independent film – Page 3

February 19, 2023

My Favorite Movies of 2022 – the Also Rans

I know it’s February already, and the time for year-end lists is probably well past. That said, I spent the first month of 2023 catching up on some more 2022 films in preparation for our Chlotrudis Awards nominations, so I now feel more confident that my list of favorite 2022 films is more comprehensive. I will be reporting on my Top 20 films of 2022, but in this post, I’m going to talk about my favorite documentaries, my favorite non-Chlotrudis eligible films, and my also rans (those that didn’t make the Top 20). I know I should integrate my docs and my non-eligible films into my list of favorites, but any opportunity to talk about MORE films that I loved is a good one.

*The Cathedral* directed by Ricky D’Ambrose just missed my Top 20 of 2022.

I will start with three films that were not eligible for Chlotrudis consideration, that I feel are worthy of mention. Granted, I only saw about five 2022 films that weren’t eligible, but I do focus most of my time watching independent films. Two of the three non-eligible films I enjoyed are considered independent films, but they were released wide, which takes them out of consideration for Chlotrudis. Todd Field’s Tár was my favorite non-eligible film, largely on the strength of the ever-reliable Cate Blanchett’s performance. I also enjoyed Field’s screenplay, especially the first 45 minutes of so of the movie, which included a television interview of Blanchett’s character, composer Lydia Tár, and a lengthy scene of her teaching a masterclass. I found those two scenes just riveting. Excellent sound design as well. Similarly, the indie crowd-pleaser Everything, Everywhere, All at Once worked so well for me almost exclusively on the performance of the magnificent Michelle Yeoh. How wonderful to see her in such a dynamic and fun leading role as an actress of a certain age… and to have it so well-received by the public. I also loved that despite all the wild and crazy antics, and universe jumping, and craziness, it was, at its heart, a mother-daughter relationship story. You definitely don’t get that very often. Finally, while it didn’t get all that much great press, I have to say I quite enjoyed She Said. Director Maria Schrader doesn’t take a flashy approach, but it was interesting after seeing Spotlight only a couple of years ago, I discovered how much I enjoy an investigative journalism story. Also, it’s the first time I really enjoyed a performance by Carey Mulligan. She really inhabited that character beautifully.

I”m much more a narrative film person than a documentary person, but I did find quite a few good docs to enjoy this year. Out of the dozen 2022 docs I saw, I came up with a pretty strong Top 5.

5) Sr., directed by Chris Smith – I’m not sure why I elected to watch Sr., a biographical documentary about Robert Downey Sr., conceived and powered by his son, Robert Downey, Jr. I’m not really a fan of Jr., but I didn’t know a whole lot about Sr., other than that he was a fringe filmmaker in the 70’s and 80’s, whose films I had heard about but never seen. The film, directed by Chris Smith (AMERICAN MOVIE, HOME MOVIE) in a unique meld of personal conversations between Sr. and his famous son, historical footage of their family, and Sr.’s filmmaking days, and a surprisingly powerful and moving chronicle of the final years, through the pandemic, of Sr.’s life. In addition, incorporated into this documentary, is the same story, as directed and edited by Sr. himself if he were to tell his story. The combination of all these varied themes and styles could have turned into a messy hodgepodge, but instead, it manages to elevate the story into something truly special. I’m very glad I took the time to see this film, and I learned quite a bit about both the Downey family, and Sr.’s filmography, which I fully intend to check out.

4) Girl Talk, directed by Lucia Small – The final film Chlotrudis Awards-nominated documentarian, Lucia Small is a great look at high school girls on a debate team in Newton North High School. Framed similarly to other competition docs (Spellbound; Word Wars) where Small follows a variety of debaters through a series of competitions, it makes a unique comment by following the minority of female debaters, and ties them to successful and powerful women who all participated in their high school debate teams. Small has a strong collection of documentaries in her filmography, most notably her debut film, My Father, the Genius, and Girl Talk spotlights many of her considerable talents. I’m so happy Lucia was able to see the release of this film and tour with it to festival (including the Provincetown International Film Festival, where I saw it and was able to spend some good time with Lucia) before she died so young due to cancer.

3) Fanny: The Right to Rock, directed by Bobbi Jo Hart – Sometimes a documentarian gets lucky and discovers a subject so fascinating, with amazing footage, that the movie practically makes itself. That’s what Fanny: The Right to Rock feels like. Brought back to some minor attention by a random quote from David Bowie in a rock journal, this documentary chronicles the career of an all-girl, Filipina, rock & roll band from the late 60’s – mid-70’s (yes, you can reread that description — all-girl, Filipina, rock & roll band). Filmmaker Hart was fortunate enough to have some amazing performance footage of Fanny, as well as photographs, and clips to use in the film. She also had access to four of the five main members of the band to interview in the present. Add to that some of the young female musicians that they have inspired, as well as several members from David Bowie’s band and other rock & rollers such as Joe Elliott from Def Lepopard, to provide some context. Is it a great documentary? Well, no, it’s good… but like I said, in this case, the subject matter elevates the film into the great territory.

