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Selamat Pagi, Malam (2014)
'In the Absence of the Sun' is an ode to a capital city on fast-forward
Indonesian writer-director Lucky Kuswandi's new film 'In the Absence of the Sun' is a drama which takes place over a single night, intertwining 3 women's experiences in the capital city of Jakarta. The three women share a night out separately, each with their own stories to tell.
Gia (Adinia Wirasti) returns to Jakarta after years of living in New York, nobody knows why she's returned. She meets her old friend Naomi (Marissa Anita), and it soon becomes apparent how alien her home city now has become. Ci Surya (Dayu Wijanto) has lost her husband, and whilst coming to terms with her loss she inadvertently finds more about her husband than she cared to know. Indri (Ina Panggabean) works in a gym and has a date, and has dreams of joining the new moneyed classes created by Jakarta's commercial growth.
Kuswandi spends the first half of the film illustrating the way Jakarta has changed so dramatically, from the smog-infused streets full of cars and motorcycles, to people spending more time glued to their mobiles phones than socialising with each other. The rampant illusion of luxury and lifestyle, where everything is imported, has swarmed on the locals. Gia is astounded how fake and empty everything around her has become, to which Naomi replies "Things get easier when we pretend to be foreigners". She's returned to a city which has quickly lost its identity and soul, the question is has she made a big mistake coming back?
As the night unfolds and things don't go according to plan for any of the women, we start to learn more about their backgrounds and insecurities. All of various ages, each has their own sadness. They want to find their place in a city which is always on the move, to share experiences with someone who loves them for who they are. Each of their stories will resonate with you, Indri's awkward night out was probably the most touching.
'In the Absence of the Sun' is an ode to a capital city on fast-forward, being the most populous city in South-east Asia may create many new opportunities but it also creates just as many new problems. Welcome to Jakarta.
The Supreme Price (2014)
'The Supreme Price' shows the power film can have in galvanising a country into social change.
'The Supreme Price' is a powerful documentary by Joanna Lipper, chronicling the turbulent history of Nigeria since independence from the British in 1960. This film follows the evolution and struggles of the pro-democracy movement, set against successive military dictatorships which have been a repressive constant since independence.
Hafsat Abiola is the beacon for the pro-democracy movement, an activist born into the family of the revered businessman and philanthropist M.K.O. Abiola. Using archival footage over many decades, Hafsat's life is full of sadness and mistrust. In 1993, her father made history by being fairly elected as president, only to be ousted by yet another military coup. He was imprisoned, and died mysteriously in his cell a couple of years later. His wife Kudirat Abiola, became the leader of the pro-democracy movement in her husbands absence, only to be assassinated herself. The murderers have still not been brought to justice.
Hafsat's personal setbacks have only served to carry on the good work of her parents and the pro-democracy movement. She created Kudirat Initiative for Democracy (KIND), an NGO focusing on female empowerment to promote a democratic Nigeria. She states "any society that silences it's women, has no future.", a rallying cry which is more than enough to stir her emotions into actions.
'The Supreme Price' is only 75 minutes long, and is seen better as an introduction into Nigerian politics since independence. Lipper uses Abiola's family struggles as a mirror of Nigeria's problems, of outdated social practices, ignorant religious structures and beliefs passed down from generation to generation, blighting any real socio-political progress. Its an uphill task when your own brother won't accept her as a future president.
At times, it seems Hafsat has to shoulder the burden of Nigeria's problems herself, but hers is a growing movement with men and women ready to fight for real freedoms. She is a symbol of their hopes and dreams that change will happen, and 'The Supreme Price' shows the power film can have in galvanising a country into social change.
L'écume des jours (2013)
Gondry's surreal worldview craves your attention, and its hard to resist such an overflow of creativity and imagination
'Mood Indigo' is a new Parisian love story by French director Michael Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep, Be Kind Rewind, The Green Hornet). The film is based on the 1947 book "L'Écume des Jours" by Boris Vian, who was also a singer-songwriter, jazz trumpeter and all-round cool dude.
Set in Paris, France, 'Mood Indigo' travels between the 1940s, the present and a lo- fi/sci-fi future. Colin (Romain Duris) is a wealthy inventor, he lives with his friend Nicolas (Omar Sy) who is a lawyer and chef, in a converted rail carriage suspended between two buildings. His best friend Chick (Gad Emaleh) introduces him to Chloé (Audrey Tautou), a romance blossoms.
Vian provides the perfect form of inspiration, Gondry's visual flair and surreal box of tricks is irresistibly conceived. From the opening scene we see rows of typists typing away on typewriters that move along without stopping, pianos that make cocktails, a TV chef who can reach through the screen to hand you ingredients, a dance style that turns your legs to rubber, to cranes lifting spaceships around Paris to give the best views of the city.
Its an overwhelming experience, especially the opening 30 minutes. Duris, Tautou and Sy do well to draw you back into reality, of sorts. Their performances are as breezy and whimsical as everything around them, but the mood isn't always so colourful, especially when Chloe's health suffers. Sy's character didn't sit too comfortably, his eager to please servant/chef and occasional lawyer is a cringeworthy throwback to outdated stereotyping.
'Mood Indigo' only just avoids the pretentious pitfalls which many films of this ilk can get sucked into, it often lapses into moments when such surreal inventiveness should be reined in, its occasionally overindulgent and a little precious. But Gondry's manifestations of Colin's experiences and feelings into physical forms is impressive, creating a surreal worldview which craves your attention, and its hard to resist such an overflow of creativity and imagination.
Deux jours, une nuit (2014)
'Two days, one night' is another fine film from the Dardenne brothers, skilfully and subtly playing with your preconceptions right to the end.
How far would you go to keep your job? This is the dilemma facing Sandra (Marion Cotillard) in 'Two days, one night', the new film by Belgian directors Jean-Pierre and Luc Dardenne.
