggest hits, and enduring songs.

#20) Over and Over – This is the exquisite song that opened the Tusk album.

#21) Oh Daddy – Often overlooked track from Rumours. The darker side of Christine McVie. A bit of a musical companion piece to Stevie’s Gold Dust Woman.

#22) Believe Me – Nice blues-rockers from Mystery to Me. This clip from Midnight Special has a great guitar-intro from Bob Weston.

#23) The Way I Feel – Gorgeous, gentle ballad from 1973’s Mystery to Me.

#24) Little Lies – Another huge hit, this one firmly in the 80’s from Tango in the Night.

#25) Spare Me a Little – Here’s the first song from 1972’s Bare Trees to appear here, but this is a live recording from 1975 featuring Stevie & Lindsey.

#26) Red Sun – From the Buckingham/McVie album in 2017. She still has those pop song-writing chops. What a great song.

#27) World Turning – Her first song-writing collaboration with Lindsey Buckingham. When I first heard this I couldn’t tell who was singing what; their voices were in the same range!

#28) Only Over You – Great vocals from Christine on this track from Mirage

#29) Wish You Were Here – And a heartfelt ballad from Mirage. Bonus lovely live version from the Buckingham Mcvie tour just 5-years ago at age 74.

#30) Feel About You – Another track from the Buckingham/McVie album — this is pure pop confection.

#31) Never Make Me Cry – Another absolutely gorgeous ballad, this time from the Tusk album. This demo version I found is exquisite. It’s less produced than the album version, but I think I like it even better!

#32) Remember Me – Here’s a great song from the Penguin album. Great piano, organ, vocal arrangements…

#32) Temporary One – Fleetwood Mac performed this for The Dance concert and it was included on the companion album.

#34) Prove Your Love – Nice mid-tempo number from Heroes Are Hard to Find featuring Christine’s soaring vocals.

#35) Show Me a Smile – This lovely, gentle song from Future Games just reinforces the positivity that Christine infuses in so many of her songs.

#36) As Long As You Follow – The one new song from Fleetwood Mac’s 1988 Greatest Hits album. A cheesy video, but a gorgeous song from Christine, with a killer chorus.

#37) Who’s Dreaming This Dream? – A second cut from Christine’s 1984 solo album, this features a lovely harmony vocal from Lindsey Buckingham.

#38) Dissatisfied – Another great, rollicking, blues-influenced number from the Penguin album.

#39) Everywhere – Her last BillboardTop 20 hit with Fleetwood Mac, although it was #1 Adult Contemporary, this glittering pop confection is from Tango in the Night.

#40) Sweet Revenge – Even Christine likes to say that her 2004 solo album, In the Meantime, wasn’t her best effort, but there are some gems on there. Here’s one of them.

#41) I Do – Here’s a surprise. Fleetwood Mac’s 16th album, released in 1995 was called Time. Stevie and Lindsey had both left the band, and Christine wasn’t going to tour. So they brought in some new members, and Christine contributed 5 new songs, with this one being the sole single — although it only charted in Canada.

#42) Save Me – The only single from their 1990 album, Behind the Mask, and the last Top 40 song from Fleetwood Mac, this Christine McVie penned and sung number hit #33 on Billboard’s Hot 100. It’s a very solid pop song (although I have no idea why the second single, McVie’s The Skies the Limit – #12 above – wasn’t a massive hit.)

#43) Liar – Another strong song from McVie’s 2004 solo album, In the Meantime.

#44) I’m the One – Another great song from McVie’s second solo album fro 1984.

#45) The Challenge – A jaunty number in the early 80’s McVie style from her 1984 self-titled solo album.

#46) Easy Come, Easy Go – And rounding things out, one more song from her 2004 solo album, with a great hook in the chorus.

Thanks for the music, Christine. It will live on forever and I will treasure it for the rest of my life. I’m glad I found my hero.

June 4, 2022

My Top 50 Movies of 2021 – #’s 1 – 5

We’re almost halfway through the year, and I’m finally getting to my Top 5 films of 2021. Yes, it took me more than a couple of months to deal with the errors I was getting from my web host that prevented me from doing so, but that’s finally done and I’m back for my irregular, sporadic posts.

