movies – Page 3 – Just Giblets

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).

March 24, 2022

My Top 50 Movies of 2021 – #’s 16 – 20

Wow… now that we’ve hit the Top 20, all these movies have made such an impression on me and are all outstanding films that i have no reservations about recommending. Cringe-comedies, family dramas, intellectual thrillers, intense dramas… there’s something for everyone here. And the talent both behind and in front of the camera is impressive. And the women outnumber the men in the director’s seat!

#20 – Shiva Baby, directed by Emma Seligman (USA/Canada) – It’s always great to watch a smart, snappy, and funny film where you don’t expect a whole lot, and you end up getting something very special. The film centers on Danielle, a college grad who’s basically trying to figure out her next move. What she’s really doing is spinning her wheels, sleeping with Max, her a sugar daddy to make ends meet. He thinks she’s in law school, her mother things she’s making money baby sitting. When Rachel’s parents insist she join them for the Shiva of… (who was it that died?) she also gets a lot of pressure to circulate, find a man, tell people she’s got things lined up, but most of all… stay away from Maya. Who’s Maya? Well, she just happens to be Danielle’s high school girl friend who is going to law school. Between Maya, neighbors, relatives and all sorts of assorted folks asking why she’s so thin, if she’s found a boyfriend yet, what are her plans, Danielle just wants to get out of there, but then who should arrive but Max, along with his successful shiksa wife, and their colicky toddler, who Danielle is finding out about for the first time.

“Writer/Director Emma Seligman nails the Jewish stereotypes down with perfection, the food, the make-up, the claustrophobic feel of the shiva as Danielle navigates through the home trying to avoid various people. Nearly everything that comes out of Danielle is a lie; it’s so second nature to her that she even lies about things she doesn’t have to… and that only digs her deeper and deeper into this cyclical spiral of shame. The cast is perfect. Rachel Sennott (Danielle) and Danny DeFerrari (Maya) are perfect foils for each other. Danielle is such a mess, but she’s a lovable mess and you can’t help but feel for her. Maya may be the only honest person in the room… she has no need to lie, but you do have to get by her attitude first. Polly Draper and Fred Melamed are delightful as Danielle’s parents, and the rest of the Shiva attendees add so much color and personality to the activities, you kind of want to follow each of them through their own storylines, but Seligman keeps the camera moving as Danielle threads her way through the party. It was delightful to see Dianna Agron (Quinn, from ‘Glee’) as Max’s wife, who is no dummy, and catches on pretty quickly to what might be going on. The film ends in one of the most absurd ways imaginable, that you can’t help but laugh while you groan. So much fun.

#19 – The Killing of Two Lovers, directed by Robert Machoian (USA) – There’s an intensity and suspense to Robert Machoian’s THE KILLING OF TWO LOVERS that hits the ground running in the very first scene, where our protagonist, David, stands over his wife, asleep in bed, and another man, pointing a gun at them. From there we follow David’s struggle to cope with separation from his family (in addition to his wife, he’s got a daughter and three sons). David and Niki where married just out of high school, most likely after she got pregnant, and are now in their mid-30’s, together for what feels like a lifetime in rural Utah, the stunning vista of the Rockies in stark contrast with the cramps, squared-off aspect ratio Machoian and cinematographer Oscar Ignacio Jiménez utilize. Machoian doesn’t give away much either… only what we see and hear, and the characters really wear their hearts on their sleeves for the most part. David is clearly in love with Niki, and desperate to come home to be with his family. Niki still loves David as well, but is enjoying their time apart a bit more, exploring other possibilities, and dating another man, much to David’s frustration. The kids are all terrific too. even Jess, the teenager who is given a lot of stiff lines to deliver, but she does so admirably, whether she’s sullenly storming off, of getting her hackles up to defend her parents.

The intensity of emotions and the suspense of the activities is heightened by the static camera Jiménez employs, allowing people to move in and our of the frame, or sometimes mounted on the passenger side of a moving car, so all we can see is the driver. This set up is used particularly well toward the end of the film during a brief, nail-biting scene were it’s difficult to tell what’s going on around a rapidly moving vehicle. The ending wraps up rather neatly on first glance, but digging deeper, it’s thoroughly believable, and depending on the viewer, could go either way — toward optimism or pessimism. Regardless, Machoian turns a somewhat pedestrian domestic drama into a highly-charged suspense film about relationships. Oh yeah… and that sound design is amazing!