The company is struggling, and Sandra's foreman Jean-Marc (Olivier Gourmet) has been trying everything to sack her to cut costs. He's engineered a vote where the staff either relieve Sandra of her duties but in return receive a 1000 bonus or she can stay on the payroll and they get nothing. Sandra has only a weekend to convince her colleagues to keep her in employment. She's been on leave for depression, so this new situation is not good for her rehabilitation. Aided by her doting husband Manu (Fabrizio Rongione), Sandra sets out to save her self-respect, her family and her sanity.
'Two days, one night' is a sociological study on how we conduct ourselves individually and as part of society. Sandra's situation represents a stark judgement of whats important to us all, and how its different for everyone. Sandra is forced to confront her own selfishness, but fully aware that few would just give up in her situation. Manu cannot support the whole family on his wages, Sandra is put under immense pressure, as are her colleagues who know full well that their decision will affect her life. But the wrong decision will affect theirs, and we see people reacting very differently when confronted by the sorrowful Sandra.
Sandra's colleagues have different circumstances, some are single, some are older, some have families, some are the sole bread-winners, some have just bought a house. Its also interesting to witness the social and ethnic diversity of Sandra's colleagues, and interestingly, it's the minorities who tend to be more compassionate towards her plight. The tension is shown through Sandra's state of mind, not only does she need to speak to all 16 colleagues within a weekend but you know that one more rejection could lead to her lapsing again.
'Two days, one night' is a compelling study of depression, with yet another excellent performance from Cotillard. Sandra's depression is a more internalised and melancholic state of low self-esteem, her fight to save her job becomes a fight to overcome her illness. Financial instability doesn't just affect Sandra, we see how damaging financial insecurity is for anyone whether they are working or not. Circumstances may change, but for the majority of people the situation is still the same. 'Two days, one night' is another fine film from the Dardenne brothers, skilfully and subtly playing with your preconceptions right to the end. The film casts a balanced view of everyone, nobody is judged, and the ending couldn't be anymore dignified.
Pozitia copilului (2013)
'Child's Pose' is gritty and occasionally heavy-handed but you have to admire its intelligence and single-mindedness.
Romanian director Calin Peter Netzer's 'Child's Pose' is a drama about a rich, dysfunctional family in Bucharest, where one incident unravels the very fabric that holds them together.
Cornelia (Luminita Gheorghiu) is the controlling mother who dominates this film, an architect with the right connections thanks to her businessman husband Aurelian (Florin Zamfirescu). She is estranged from her son Barbu (Bogdan Dumitrache), and blames Barbu's girlfriend Carmen (Ilinca Goia) for this separation. In fact, she spends most of her time bemoaning everyone in her family, completely blinkered to the fact that she's probably most at fault for creating such a hideous family structure.
Barbu gets into serious trouble which will most certainly change his life, but how much depends on him and his family. He seems set on doing the right thing and pleading his guilt, as we would all hope. But Cornelia railroads her way to the front to play the devoted mother, closely followed by her sister-in-law, Olga (Natasa Raab). We see Cornelia the operator, manipulating the situation and dictating the lives of all concerned. She struts around in her fur coat, telling the police what should be done, namedropping others within her elite circle of Bucharest society, so that she gets what she thinks she's entitled to.
Our distaste for Cornelia grows exponentially, such is her lack of remorse and disregard for all around her as long as "my baby" is not harmed. Everything she does has an ulterior motive, even her maid is wary of any communication she has with her. To witness the presence of Cornelia involves being undermined by her, with hidden meanings and veiled threats, all to illustrate who is in charge. Such is her need for control and maintaining standards, she even dictates the novels that Barbu should be reading. Of course, her sole aim is to get Barbu back for herself, she's not remotely interested in his life and his partner and couldn't care less about his predicament. Barbu knows the more his mother is involved the harder she will make her life. He probably prefers a life in jail just to get away from his scheming mother!
As with other recent Romanian films such as 'Beyond the Hills', '4 Months, 3 Weeks, and 2 Days', and 'The Death of Mr. Lazarescu', 'Child's Pose' poses difficult questions in a Romanian society finally free from the Ceaușescu regime. This film is all about class, entitlement, and how one tyrannical system has been replaced by one thats just as bad for the majority. Gheorghiu is superb as the monstrous Cornelia, joining an ever- increasing list of mothers from hell in film. Just like the aforementioned films, 'Child's Pose' is gritty and occasionally heavy-handed but you have to admire its intelligence and single-mindedness.
Wish You Were Here (2012)
Darcy-Smith does a fine job in knitting together a quite straightforward drama into something watchable and insightful.
'Wish You Were Here' is the debut feature from Australian director Kieran Darcy-Smith. A group of Australians visit Cambodia for a holiday, where under mysterious circumstances only three of the original four tourists come back home.
Steph (Teresa Palmer) was invited by her new boyfriend Jeremy (Antony Starr) to come with him to Cambodia where he often travels to for business. Still only a few weeks into their romance, Steph wanted to be certain of her safety so she asks her sister Alice (Felicity Price) and husband Dave (Joel Edgerton) to accompany them.
Rushing backwards and forwards in time, 'Wish You Were Here' slowly pieces together the mystery surrounding Jeremy's disappearance. Just as fascinating is the reasons why everyone else has not been totally honest with each other. Alice and Dave's relationship suffers, all in plain sight of their young children. Their unabashed abandon on holiday is shown in a quite different form at home, we're intrigued as to why certain actions were necessary by each when only harm was the outcome.
Part thriller and part domestic drama, 'Wish You Were Here' is an ambiguous story which keeps you interested until the inevitable conclusion. Sometimes uncomfortable to watch, Price and Edgerton play their parts perfectly, a typically normal couple with huge unwanted responsibilities on their shoulders. Darcy-Smith does a fine job in knitting together a quite straightforward drama into something watchable and insightful.