Most notably, and personally, somewhat disappointing, is the fact that my Top 5 films of 2021 are all directed by men. While there are many films directed by women throughout my Top 50, including 4 in the Top 10 alone, it speaks to me of the disproportionate amount of films still directed by men. That said, none of the men who helmed films in the Top 10 are from the U.S. We’ve got Scotland, Japan, Malaysia, and Iran represented among these directors, all of whom bring a decidedly international view of life in their films. The tones of these films vary greatly, from the reflective calm of Tsai Ming-liang’s offering, to the hectic chaos from Sion Sono. The sense of alienation and dislocation suffusing my number one film is so reflective of the time and the world today, I’m not surprised that it resonated with me so strongly.

#5 – Red Post on Escher Street, directed by Sion Sono (Japan) – I can’t quite remember why I selected this fim as one of our weekly film discussion films, especially since director Sion Sono was known more for his over-the-top sexual and violent content in his previous films, which I tend to shy away from. I must have read or heard something intriguing that prompted me to give this 148 minute movie a shot.

It’s been a while since I’ve seen a film that just grabbed me by the lapels and shook me, taking me completely by surprise, making me cry and laugh simultaneously with the ballsy abandon of the batshit crazy, but technical marvel of Sion Sono’s RED POST ON ESCHER STREET. A famous and well respected indie filmmaker is tapped by a major studio to make their next film, hoping he will bring some respectability and festival award to their mainstream work. Director Tadashi decides to use non-actors to fill out his massive cast that includes dozens, if not hundreds of extras. The announcement of auditions in the small town sends a variety of folks, from an amateur theatrical company, and a devoted Tadashi fan club, to a grieving widow and a young woman who may or may not have murdered her husband into a bit of a tizzy. Add to this crew the meddling studio executive, and the director’s ex-girlfriend and the story moves along down unexpected paths. The whole thing clocks in at nearly two and half hours, but I wish it went on even longer.

There is lots of humor in this film, but lots of drama as well. The underlying message of the film is a strong one, captured by the use of such a huge cast of the role of the extra in a film. The final 20 plus minutes are a feat of filmmaking that astounds, even though we’ve probably seen the like dozens of times. ESCHER STREET director Sono has a major festival fan base, and is known for his gruesome horror films, and borderline pornographic sexual examinations. I have yet to see any of his other films, and they don’t necessarily sound like they’re my cup of tea, but if RED POST ON ESCHER STREET is any indication, I just might have to try another.

#4 – A Hero, directed by Asghar Farhadi (Iran/France) – Asghar Farhadi is the master of the ethical quandary. His complex stories put people in situations where they just can’t win, whether they are trying to do good, or acting in their own self-interest. And that’s the real beauty of his writing: there are really no villains… no bad guys. Everyone is just thoroughly human. On a weekend furlough from prison for defaulting on a debt, Rahim and his lady friend Farkhondeh try unsuccessfully to turn in some gold coins that she found for cash to pay off his debtor. Unfortunately, there isn’t enough to cover the debt, so Rahim decides to do the right thing and see if he can find the original owner of the coins.Tis decision sparks aa chain of events that turn him into a hero. Throughout the film, Rhaim exhibits the agonizing movie trait of consistency making the wrong decision, or letting others make the decision for him. Those around him, whether his son, his girlfriend, his debtor, the prison official, or a charity that help to raise money to cover his debt to get him released from prison, all have their own motives for their actions, the the complicated web of motivations only serve to put Rahim in a more and more challenging position.

“How Farhadi manages to spin this complex tale while (mostly) avoiding contrivances for the sake of the story is nothing short of masterful. Amir Jadidi embodies Rahim with an easy, soft-spoken charm, reeling you in to root for him even as you shake your head as he gets himself deeper and deeper into a bad situation. Stone-faced Mohsen Tanabandeh portrays the unforgiving debtor with strident conviction, but not without humanity, elevating him from the vengeful victim, to something much more three-dimensional. Sahar Goldoust brings a lot of motivation and nuance to the often thankless role of the girlfriend, helped by Farhadi’s integration of a mini storyline exploring Farkhonheh’s challenging family living situation, and the rigid societal conventions in modern day Iran.. In addition to the human exploration, Farhadi also explores the motivations and complexities of institutions like the prison and the charity. How he is able to integrate all of these many nuanced perspectives and motivations in under two hours is nothing short fo masterful. Sound design and cinematography are top notch as well, as you feel as if you are on the busy streets of Shiraz, amidst the shops and traffic. A HERO is his best work since his award-winning A SEPARATION, and that’s saying a lot since his output since then has all been terrific.