2) Bad Axe, directed by David Siev – Is this documentary a love letter to the small Michigan town of Bad Axe? Or is it a love letter to director David Siev’s family? And in response to the couple of critics I read taking Siev to task on this question I say, does it matter? While a fairly straightforward document of a family and a community’s struggle through the last few years, I was amazed at the way Siev wove together a microcosm of our communal experience through the harsh COVID years, and how the pandemic, and the coinciding political climate impacted small businesses, racial issues, and family relations in profound ways.

The Siev family, led by a Cambodian father, and a Mexican-American mother, are deeply impacted when COVID shuts down the country. Their lives are supported by Rachel’s a successfully operating family restaurant in the small town of Bad Axe, Michigan. Their three children (oldest daughter, a college graduate living in Ann Arbor), middle son (an aspiring filmmaker living in New York City), and youngest daughter (college senior still living at home) all come back to Bad Axe, to their family home to help run the restaurant during this challenging time in an effort to allow their parents to stay at home and avoid health complications — despite their unwillingness to do so. When the Black Lives Matter movement erupts in mid 2020, the family and their assorted partners finds themselves struggling with their desire to speak out and support the movement, with the complexity of running a restaurant that serves a community that is largely populated by Trump supporters. All of this overlaid by the experiences the family patriarch endured escaping the killing fields of Cambodia which shaped his live and outlook. First-time feature documentarian Siev found himself in the middle of an incredible and incredibly relevant story, and had the good sense to document it. His straightforward style and with able editing assistance by Peter Wagner and Rosie Walunas has created a powerful portrait of a time that is compelling viewing and resonated strongly with me.

1) Descendant, directed b Margaret Brown – This is one of those documentaries that I can only imagine started out with a particular premise, and as filming commenced, more and more was unearthed around this story that it turned into something so much more. Ostensibly about about the search for the last slave ship to travel from Africa to the U.S. before the Civil War, DESCENDANT evolves into a powerful story about community, history, racial injustice, Zore Neale Hurston and so much more. Part of what makes DESCENDANT so good is director Margaret Brown’s selection of subjects to follow. I’m sure she must have shot footage of dozens of folks — the descendants of the captive Africans who were on that slave ship and formed Africatown in Mobile, AL after they earned their freedom — but the ones featured in the film are so engaging, so compelling, and have such powerful stories to tell. Both important and adept as a film, Brown, whose 1994 doc, THE ORDER OF MYTHS won the Chlotrudis Buried Treasure award in 2009 deserves recognition for this film as well.

*Descendant*, directed by Margaret Brown

Finally a list of the also-rans. Films I really enjoyed last year, but couldn’t fit onto my Top 20. But I wanted to make note of them, because all of them are worth seeing, and are possibly films you’ve never heard of.

21) The Cathedral
22) The Wheel
23) Întregalde
24) Great Freedom
25) Zero Fucks Given
26) Cici
27) God’s Creatures
28) Hit the Road
29) Ahed’s Knee
30) The Worst Person in the World

*Everything, Everywhere All At Once*, starring Michelle Yeoh

January 20, 2023

My Favorite Books Read in 2022, #’s 4 & 5

We dip into the Top 5 today, and we also see the return of Jennifer Haigh with a second offering on this list. We also see a book of essays (the first and only non-fiction to appear this year) written by one of my favorite filmmakers,

Run Towards the Danger by Sarah Polley #5) Run Towards the Danger by Sarah Polley – With insightful, and introspective care, Polley chronicles some of the most difficult moments throughout her life and how they affected its trajectory. The challenges she focus on for her first book of essays are largely health issues, but sometimes brought about by the stresses and extremes she underwent as a child actor. Polley is unapologetic in her writing, yet she is also unflinching as she exposes her own neuroses, or drives, which sometimes come across as alienating. What always comes across, however, is the exploring, intelligent mind of a thoughtful, independent woman.

Mercy Street by Jennifer Haigh #4) Mercy Street by Jennifer Haigh – Jennifer Haigh has accomplished something remarkable in her latest novel, Mercy Street, about an abortion clinic in the heart of downtown Boston. By focusing on a variety of characters connected in some way to the clinic, their connections, however tenuous, and their lives, she lifts a potentially charged topic out of the political and grounds it securely in the personal. Haigh’s main character, Claudia, counsels patients at Mercy Street, the aforementioned clinic. Through her we meet a number of women, many quite young, who visit the clinic, but we also become involved in the life of Timmy, her pot dealer, one of his other clients, Anthony, and Anthony’s vaguely sinister online friend Victor, who goes by the name of Excelsior11.

The stories threads seem very disconnected at first, but they closely and skillfully weave together to tell a tale that is compassionate, even as it explores behaviors and beliefs that could potentially lead to violence. Haigh’s characters are unique and three-dimensional — it’s hard to put them into a single category. It’s a quick read, and a compelling one, and is a terrific addition to her strong body of work.

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).