The Lunchbox (2013)
'The Lunchbox' is a delicate, charming drama showing the positive effects food can have on people
Ritesh Batra's debut 'The Lunchbox' is a delightful film set in Mumbai, India. Saajan (Irrfan Khan) is a grieving widower who is counting down the days before his retirement as a government pen-pusher. His favourite time of day is when he receives his lunchtime lunchbox, courtesy of the legendary Dabbawala service which delivers millions of lunch boxes every day.
One day, the food delivered is far superior to the food he normally receives. It turns out that this delicious lunchbox was made by a bored housewife called Ila (Nimrat Kaur), who is trying to win back her disinterested husband. When they both realise whats happened, they strike up an unlikely relationship through letters. Initially venting the frustrations in their lives, the letters become increasingly personal and they decide to meet.
Batra explores this friendship through these letters, unearthing the insecurities in both characters, especially Saajans alienation from life since his wife's death. They both use these letters to expose their failings, and perhaps to demystify them too. The letters help to engage and disengage themselves from each other, allowing them to make life- changing decisions which they may not have been able to do otherwise.
Saajan also unravels a fondness for the person who will eventually take over his job, Shaikh (Nawazuddin Siddiqui). His pained demeanour hides for the most part his sadness, with Shaikh and Ila aiding his rehabilitation back to some sort of normality. Some great performances are led by Irrfan Khan, giving yet another excellent character study. 'The Lunchbox' is a delicate, charming drama showing the positive effects food can have on people, and how anyone of any age has something to offer others in those moments of loneliness. In these fast-paced times, these simplest of pleasures still provide the most nourishment.
Grand Central (2013)
Its a shame the geiger counter often remains in the middle for 'Grand Central'
Rebecca Zlotowski's French drama 'Grand Central' stars Tahar Rahim as Gary, unemployed and desperate for work. He finds well-paid but dangerous work as a decontaminator of nuclear reactors across France. Gary is based at a plant near Lyon, living on a site with fellow co-workers. They all work, live and play as one.
Spending so much time together, its inevitable that troubles follow. Gary complicates things further, by starting an affair with Karole (Lea Seydoux), the fiancée of a fellow worker who also works at the plant. Not only is his work life hazardous, but so too is his private life. Gary's desire to be close to Karole leads him to take more risks so that he can keep on working, risking his own life in the process.
Gary and Karole's relationship is occasionally more of a backstory to the more interesting drama in the nuclear plant itself. Zlotowski illustrates how ingrained nuclear power is in France, where human contamination is not only inevitable but ongoing for its workers. The human cost is high, mass unemployment means a big queue of people waiting to be exploited, with no real security or prospects. Everyone is affected, so its vital that everyone works together, publicly and privately.
All the actors play their parts well, the leads Rahim and Seydoux don't put a foot wrong but still you care less for Gary and Karole's relationship, and more for the plight of the workers. Its a shame the geiger counter often remains in the middle for 'Grand Central', where certain parts of the film needed to be fleshed out more to provide a more compelling story.
Kvinden i buret (2013)
A good introduction to a particular genre that the Scandinavians do so well.
Scandinavian TV, film and literature has been a remarkable phenomenon over the past decade, with the wordwide success of 'The Killing', 'Let The Right One In' and 'The Girl with the Dragon Tattoo'. 'The Keeper of Lost Causes', based on an international bestseller written by Jussi Adler-Olsen, is a new Danish film in the same gritty noir crime thriller mould that many viewers have become accustomed to.
Nikolaj Lie Kaas plays Carl Mørck, an arrogant and cantankerous homocide detective who nobody wants to work with even though he's good at his job. After a botched raid puts himself and his partner in hospital, Carl is demoted to a desk job handling old cases which were never resolved. Carl's job was to check each file and report on each case, but to never go beyond this remit. His life might be a mess, but Carl never played by the rules so why should he start now? He chooses a curious missing persons case which was tagged as a suicide. He's ably assisted by the far more optimistic Assad (Fares Fares), and thus begins a peculiarly Nordic bromance dead set on fighting crime.
Director Mikkel Nørgaard spares no expense in showing us every crime thriller cliché available, saved not only by the two leads but the inventive means used by the captor for his victim. Far too many leaps of faith have to be taken to understand Carl's process of elimination, in what is a very straightforward thriller that lacks any real tension or plot twists. 'The Keeper of Lost Causes' often feels like a TV pilot, and the ending of the film surely means there is more to come. For anyone familiar with the Nordic Noir Wave with classic TV series such as 'The Killing', 'Wallander' and 'The Bridge', 'The Keeper of Lost Causes' will probably be a disappointment. For the rest, this film is a good introduction to a particular genre that the Scandinavians do so well.
The Rover (2014)
'The Rover' does require a lot of patience, but for those willing to persist you will be rewarded by the conundrum that is Eric.
Australian director David Michôd returns to the screens with 'The Rover', his follow-up to the stunning debut 'Animal Kingdom'. Set "Ten Years After the Collapse", somewhere in Australia, we see the dead-eyed Eric (Guy Pearce) sitting in a road-side bar seemingly waiting for the world to end. His story collides with a group of men in a real hurry, Archie (David Field), Caleb (Tawanda Manyamo), and Henry (Scoot McNairy). They leave behind others, including Henry's brother Rey (Robert Pattinson). The barely alive and unwitting Eric soon bursts into life when the men steal his car, starting a new journey filled with violence and a good deal of soul-searching.
Left for dead, Rey tries to find his brother and gets caught up in Eric's mission to get his car back. The pair slowly become allies, you continually question their behaviour as both often behave irrationally. Why does the car mean so much to him, to go through so much just to get it back? They live in a world where little exists anymore, nurturing a dog-eat- dog existence where you get what you can by any means. But Eric has gone beyond that, you can just see in his eyes that he just doesn't care whether he finds a bottle of water or eats again. The simple-minded Rey just wants some answers from his brother. The pair make uncomfortable viewing, the world-weary Eric barely speaks and the much younger and eager to please Rey just doesn't know how to. There's a despair and finality to both men, for very different reasons which only briefly comes to the surface, but still only giving you mere crumbs of what they have done in the past.