#3 – Days, directed by Tsai Ming-liang (Taiwan/France) – I’m continuously amazed at how music I enjoy Tsai Ming-liang’s films, no matter how opaque or glacially-paced they are. After seeing his documentary, AFTERNOON, I’m beginning to think that the themes Tsai explores emerge from his leading man, Lee Kang-sheng’s life. DAYS is rather interesting because it was pieced together from footage that Tsai shot when Kang (the actor) traveled to Bangkok to seek relief from an affliction that sent shooting pains through his neck. He also shot scenes of a new discovery for filmic inspiration, a young non-actor Anopng Houngheuangsy, preparing his meal with precise care, washing the vegetables and fish that he then proceeds to cook. These two character do eventually come together, possibly meeting for the first time for a business transaction that turns into something else, or possibly men who see each other from time to time and have developed a rhythm to ease each other’s loneliness for a short time.

I recently went back to watch Tsai’s debut film, REBELS OF THE NEON GOD, and was surprised at the young, the then just over 20-year-old Kang appeared. It’s true, that while he still doesn’t look his 52 years, the actor carries a world-weariness in his face and body that was most-likely exacerbated by the debilitating pain he was suffering during the shoot. Also intriguing was the fact that Tsai use the actual hoe that he and Kang share in real life as the setting for Kang (the character’s) home in the country. The blending of random filmed scenes, and real life with a simple, yet beautiful story is nothing short of glorious. I know Tsai is slowing down his film output, and has claimed to be in retirement, but I do hope we get more visual storytelling from this intriguing master.

#2 – Drive My Car, directed by Ryûsuke Hamaguchi (Japan) – Sometimes a film receives so much critical praise because it just that good. DRIVE MY CAR, which writer/director Ryûsuke Hamaguchi adapted from the short stories of Haruki Murakami with co-screenwriter Takamasa Oe is one such film. My experience watching the film was unusual to say the least, as two plus hours through the three-hour film the cinema lost power, and was unable to complete the film that night. I was able to return the following day to finish the film, but arrive about 30 minutes before the film had cut out the night before, and allowed me to really examine the subtleties and complexities of Hamaguchi’s filmmaking. I think it heightened the overall experience for me.

The story revolves around successful stage actor Yûsuke Kafuku who enjoys a fulfilling relationship with his wife Oto, who writes television series. The two are comfortable together, and enjoy a unique sex life in which Oto relates complex stories as she nears orgasm that evolve into scripts for her shows when Yûsuke retells them to her the next morning. Five years after a startling tragedy that reshapes Yûsuke’s life, (and prompts the opening credits, 45 minutes into the film) he is invited to a theater festival in Hiroshima to direct Uncle Vanya, the play that found much success years earlier when he played the title role. Yûsuke has chosen to stay in a hotel an hour away from the theater so as to listen to the script being read while driving in his beloved red Saab. He is bewildered and put out to discover that contractually the theater festival must utilize a driver to chauffeur the director back and forth. Twenty-three year old Misaki Watari is the scrappy, young woman who works as Yûsuke’s driver, and gradually the two form a trusting bond that is unknowingly spurred on by their respective grief, each having undergone a traumatic family experience. The rehearsal process begins, and Yûsuke ends up casting Kôji Takatsuki, former TV star who worked on one of Oto’s series, and was her lover. Kôji is unaware that Yûsuke is aware of this fact, and the two form a rather interesting bond that informs each of their personal directions.

There is so much that happens in this film, both story-wise and visually that it’s difficult to adequately review the film. but suffice it to say, the three hours go by easier than many films half its length. Cinematically, the scenes of Yûsuke and Misaki driving through Hiroshima and beyond are gorgeous, utilizing tunnels, bridges, intertwining highways and stunning landscapes to full affect. Hamaguchi even makes a massive garbage disposal plant a wonder to behold. I can’t really think of a category that I couldn’t nominate this film in, but I certainly won’t be neglecting the craft the films editing, use of music, sound design, and cinematography, as well as the acting. Misaki Watari is reminiscent of a young Bae Doo-na, and Hidetoshi Nishijima’s Yûsuke is stoic to the point of robotic, until that stifle emotion comes sputtering to the surface in a scene that is getting me choked up now just thinking about it.