#18 – Undine, directed by Christian Petzold (Germany/France) – German director Petzold, has built up quite a following with his last three films (TRANSIT, PHOENIX, BARBARA) and his latest, UNDINE, is a bit of a change of style for him. An undine is a mythical water spirit who becomes human when she falls in love with a man, but is destined to die if he is unfaithful to her. As UNDINE opens, a young woman is at a cafe with her boyfriend Johannes, listening silently as he breaks up with her to be with another woman. The young woman implores him to think this through, because if he goes through with it, he will have to die. Not exactly a threat, but perhaps an act of self-preservation? The woman, whose name happens to be Undine, asks Johannes to remain at the cafe for half an hour while she gives a talk on historic Berlin, after which she will return. When Undine returns to find Johannes gone, she is surprised and a bit lost, so when Christoff, a young man who had attended her talk, approaches her, she barely responds. When a sudden, dramatic accident occurs, that literally tosses the two into each others arms, Undine seems to forget about Johannes and moves on. But myths have certain rules that must be followed, and this one is no exception.

“What keeps this potentially melodramatic romantic fantasy grounded so well is the matter-of-fact, yet slightly otherworldly performance of Paula Beer, and the hyper-realistic setting Petzold situates his fantastic tale. Characters make decisions based on life, not just their heart, so the fact that Undine has a job is important, and she can’t just ignore it to pursue her heart’s desire. Everything is beautifully understated here, but i can actually see the two leads falling in love, which is really lovely. It’s fascinating to be immersed in such a traditionally mythical tale yet have it inhabiting such an ordinary… or perhaps I should say, real world.

#17 – An Old Lady, directed by Sun-ae Lim (South Korea) – It was a bold move for South Korean writer director Lim Sun-ae to tackle elder abuse and rape as the subject of her first film, but a newspaper article about an elderly woman raped by a much younger man inspired her to do so. AN OLD LADY starts artfully and effectively with a black screen, with only dialogue setting up what is clearly an older woman receiving physical therapy from a young man. The dialogue grows awkward, then uncomfortable, before it trails off as the act of violence takes place. When next we see Hyo-jeong, the poised, elegantly put together 69-year-old is with her dear friend and poet Nam Dong-in, helping him at his bookstore. Her posture and actions betray the trauma she has endured and she eventually shares her shame with Nam. She is encouraged by his support, and the two travel to the police to report the crime. It is there when the film’s drama begins to truly unfold as the investigating officers wonder aloud why a young man might rape an old woman. Things grow worse as the investigation unfolds and the perpetrator claims that the sex was consensual, and the clinic at which he works stonewalls the investigation. Hyo-jeong and Nam deal with the frustrating investigation in different ways.

Hyo-jeong begins to examine her past to cope with the range of emotions this act as stirred up within her: shame, frustration, fury, resignation, and ultimately drive. She worries for am estranged daughter, caught up in her own challenging relationship. Meanwhile, Nam being a man of a certain stature, uses his privilege to try and confront Hyo-jeong’s attacker directly, a failure that, while for some wondering why the filmmaker to spend time on a character other than the protagonist, examines a powerful comparison to the way Hyo-jeong ultimately confronts her attacker and finds redemption. That confrontation is both tense and powerful and a testament to Lim’s emerging skill as a director. The film concludes on a somewhat cinematic and hopeful note that maintains the somber tone of the film’s message, but allows for some satisfaction.

#16 – The Lost Daughter, directed by Maggie Gyllenhaal (USA/UK/Israel/Greece) – Bravo to Maggie Gyllenhaal for adapting a complex novel into a visually arresting, and thematically engrossing film in her first time out as a screenwriter and director. Leda is a middle-aged woman visiting a resort in Greece for a solitary getaway, to write. She seems perfect happy to be on her own, and is somewhat brusque to those who try to reach out and engage in small ways. When her peaceful day at the beach is interrupted by the arrival of a large, loud, and intrusive extended family, who take over both physically and emotionally — their every drama broadcast to all around them — Leda does her best to keep to herself and enjoy her solitude. An encounter with the group’s matriarch turns into a bit of a pissing match, and things begin to take a darker turn. When a toddler from the large family goes missing, it strikes a chord in Leda from her younger days raising two daughters, and she is moved to help find their little girl, which she does, becoming a bit of a hero, albeit still mistrusted, by the family.