Guy Pearce is excellent as usual, he must now be one of the most reliable and adept actors working in film today. Pattinson will get all the headlines, and rightly so because he can act. Many may be annoyed by his mumbling and barely audible southern accent, but he's made this character his own and comfortably sits beside the far more experienced Pearce. Antony Partos creates another blisteringly eerie score, peppering the silences with shrieks, wails and tribal drumbeats to enhance the the post- apocalyptic nightmare that 'The Rover' is. Perhaps not as good as his debut, this film will only enhance Michôd's burgeoning reputation. 'The Rover' does require a lot of patience, but for those willing to persist you will be rewarded by the conundrum that is Eric.
The Grand Budapest Hotel (2014)
Anderson's most accomplished film yet, it's his most genuine work and will certainly make you smile.
Wes Anderson's dazzling comedy caper 'The Grand Budapest Hotel' tells the story of legendary millionaire Zero Moustafa (F. Murray Abraham). Situated in the Republic of Zubrowka, 'The Grand Budapest Hotel' is a gloriously pink old Baroque European establishment where rich people go to spend time. It is here where Zero started as the hotel's lobby boy.
In 1932, young Zero (Tony Revolori) was hired and worked under the direct tutelage of legendary concierge Gustave H. (Ralph Fiennes). One of his most loyal customers, Madame D. (Tilda Swinton), passes away leaving him an invaluable painting, much to the annoyance of her despicable son and heir Dmitri (Adrien Brody) who frames Gustave for Madame D's murder.
This charming hotel is a cinematic event in itself, 'The Grand Budapest Hotel' is very much a filmmakers film with some outstanding cinematography. Everyone from Anderson to the art directors, set designers, cinematographers, and composer are as much the stars in an all-star line-up including Bill Murray, Mathieu Amalric, Saoirse Ronan, Harvey Keitel, Edward Norton, Jason Schwartzman, Tom Wilkinson, Owen Wilson, Willem Defoe, Léa Seydoux, and Jeff Goldblum.
Gustave is a hilarious creation, so typically English in his genteel courtesies, wit and humility. Fiennes is perfectly cast and must have relished playing such a delightful character. 'The Grand Budapest Hotel' has an energy which previous films by Anderson lacked, told with a much more purposeful sense of storytelling which feels real.
I've never been a fan of Andersons cultivated brand of quirks and charms, films with irritating characterisations and cameos, mannered dialogue and contrived use of twee and nostalgia. And what does he see in Owen Wilson? Above all of this and much more, his films often lack any genuine character development, resulting in often uninteresting films full of sheen and little substance. But in Gustave H. he's finally crafted a well- rounded individual which we can believe in and appreciate, regardless of how fantastical he appears.
'The Grand Budapest Hotel' is Anderson's most accomplished film yet, it's his most genuine work and will certainly make you smile.
Pride (2014)
'Pride' is a hilarious film with gags galore, directed with aplomb by Matthew Warchus, and still manages to avoid trivialising the many important issues it sets to address.
'Pride' is a story base on true life events where a group of gay activists from London in the mid 1980's make an unlikely alliance with a small coal-mining village in South Wales.
The group, named the Lesbians and Gays Support the Miners (LGSM), decide to collect money for the striking coal-miners as an act of solidarity since they are equally reviled by Margaret Thatcher, the tabloid newspapers and the police. But they don't know who to give the money to as the National Union of Mineworkers didn't want any negative publicity. Instead, they tried cold-calling mining villages and an unsuspecting committee from the Dulais Valley accepted LGSM's generosity.
The contrast between the residents of a sleepy Welsh village and a group of gay activists couldn't be more apparent, ensuring plenty of hostilities , new friendships and an awful lot of laughs. Personal, cultural and political issues go hand in hand as the two groups join forces to further each others agendas. A consummate crowdpleaser, 'Pride' follows in the footsteps of 'The Full Monty', 'Brassed Off', 'Made in Dagenham' and 'Billy Elliot' which focuses on the demise of the once powerful industrial regions of Britain. It often teeters on the edge of sentimentality, but the deadpan humour will win over even the most miserable viewers amongst you.
There's plenty of excellent British acting talent; from the seasoned Imelda Staunton (Hefina) and Bill Nighy (Cliff), the middle-aged Paddy Considine (Dai) and Dominic West (Jonathan), to young firebrands George MacKay (Bromley) and Ben Schnetzer (Mark), to name but a few from a large cast.
'Pride' is a hilarious film with gags galore, directed with aplomb by Matthew Warchus, and still manages to avoid trivialising the many important issues it sets to address. The poignancy of these real events are not lost, whether its the many regions destroyed by the pit closures or the onset of AIDS. The ending is a fitting tribute to the groups struggles, and an inspiring story of decency and tolerance in the face of adversity.
The Broken Circle Breakdown (2012)
Full of touching scenes, striking images and wonderful music, with characters we would want to care about.
'The Broken Circle Breakdown' is director Felix Van Groeningen's new Belgian film, following a young married couple comprised of Didier (Johan Heldenbergh), a bluegrass banjo player, and Elise (Veerle Baetens), a free-spirited tattoo artist who joins Didier's band.
Their relationship changes dramatically with a death in the family, forcing both to reconsider everything. Didier is mad about all things American, but takes a dim view of the then-president George W. Bush's Christian beliefs on stem-cell research. Elise, surprisingly, has always been religious. With her eyes always in the sky, she sees the dead reincarnated in animal form, much to Didier's annoyance.