#1 – Limbo, directed by Ben Sharrock (UK) – I’m quite intrigued by young filmmaker Ben Sharrock. Ben’s sophomore feature film LIMBO, was awarded the Cannes Film Festival ‘Official Selection 2020’ label before having it’s World Premiere at Toronto International Film Festival, followed by a European Premiere at San Sebastian IFF where it won the TCM Youth Jury Award. It’s an adeptly written, beautifully shot film about immigrant refugees awaiting word on their asylum requests in the desolate coast of Scotland. His first feature, the zero budget PIKADERO, is about a young, broke couple living in Spain during the economic crisis, looking for a place to consummate their relationship because they both live at home with their parents. Sharrock graduated from The University of Edinburgh with a degree in Arabic and Politics before attending Screen Academy Scotland, where he graduated with an MA in Film Directing followed by an Master of Fine Arts in Advanced Film Practice. It’s an interesting pedigree that he uses with distinction in LIMBO.

Omar is an up-and-coming Syrian musician who has fled his homeland to escape the devastating war. While he awaits asylum in Scotland with other refugees, he carries his oud everywhere he goes, but doesn’t play it. He speaks with his mother, also a refugee of Syria with his father, but far away. They all await news of Omar’s brother, who remained home fighting in the Syrian army. There have been several films in recent month about immigrant refugees, often trying to find a place in their new homes in Europe, Canada, the U.S. The gorgeous, but unforgiving landscape and climate of coastal Scotland are lovely representations of the separated isolation these refugees feel, without a home… in limbo.

Amir El-Masry gives a low-key but powerful performance as Omar. He’s got some big filmwork on his resume, including THE NIGHT MANAGER, TOM CLANCY’S JACK RYAN, and STAR WARS: EPISODE IX: THE RISE OF SKYWALKER. He’s got some great support as well, most notably as his roommate, Farhad played sensitively by Vikash Bhai, as the somewhat sad sack, yet optimistic comic relief, but with layers that slowly emerge with great affect. And what a delightful surprise to see Sidse Babett Knudsen, the star of the Danish series, ‘Borgen’ in an absurdly hilarious role as one of the Scottish instructors helping the immigrants acclimate to their new potential home. It’s writer/director Ben Sharrock who really shines here though, with that great combination of strong story, interesting, complex characters, and a deft eye.

April 14, 2022

My Top 50 Movies of 2021 – #’s 6 – 10

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. *****

March 27, 2022

My Top 50 Movies of 2021 – #’s 11 – 15

Relationships of all kinds are under fire in this batch of my Top 20. Whether it’s the complicated relationship that develops between a serial killer and an FBI analyst, a mother who will do anything in her power (or even beyond it) to protect her family, or a war veteran struggling with PTSD and a volunteer recovering dead bodies after a brutal war, relationships are at the heart of these films. It’s a tough group, but that’s how I like them.

#15 – No Man of God, directed by Amber Sealey (Canada) – I’m not a fan of movies about serial killers, and I have no interest generally, in getting into their heads to see how their minds work. However I was drawn to Amber Sealey’s NO MAN OF GOD, a film focusing on his last years in prison before he was executed, and the relationship he developed with FBI Analyst Bill Hagmaier, because a favorite of mine, Canadian actor Luke Kirby, played Bundy, and I was curious to see how that went. Elijah Wood played Hagmaier. Needless to say I was very pleasantly surprised at this film, which not only featured terrific performances, but was thoughtfully written and directed, to focus nearly exclusively on the two central characters and their relationship, and avoided any glorification of the heinous murders Bundy had committed. Much of the film is set in the interview room where Bundy and Hagmaier conducted their conversations, and many of these conversations played out like a cat & mouse game with each trying to draw the other out to play their hand. As the film progresses, however, you start to sense that some sort of relationship develops between the two, with Hagmaier possibly developing a deeper understanding of a man capable of committing such atrocities not being all that different than many other who never commit a crime, and Bundy developing a respect and even friendship with Hagmaier due to his honesty, and evident curiosity to understand him. It’s to Kirby’s credit that we are never quite sure if Bundy is genuine in this relationship, or if he is a master manipulator to the end. Still with hours to go until his execution, Hagmaier does get what he wanted: an admission from Bundy on many of the unsolved crimes he’d been suspected of.