This is just scratching the surface of the complex story Gyllenhaal is telling. The film bounces between Leda’s present to her past, raising her two girls, and feeling confined by motherhood in a way that runs counter to what society tells us is supposed to be the case. Leda grows increasingly paranoid about the behavior of the family even as she becomes more and more entangled in their presence. Gyllenhaal does a great job tightening that paranoia so that the viewer is caught up in it, not knowing if simple actions have grave protest, or are being misread. Olivia Colman and Jessie Buckley are marvelous as Leda in the past and the present, taking a character that may come across as unsympathetic and making her merely human, doing her best to raise her kids, or live her life quietly on her own. Great support is all around with Ed Harris, Peter Sarsgaard, and Dagmara Dominczyk of particular note. With a terrific somewhat ambiguous ending that generated a lot of conversation at our discussion group, THE LOST DAUGHTER left us somewhat divided, but I fell clearly on the positive side, and applaud Gyllenhaal for her assured ability to tackle a difficult subject and create an entertaining and compelling film.

March 20, 2022

My Top 50 Movies of 2021 – #’s 21 – 25

#25 – Nine Days, directed by Edson Oda (USA) – Creative, powerful and affecting, Edson Oda’s NINE DAYS takes a metaphysical approach to examine what it means to live. Will spends his days monitoring a dozen of so TV screens depicting every action of a select group of people’s lives. When Amanda, one of Will’s favorites, a promising violin prodigy drives her car into a wall, either accidentally or on purpose, Will is shaken. While trying to understand what happened with Amanda, Will begins interviewing a series of souls who are each given the chance to live by being born into a human life. Only one of these souls will be selected after a series of tests that Will conducts over the next nine days. Will’s process is regimented but is thrown off not only by the impact Amanda’s death has had on him, but on one soul who behaves unlike any other soul he has interviewed in the past. His only support is Kyo, a rare soul who has never moved on to life on earth, but was granted a spot to help monitors/interviewes like Will to do their job.

Brazilian/Japanese Oda has fashioned an emotionally powerful debut feature, with a stark yet beautiful look, Will’s well-lived solitary home in a harsh desert landscape. The juxtaposition of otherworldliness, anachronistic technologies, like the VCR’s Will uses to monitor people’s lives, and the homey, mundane surrounding come together to create a strange, otherworldly atmosphere. In a beautiful touch, reminiscent of Hirokazu Koreeda’s magnificent AFTERLIFE, those souls who do not make the nine day process are granted one experience that Will creates for them before they are gone. There is one major flaw for me in the basic premise of the film, which if I dwell on for too long would ruin the meditative beauty of the story. Why would a man who is so broken be put in charge with the determination of a soul’s existence? It seems harsh and almost barbaric, coupled with the distasteful reality-show style competition these souls must endure. However setting that aside and just enjoying the film as an experience is truly remarkable, and it has one of the strongest, beautifully acted conclusions I’ve seen in a while.

#24 – Passing, directed by Rebecca Hall (USA/UK/Canada) – This assured directorial debut from actor Rebecca Hall reveals a practice that many people will be unaware. Set in 1920’s Harlem, a chance reunion of two high school friends poses moral and ethical challenges to a black woman who finds herself becoming entangled in the life of her friend who is living her life passing as white. I loved the performances in this film, particularly from Tessa Thompson who plays Irene. Thompson wraps herself in manners and poise, as a doctor’s wife who is living a life of means while nursing a fiery, intellectual passion for the civil rights of her black brothers and sisters. Her fascination with her high school friend Claire is mixed with revulsion at the way she endures the casual bigotry of her husband. From the opening moments of the film, where Irene herself, whether unknowingly, but more likely shamefully out of necessity, is shown passing as a white woman while doing some Christmas shopping, every movement, every glance, every tensing of her face is Thompson’s way of telling Irene’s story. It’s a masterful and restrained performance even as things start to unravel around her. Ruth Negga, ironically also first came to my attention through a Marvel production, this time television’s ‘Agents of S.H.I.E.L.D.’ before showing her dramatic stuff in LOVING, plays the more flamboyant Claire with glorious abandon. She too hides a conflicting longing deep within, while living her life to the fullest, taking every advantage with seemingly little concern for her safety. She weaves a captivating spell on those around her, but conceals a quiet torment that sees her secretly envious of her friend Irene.