As much in love with his music as he is with his wife, Didier can't fathom the connection between Elise's religious beliefs and the often devotional bluegrass songs they play. Any spiritual beliefs Didier has lie in the music, which strengthens their bond when they perform together. This powerful film is occasionally heavy-handed in its use of metaphors, the bluegrass music elevates this often troubling and emotional film into an uplifting experience. It is a subtle but very effective driver throughout the film, where both the pleasure and the pain of bluegrass is woven into the fabric of their relationship.
The central performances of Heldenbergh and Baetens have much to admire, especially the latter, in a stirring relationship full of intensity. 'The Broken Circle Breakdown' is full of touching scenes, striking images and wonderful music, with characters we would want to care about. It reminds us that we are a strange species, where anything can be interpreted differently by various people for their own needs, where rationale plays second fiddle to belief. For many, such things help us to function in our daily lives, guiding us through situations we otherwise wouldn't be able to understand. For others, belief is just not enough.
Snowpiercer (2013)
Some surprises appear in this riveting film which locks you in till the ambiguous end
Based on the French graphic novel "La Transperceneige", Korean director Bong Joon- ho's 'Snowpiercer' is set in the near future where mankind loses its battle against global warming and enters a new ice age.
Prior to the worlds demise, wealthy industrialist Wilford (Ed Harris), constructs a high- speed luxury train that can circle the globe continuously without suffering the effects of the extreme weather outside. Humanity's last remaining survivors reside on the train, but all is not equal. The rich live in comfort at the front of the train, their security buffers them from the end of the train where the poor are forced to live in cramped quarters, be experimented on and eat protein jelly bars.
Seventeen years of inhumane conditions have elapsed, after many failed attempts these back-of-the-train revolutionaries are ready to seize their chance for some justice. Old- timer Gilliam (John Hurt) has the ideas, the reluctant leader Curtis (Chris Evans) forms a core team including Edgar (Jamie Bell), Tanya (Octavia Spencer) and Namgoong (Kang- ho Song) and his daughter Yona (An-sung Ko). Besides the guards, they have to contend with the absurdly realised Mason (Tilda Swinton), an English woman handpicked from the 1970′s with a headmistresses tyrannical lack of appreciation of peoples place in society, imagine Margaret Thatcher with big glasses and even bigger teeth.
The internal spacial limitations of the train doesn't hinder 'Snowpiercer'. Whether its the carefully staged action sequences to the surreal rooms in various carriages, Joon-ho keeps the suspense flowing effortlessly, with a dash of grotesque humour thrown in. The revolutionaries face carriage after carriage of different battles, representing various philosophical challenges to overcome. And this is the heart of the film, we question why such a system even exists when humanity is so close to extinction. The inevitable meeting between Curtis and Wilfred defines the purpose of everyones existence, and its a dangerous game that both play.
The world is full of people in power who make the lazy choices, ie ones which enhance their own power but do little to enable everyone else to a better life. History has shown that you cannot harness a system, resisting the temptation to think you cannot live without it, and that the only humane choice is to destroy the system and start again. Political upheaval is everywhere, just in the recent past we've had the Arab spring and currently with the tensions in Hong Kong. 'Snowpiercer' mirrors the overpowering inequalities which exist in our world already, but some surprises appear in this riveting film which locks you in till the ambiguous end, which could be seen as either a new start or the final curtain for humanity. Its a powerful and thought-provoking reminder that the world is everyones to shape, not the 1% who control the capitalist system we inhabit.
Kraftidioten (2014)
Plenty of funny and insightful moments which helps to galvanise the films predictable revenge story.
Hans Petter Moland's new film 'In Order Of Disappearance' stars Stellan Skarsgard as Nils Dickman ,whose life takes a deadly turn when he finds out his son has died.
In rural snow-filled Norway, Nils is the local snowplough driver who runs his own road- clearing business. Nils's son Ingvar, a baggage handler at a local airport, gets mixed up in a drug-trafficking operation which leads to his death by a drug overdose. Refusing to believe Ingvar was a drug addict, Nils sets out to find the truth, drawing himself into a cartoonish Norwegian drug underworld headed by 'The Count' (Pal Sverre Hagen).
The Count inherited his fathers mob business, and doesn't seem to have the same self- control his dad had. The pony-tailed vegan mobster is serially undermined by Dickman's ability to kill one mob employee after another, often in darkly comic fashion. The Count mistakes his bodycount increase down to a rival Serbian mob led by "Papa" (Bruno Ganz). There's only going to be one winner between the triple crossfire of Dickman, The Count and Papa, but who will it be?
The bodycount rises very quickly, each death marked by a white cross on a black screen with the victims name, the comedy value increases the more victims pile up. There's plenty of laughs at the expense of these often absurd mobsters, not least their ridiculous names and fascinating conversations on anything from the welfare state, the dangers of fruit loops and how life in Norwegian prisons is a good excuse for new dental work. The Counts home is a mismatched modern white elephant, full of gloriously bad but good ornaments, sculpture and furniture. He even forces his employees to drink carrot smoothies, this is not your normal mob boss!
As daft as this film sounds, 'In Order Of Disappearance' is an engaging and often enjoyable film. The violence is never glorified, and ironically Nils' most useful weapon of choice is his snow plough which you could imagine being used in various ways to dispose of so many dislikable people. But Nils resists such vengeful temptations, even though he is clearly out of his depth. Similar in tone to the recent Norwegian smash hit 'Headhunters', 'In Order Of Disappearance' thrives on its dark and light axis, with plenty of funny and insightful moments which helps to galvanise the films predictable revenge story.
Boyhood (2014)
'Boyhood' is a celebration of time in all its simplicity, of those millions of fleeting moments which encompasses our existences. Its we as humans who make time complicated.
'Boyhood' is Richard Linklater's extraordinary new film, filmed over 12 years from 2002 to 2014 with the same cast throughout. Patricia Arquette and Ethan Hawke are Olivia and Mason, parents of Samantha (Lorelei Linklater) and Mason Jnr. (Ellar Coltrane).