Some have criticized the casting of Woods for being too youthful in appearance to play the FBI analyst, but I thought it worked well for the role. His large eye taking in Bundy’s storied, but just as carefully examining the mans every moves. Both actors play it low key, and Bundy’s occasional outbursts seem natural and well-handled. Credit must go to Sealey as well for her use of the female supporting or background characters, for representing, sometimes with just actions, the female point-of-view in this drama. Aleksa Palladino is strong as the defense attorney representing Bundy for his stay of execution and has a great scene when she explains why she does this to Hagmaier. Other women, such as a production assistant in a recorded interview between a clergyman and Bundy, convey their disgust and horror by simply staring stonily at him, flickers of emotion barely registering across her face while he speaks. Intense, dramatic, and very well handled.

#14 – Nomadland, directed by Chloé Zhao (USA) – Chloé Zhao’s follow-up to multi-Chlotrudis nominee THE RIDER is sure getting a lot of well-deserved acclaim. Zhao applies an inventive yet assured directorial hand in this melancholy tale about modern-day nomads, living out of their vehicles, traveling from place all cross, in this case, the American West. The story centers on Fern, played with the usual skill by Frances McDormand, a widow from the town of Empire, Nevada, that was basically eradicated by the shut-down of a factory that scattered its residents apart. Fern is making ends meet by living in her van and working for Amazon during the holiday rush, but when that ends, she finds herself at loose ends. She follows the advice of a woman she befriends in the RV park, who spends time in Arizona, with a nomadic guru. Fern is doubtful, but she travels there and discovers a community of like minds. Linda May (from whom she gets the tip), Swankie, David and the like. The film follows Fern for over a year, as she moves from place to place, making connections, finding herself briefly at her sister’s home, considering setting down roots with a new family, and ultimately making the decision to follow the path that is right for her life.

Zhao keeps things real in a number of ways. She fills the cast with actual nomads whose stories she tells, she keeps her direction direct and low-key, letting emotional moments burble up quietly with impact, reveling with her cinematographer, Joshua James Richards, in the beauty of our country, from the deserts of Arizona to the rocky terrain of the Dakota’s Badlands. She doesn’t try to make anyone feel a certain way, but allows Fern to make the decisions that are right for her. She adapted Jessica Bruder’s non-fiction book of the same name to tell authentic stories and they resonate strongly in the film. McDormand read the book and optioned it as a film, and her performance anchors it perfectly, and gives it it’s driving force, but it’s the three main supporting characters, Linda May, Swankie, and nomad-guru, Bob, who provide the authenticity as these non-actors play versions of themselves in the film. Truly powerful.

#13 – Quo Vadis, Aida?, directed by Jasmila Zbanic (Bosnia & Herzegovina, Austria, Romania, Netherlands, Germany, Poland, France, Turkey, Norway) – Films about the Bosnian War in the 90’s are pretty tough, and QUO VADIS, AIDA? is no exception. The story of a woman desperately trying to keep her family safe and caught in the middle of an increasingly hopeless situation is what we get with this film. Based on true events, it’s 1995, and the town of Srebrenica has been designated a safe haven by the UN The Dutch peacekeeping force assures the town that air strikes will occur if The Serbs try to invade. Instead, the UN leaves the Dutch out to dry and their base is overrun by Bosnian refugees fleeing the violence. Aida works for the UN as a translator for the Dutch Army. When her family, a husband and two grown sons, don’t make it onto the base after it reaches max capacity, and are left outside the locked gate with about half of the town, she desperately tries everything she can think of to get them in. She is ultimately successful, but that is only the first of a series of hardships Aida must face as the horrors of this war begin to escalate.