In addition to the beautiful character exploration of these two women, Hall captures a moment in time during the Harlem Renaissance, when artistry and intellectualism flourished in the black neighborhood on New York City. Where dances, and dinner parties flourished in the neighborhood, and questions of racial discrimination seemed distant, although limited in its geography. Costumes, settings, and the gorgeous black & white cinematography all support Hall’s fine directorial debut, where her strength is clearly from her background as an actor, and revealing the strongest performances from those acting around her.

#23 – Identifying Features, directed by Fernanda Valadez (Mexico/Spain) – This Mexican feature is a slow burn as a mother, Magdalena travels from her tiny village in Guanajuato to the Mexican/US border to find out what happened to her son. Along the way she encounters resistance, danger and mounting terror, as well as Miguel, a young man deported from the US who helps her on her quest. Throughout the film we must wonder whether the main character’s search is fruitless… all signs point to her son being dead. Director Valadez unspools the story slowly in darkness and visions of terror. But Magdalena finds herself similarly drawn to the plight of Miguel, who faces a tragedy potentially as large as her own.

Director Fernanda Valdez shows the grim determination in Magdalena, who only wants the truth, and the extraordinary lengths she will go through to find the truth. The bureaucracy, the horror, the uncertainty, but perhaps in helping Miguel, she finds another path. The incredible sound design that melds discordant music with droning sound effects underscores the terror that people are living through every day. The bleakness of the cinematography seems dark even in broad daylight. This devastating film paints a horrific picture of the challenges suffusing rural Mexico today.

#22 – Les Nôtres, directed by Jeanne Leblanc (Canada) – The English translation of the harrowing film from Quebec is OUR OWN, which darkly conveys the complicit nature of the tight community in s small town in Quebec. After a traumatic factory fire that is responsible for the death of a pivotal character, the town’s Mayor steps up, receiving accolades for supporting the town and creating a park in memory of those who died. One of his biggest supporters is Isabelle, whose husband perished in the fire, and whose daughter Magalie is the focal point for the film. Isabelle lives across the street from the Mayor, and his good friends with his wife, Chantal. Magalie is best friends with the older of two of the Mayor’s adopted, immigrant sons. When we discover that Magalie is pregnant, a victim of the manipulative abuse that is far too prevalent among young girls, we also discover how the tangled interpersonal relationships of those involved make this film all the more harrowing. It is not a spoiler to reveal that the abuser is the town’s Mayor, and his deft and sinister manipulation of Magalie make for some uncomfortable and horrific viewing. The townsfolk, already mistrustful of those who are different, look to the Mayor’s immigrant son, and in a devastating moment, Magalie’s frightened victim makes a decision that changes lives.

The film is tightly constructed and well-written, and if you find yourself getting frustrated with characters’ behaviors… that’s the point of Leblanc’s film. She co-wrote the screenplay with the actress who plays Chantal, whose character’s story arc is surprising and full of depth. The mother/daughter relationship shared by Isbelle and Magalie is remarkably realistic and adds to the frustration. It’s a small, quiet film, that one review i read criticized for not being more operatic due to its su object matter. I for one and grateful that it avoided that Hollywood-spawned pitfall and kept things low-key and simmering. The film also avoids a sunny ending, but keeps things firmly on the side or dark realism.

#21 – This Is Not a Burial, It’s a Resurrection, directed by Lemohang Jeremiah Mosese (South Africa/Italy/USA/Lesotho) – Mantoa is an 80-year-old widow who has lost everything. Living in a small village in the Southern African country of Lesotho, she has buried her husband, her children, even her grandchildren, and is just waiting to die herself, despite her strong health and indomitable will. When the nearby city officials decide to create a reservoir by damning a nearby river that will require Mantoa’s village be relocated, it ignites a fiery resistance within her and she begins a crusade to prevent the relocation, knowing that the burial grounds of her family will be left behind.

Lesotho director Lemohang Jeremiah Mosese weaves a powerful tale like so many other recent films about progress representing a death of the old ways. His camerawork, both illuminating the harsh but gorgeous African bush, and in close-up to Mantoa’s determined, age-lined face tell the story so effectively even with the scarcity of dialogue. Actress Mary Twala is the real key to this film’s success. Twala worked on dozens of films in her lifetime, and she sadly died at 81 last year, but this tour de force performance is quite a legacy to leave behind. Whether she is in despair at the loss of her family and her continued existence, or struggling against a faceless government whose only concern is progress. she is a forceful presence on the screen and you can’t take your eyes off her.