We watch this family grow together, especially Mason Jnr. who starts at the periphery but eventually anchors this film. Their lives are as normal as ours, Olivia and Mason eventually split and wrestle with their lives apart but still remain together as parents. They have new partners, new commitments, new homes, new careers, new decisions to make and problems to resolve.
Its the children, especially Mason Jnr. who capture our imagination. All the familiar rites of passage are seen from him, but presented with minimal histrionics. Considering his uneven family structure, Mason accepts his various circumstances with diplomacy and humility. The drama is simply himself, from age 5 to 18. His life is shown with so much intimacy you would think its a documentary. His life is a casual procession of moments of time which come and go without hesitation.
We're committed, and perhaps conditioned, to watching Mason Jnr. grow and develop as a person. You could be a grandparent or parent or a sibling, whoever you are you can't help but relate to him. All the way through, whatever you see thrown at Mason Jnr, you just know you'll simply say "He turned out fine, I don't know why i worried".
Linklater shoots everything with a casual open-handedness, on a film which must have been a logistical nightmare, not least with being fortunate enough to retain the same cast over such a long time. As well as ensuring some continuity to the film, his own experiences as a director will have changed. Its a staggering feat, and a huge gamble that in a long and fruitful career may well prove to be his best film.
'Boyhood' is one of the defining films about a child's passage into adulthood, and as a study of family life is similarly outstanding. The film asks a lot of questions, not only about a child's perspective and parenting but also social conditioning. By the end of the film, that familiar question "Where did the time go?" appears. 'Boyhood' is a celebration of time in all its simplicity, of those millions of fleeting moments which encompasses our existences. Its we as humans who make time complicated.
Calvary (2014)
For all the blarney and black humour, 'Calvary' stands up as a sobering and sincere drama about faith and the fear of death.
'Calvary' is the second film from Irish director John Michael McDonagh, a very different proposition from his excellent black comedy 'The Guard'. Brendan Gleeson returns to star, this time as the priest Father James who has rather a lot to contend with.
In his rural Irish community, every other person seems to flout their sins to anyone and everyone, from adulterers to serial killers. The main story involves a man in a confessional booth who confides in Father James that he was raped for years by a priest, now dead. For revenge, the victim says he will kill Father James in a weeks time, simply for being innocent of any crime.
An array of wounded souls played by Aiden Gillen, Orla O'Rourke, Chris O'Dowd, Kelly Reilly, Isaach De Bankolé, Gary Lydon and Dylan Moran ably support Gleeson, in a country still reeling from the recent financial crisis. Father James seems to be the only person in the village without any self-interests.
Surprisingly, Catholicism is given an easy ride by McDonagh who keeps a balanced view of the religion, avoiding the many cheap shots on church hypocrisy and the paedophilia scandals. Gleeson is a dignified but troubled presence, a man as comfortable perched on a bar as he is on a pulpit, whilst still managing to elicit a moral authority with dignity and grace. For all the blarney and black humour, 'Calvary' stands up as a sobering and sincere drama about faith and the fear of death.
Dare mo shiranai (2004)
'Nobody Knows' is an absorbing and moving film, a heartbreaking study of children in an adult world which remains with you long after the film is over.
Japanese director Hirokazu Koreeda's 'Nobody Knows' is a contemporary drama involving a mothers struggle to cope with life with her children.
The mother, Keiko, has little money and crams everyone into the tiny apartment. Akira (Yua Yagira) is the oldest child of about 12 years old, who is the only visible child to the outside world. He runs all the errands and keeps his three younger siblings fed whilst his mother works. The three children never leave the apartment, none of them go to school.
Keiko spends less and less time at home, often leaving for long stretches and leaving money behind for the children to fend for themselves. Completely self-absorbed, Keiko is obsessed with her own happiness and clings to her fading youth. Eventually, she disappears completely, to live with another man.
Kept in the dark for so long, Akira has no choice but to continue to act as the father, his slightly younger sister Kyoko (Ayu Kitaura) becomes the mother-figure for the youngsters Yuki (Momoko Shimizu) and Shigeru (Hiei Kimura). Apparently each child is fathered by a different man, and none have any responsibility for any of the children. The children can't even go to the authorities because they will all be split up. Its a heartbreaking situation to watch these abandoned children try and hold things together as a family, in an adult world they are ill suited to cope with, however hard they try. The tragedy is of a society which doesn't want to know, and allowed it to happen.
Yagira gives a remarkable performance, a conduit for his siblings to the outside world, observing and processing everything around him in the hope that they can all survive. He wants to live life like any other child, not just to survive. He meets other children, who live the life he should be living, and desperately wants to be a part of this enticing world. Not all is as appears, when he befriends a girl of a similar age who is being bullied and spends little time at home. Hers is another story which Japanese society doesn't talk about.
Koreeda doesn't just explore the children's dilemma, in a wider context we look at parenting (or lack of) and the attitudes of Japanese society towards the young. We see children wasting their lives, unloved and undetected, whether parented or not. Of course, Akira and his siblings' situation is the worst kind of abandonment where there is little hope. 'Nobody Knows' is an absorbing and moving film, a heartbreaking study of children in an adult world which remains with you long after the film is over.
Whiplash (2014)
A perfectly timed film from Damien Chazelle.
Damien Chazelle's 'Whiplash' is the story of Andrew Neyman (Miles Teller), a promising young jazz drummer who is under the brutal tutelage of Terence Fletcher (J. K. Simmons) at New York's fictional Shaffer Conservatory.
'Whiplash' is essentially a battle of wills between Neyman and Fletcher, an unhealthy student/mentor relationship that frequently teeters on the brink of collapse. Fletcher uses harsh and disciplined teaching methods, and everyone is scared to death in his presence. His military-style methods work, as his school's concert band regularly wins competitions and breaks students into successful careers.