The film is very strong, with gripping direction by Jasmine Zbanic, who directed the haunting GRBAVICA: LAND OF MY DREAMS, which garnered a Chlotrudis nomination for its lead actress, Mirjana Karanovic. We know the story arc Zbanic creates is leading us to a devastating finale, but she keeps the tension high and hope, even just a slim strand, present. But you must see QUO VADIS, ADIA for the lead performance by Jasna Djuricic. Aida basically drags the viewer through this film, whether willing or unwilling. Her determination practically leaps off the screen compelling you to follow her on her desperate journey. There is no obstacle that she won’t try to sumount, no matter what the consequences. It’s compelling and powerful, but somehow she retains her humanity through it all, and Djuricic and Zbanic show this is small ways: a moment of respite where Aida gets high, a flashback to a happier time that reveals the guilt that Aida is feeling. Best Actress nomination for sure… possibly direction, movie, and editing.

#12 – Atlantis, directed by Valentyn Vasyanovych (Ukraine) – ATLANTIS is the Ukraine’s 2021 entry to the Oscars. A simple, straight-forward story that tells a grim tale set four years in the future with glimmer of hope in the form of love. While efforts are underway to keep Eastern Ukraine running after a particularly devastating war with Russia, there really isn’t that much left to salvage. Former soldiers Ivan and Sergei suffer from PTSD, and blow off steam with some target practice that escalates into a startling conclusion. The next day, Ivan commits an act that gets the factory they work at shut down. Sergei is a survivor though, and he gets a job delivering water across the blasted out, barren countryside because potable water is now incredibly scarce. On one of his sojourns he assists Katya, part of a project seeking to exhume the thousands of dead soldiers from the wars to identify and bury them. Sergei and Katya’s story starts off slowly but ultimately it’s the whole point of the film, and how even after the most damaging experiences there is hope.

Writer/director Valentyn Vasyanovych has created a film that is bleak and difficult to watch at points, but there are moments of sudden beauty as well. Vasyanovych acted as cinematographer as well, and his post-war landscape is as post-apocalyptic as any I’ve seen. The pace of the film is slow, with static shots and slow pans. The building Sergei lives in is a hollow wreck, and he seems to be the only person living there. Later in the film, an ecologist that Sergei rescued tells him that he needs to leave Ukraine, that the country is literally dead and will take decades if not centuries to become inhabitable again. ATLANTIS is really a tale about what could cause a person to chose to stay in that type of environment.

#11 – Test Pattern, directed by Shatara Michelle Ford (USA) – This chilling, or perhaps sobering film leaves quite a lasting impression. Renesha is out dancing at a bar with her girlfriends. Evan starts to dance with her at at the end of the night he asks asks for her phone number, which she supplies, much to her friends surprise. From there the unlikely pair embark on a lovely and sweet romance that starts with them learning about each other (she is a corporate drone living in an elegant apartment in a money-making job that doesn’t make her happy/he is a tattoo artist who has not drive to make a million bucks or take over the world, but is happy in his life) and moves to them committed to one another, buying or renting a cute little house together. Life and love seem pretty good for them, as two young people making it work in Austin, TX.

“All of that is mainly set-up for the main thrust of the film, which sees Renesha and Evan going to the Emergency Room to find a rape kit and report a sexual assault after Renesha spends a night out dancing at a local club with a girlfriend. In a sequence of events that play out like a horror film, the pair are shuttled all over the city trying to find a rape kit and someone who can adminster it, all while their relationship undergoes some intense testing. Without going into details, let’s just say that the film doesn’t end on a high note, but one that ponders the social injustices around gender and race and the how easily a trauma can upend a life or lives.

“Shatara Michelle Ford’s directorial debut, also written by her, navigates this excruciating experience with agonizing patience that results in a slow-burn drama filled with unspoken pain. Unspoken perhaps, but not invisible, as the body language of the two leads, particularly Brittany S. Hall’s Renesha is exquisitely displayed and tells a story that makes words unnecessary. Ford and Will Brill do a really great job with Evan as well, making him sensitive and loving, but also susceptible to the systemic racism and ingrained sexism that many straight, white men face. He’s a sympathetic character just trying to do do the right thing for the woman he loves, but can’t help stumbling in hurtful ways. Ford also plays with time, inserting a scene about 3/4 of the way through the film that makes you pause to place it in its proper moment, that illuminates the ongoing storyline to devastating effect. There are interesting parallels between this film and last year’s Chlotrudis Awards Best Movie winner, Eliza Hittman’s NEVER RARELY SOMETIMES ALWAYS in the way it examines the societal and systemic problems with women’s healthcare, particularly for those with less privilege (black women, and underage women).