Fletcher justifies his behaviour with repeated references to a long-repeated anecdote about the young Jazz legend Charlie Parker, who was playing a solo at a jam session with professionals which included the great drummer Jo Jones. Parker played so badly that Jones threw a cymbal at his head, nearly decapitating him. After that humiliation and intimidation, Parker practiced so long and so hard that he came back a year later and made Jazz history with his solo.
'Whiplash' is a simplistic film about the Jazz world, Neyman plays a lot but you never see him in any other band such as his own, he doesn't jam with his fellow students, which seems odd when a drummer can't function in a jazz band without others. Chazelle is more interested in the lonely and singular ambition Neyman has, and the exposure he will get.
The abuse of power is central to this film, Fletcher wants to teach Neyman to take responsibility and to prove himself. But where is the line between motivation and abuse? Fletcher is looking for his own Charlie Parker, the question is whether Neyman will cut it.
For all its flaws, 'Whiplash' is a film worth watching. It's snappy pacing is as sharp as Neyman's drumming, and equally well executed. Both Fletcher and Neyman have questionable motives who are as bad as each other, and their relentless battle keeps you riveted and often amused. Teller and Simmons are both perfectly suited in their roles, and the latter steals most of the scenes with his barrage of verbal abuse at his students. A perfectly timed debut from Damien Chazelle.
Birdman or (The Unexpected Virtue of Ignorance) (2014)
For all of the films technical marvels, its Keaton's bravura performance which shines through and defines this ambitious film
Alejandro González Iñárritu's 'Birdman', stars Michael Keaton as Riggan Thomson, an ageing movie star whose glory days seems to have dried up decades ago. Desperate to recapture recognition and relevance, Thompson sinks all his time and money into writing, directing and starring in a Broadway play adaptation of Raymond Carver's 'What We Talk About When We Talk About Love'.
Thompson is buckling under the pressure, close to a breakdown. Surrounded by friends and family who have their own share of problems, from his daughter and assistant Sam (Emma Stone), his friend and lawyer Jake (Zach Galifianakis), to his girlfriend and co-star Laura (Andrea Riseborough), up and coming actress Lesley (Naomi Watts) and egocentric superstar Mike (Ed Norton). They all contrive to dismantle and fix something that maybe never should have existed.
Iñárritu bravely shoots the film as if it was in one take, the camera flows in and out of various rooms in the theatre, following all the various characters in a whirlwind of actions. The film has an elegant dynamism, but you are never allowed to ponder moments any longer than a few seconds, as if the film depended on it. As beautifully constructed as it is, Iñárritu keeps things fresh by avoiding complete precision. The random and the inexplicable are allowed just as much space. The films tension and free- wheeling energy is also derived from the manic scenarios and the uneven jazzy drum score, in an all-or-nothing journey into Thompson's mind.
'Birdman' is a dizzying and absurd experience, and Iñárritu leaves no stone unturned in savaging the vacuous world of Hollywood celebrity, showbiz and our relentless pursuit for shock and entertainment. Not only does 'Birdman' take potshots at everyone from Meg Ryan to Justin Bieber to Robert Downey Jnr, it includes its own actors with thinly veiled nods to their previous output, methods and celebrity profiles. Its a shame that for all its biting lunacy, the story is a well-worn path with few insights. For all of the films technical marvels, its Keaton's bravura performance which shines through and defines this ambitious film, his electric descent into chaos and salvation is surely his finest performance.
Plemya (2014)
To communicate so much with not a word spoken is an amazing feat from Slaboshpytskiy. And through this silence, 'The Tribe' has plenty to say.
Set in a Ukranian boarding school for the deaf, 'The Tribe' is acted entirely by deaf actors who communicate exclusively in sign language. Myroslav Slaboshpytskiy's debut film also has another surprise for you, there is no subtitles!
The teenager Sergey (Grigoriy Fesenko) is a new pupil, and quickly becomes involved with a brutal gang that dominates the school. As well as scamming and mugging, the gang even pimp two of the female students at various truckers stops. This is certainly not your average school. Sergey falls in love with one of the girls, Anna (Yana Novikova), and sets off a series of events that will change him and everyone around him.
'The Tribe' is certainly a very difficult watch, Slaboshpytskiy relies on visual storytelling, and you have a general idea of what is going on. For the majority who can't understand sign language, you'll be left wondering and frustrated about all the small details. I don't know if Slaboshpytskiy's motives have completely paid off, in the effort of putting a marginalised set of people on screen, he's limited our understanding of them. But his aim is to show the audience that this silence illustrates their alienation from us.
It's possible that their alienation has forced them to think of themselves and their surroundings differently, especially for some of them in the second half of the film which descends into increasingly distressing displays of violence. Its in these heated exchanges that you really understand how difficult it is for deaf people to communicate just with each other. To communicate so much with not a word spoken is an amazing feat from Slaboshpytskiy. And through this silence, 'The Tribe' has plenty to say.
Kis Uykusu (2014)
Aided by the stunning Anatolian rock formations, 'Winter Sleep' is beautifully shot, especially the final images.
Nuri Bilge Ceylan's new film 'Winter Sleep' is a family drama set on a stunning mountain hilltop hotel in Anatolia, Turkey. The ageing Aydin (Haluk Biginer) is the wealthy hotelier, a retired actor who owns a lot of the properties in the area, and spends his days writing for his local newspaper.
Aydin is married to the much younger Nihal (Melisa Sozen), and his divorced sister Necla (Demet Akbag) lives on the premises too. Wealthy to the point where he doesn't need to worry about anything, Aydin casually mopes around finding something to do, and generally creating a nuisance of himself. Most people tend to have a reason to dislike him, and this includes his own family. With his wealth extended to his family, these people spend their days doing nothing but still hanker after making a life of purpose.
So much time on their hands leads to bitterness, as evidenced in the ongoing bites and petty quarrels between the three of them. Nihal is the curious one, who lives separately from Aydin who gives her the freedom of their modest kingdom. She still feels trapped, blaming Aydin for bringing her down when she's attempting anything of her own making. He's made out to be more monstrous than he seems, slowly being forced out of his own home by everyone.
'Winter Sleep' is a contemplative, deeply serious study of wealth, family dynamics and communities. Conversations and arguments are often literate and earnest affairs, discussing anything from the role of the artist, the role of Muslim men in the community, to enabling evil-doers to uncover their own consciences.
Aided by the stunning Anatolian rock formations, 'Winter Sleep' is beautifully shot, especially the final images. One majestic scene involving the capture and calming of a horse is a cinematic marvel, and a troubling study of a mans innate desires superceding all others. Although nothing much happens, everything slowly does, as does in life. Even Aydin is forced to change his ways, whether you are rich or poor you still have to earn your happiness.
The Duke of Burgundy (2014)
'The Duke of Burgundy' is a kinky, hallucinatory gem from a unique director.
Cynthia (Sidse Babett Knudsen) is a middle-aged woman, a professor who studies butterflies and moths. She lives in an opulent house full of books and insects, we do not know where she lives or in what time but its safe to assume its in the 1970's.
Her life revolves around regular visits to the library, seminars about butterflies and moths, and causing as much pain to her maid as possible. The younger Evelyn (Chiara D'Anna) works as the maid, and Cynthia finds any excuse to find fault in Evelyn's work. But we soon learn that Evelyn is the dominant half of this relationship, who demands that Cynthia performs in an elaborate erotic game of her choosing.
But what was once daring and sexually charged, becomes stifling for both who soon lose patience. Not even some bespoke erotic furniture can mask the problems in their fragile relationship. Peter Strickland's last film 'The Barbarian Sound Studio' was a homage to Italian horror films of the 70's, and 'The Duke of Burgundy' does the same for the European Erotica films from the same era. Its often a very funny film, including cinematic firsts in the credits for a Human toilet consultant and Perfumes by Je Suis Gizelle!
'The Duke Of Burgundy' may be an acquired taste to some, it's a beautifully shot film. It's a curious study of an unusual love affair with universal connections, aided by two fine performances from Knudsen and D'Anna who show a great deal of restraint. A lot of questions about their relationship go unanswered, but its not to the films detriment. 'The Duke of Burgundy' is a kinky, hallucinatory gem from a unique director.
Ida (2013)
Every scene is meticulously handled and perfectly framed. 'Ida' is full of striking compositions and uncompromising scenes.
Set in Communist Poland in 1962, Anna (Agata Trzebuchowska) is an 18-year-old nun who has been living in a remote Polish abbey since she was a very young orphan.
Without any immediate family, Anna's mother superior finds an aunt who wont return her pleas to take her. Before Ida takes her vows and disappears into monastic life for good, she has been instructed to meet her only living relative. Wanda (Agata Kulesza) is an unwelcoming aunt, who wastes no time in telling Anna that she was born a Jew, as Ida Lebenstein and put up for adoption by her parents before they went into hiding. Presumed dead, her parents bodies were never buried, so they embark on an uncomfortable journey to find out what happened to Ida's parents.
'Ida' is a film about two women's paths to liberation, an odd and often unspoken couple who slowly create a bond. Its a familiar story of people needing to uncover their pasts in order to shape their futures. Ida has the innocence and strength to enter into what a lifetime in the convent has spared her. She is able to stand up to her tortured aunt and the horrors of their past. Whereas Wanda is a shell of the woman she was, whose despair grows and grows whilst still attempting to be the only family Ida has.
Director Pawel Pawlikowski unravels mid 20th century Polish history in this austerely executed and exquisitely shot film. Filmed in as much natural light as possible, every scene is meticulously handled and perfectly framed. 'Ida' is full of striking compositions and uncompromising scenes. Little is given away and with minimal dialogue, yet still a film of only 80 minutes has a lot to say and even more to think about.
What do you do with the past once you've re-lived it? Does it embolden you or weaken you? Why do we really need to know, especially when there is no guarantee you will be better off for knowing? The nihilistic Wanda is the one to watch, not that Ida's presence is any less riveting. Kulesza gives a stunning performance of a woman in moral turmoil for not just the anguish inflicted on herself but for the guilt in doing the same to others. What becomes of these two women is startlingly realised in a wonderful film.
Violette (2013)
'Violette' is a worthwhile but difficult watch
Martin Provost's new film 'Violette' charts the professional life of French writer Violette Leduc (Emmanuelle Devos), who rose to fame in the middle of the 20th century.
Leduc caught the attention of publisher Simone de Beauvoir (Sandrine Kiberlain), who published her story. But this was just the beginning of Leduc's long struggle for success, acceptance, and most of all friendship and companionship. She's not an easy person to like, constantly berating herself over her appearance, her writing, and questioning her motives for staying alive. Unwanted as a child, Leduc's insecurity and destructiveness is laid bare for all to see in a time when women had few rights. Her writing is raw, exploring subjects such as abortion and sexuality in ways previously unheard of in French society.
Simone de Beauvoir keeps encouraging Leduc to right all her wrongs through writing, and their relationship is the anchor for this film. She introduces her to a distinguished group of intellectuals which include Camus, Sartre, Genet, and the rich benefactor Jacques Guerin (Olivier Gourmet). But regardless of her associations, Leduc eventually shuns them all. De Beauvoir is the only relationship Leduc has managed to sustain, but its ultimately a relationship of intimate rejections.
Devos and Kiberlain excel as this most unlikely of pairings. As much as this film is about their relationship, ultimately it is about the torment in Leduc from repeated abuse and rejection. It was through her writing that Leduc finally understood life, where her preoccupation of the perception of others of herself eventually diminishing, replaced by her observations of them and channelled through her writing.