IRENA’S VOW (2024)

April 15, 2024

Greetings again from the darkness. This is based on the true story of Irena Gut Opdyke who, during WWII, vowed “If I could save a life, I would.” Directed by Louise Archambault, it has been adapted for the screen by Dan Gordon, who was the playwright for the hit Broadway play. Cinema has been utilized many times over the years to shine a light on so many who acted altruistically in protecting Jews from the Nazis. Some of these heroes saved one life, while others saved hundreds. The courage of these folks deserves to be remembered.

The film begins in 1939 as Germany invades Warsaw. A bomb drops on the hospital where Irena (Sophie Nelisse) is working. She is Polish, not Jewish, so she is sent to work in a munitions factory. Her features get her recognized by senior German officer Rugmer (an excellent Dougray Scott, MY WEEK WITH MARILYN, 2011) who reassigns her to a supervisory role over Jews working in a hotel laundry. When Rugmer reassigns her again, this time to his personal villa as housekeeper, she learns the Jews in the laundry will be sent to a concentration camp.

We are fascinated by Irena’s work to rescue and then hide these twelve people … and she does so literally under the feet of Rugmer. Obviously, this puts herself and the hidden Jews in danger, but also Rugmer, who would surely be shot were they discovered in his home. Humor is scarce here. In fact, one of the most horrific scenes you’ll ever view in a movie occurs. It’s a devastating moment and one that won’t soon be exorcised from my mind. In a rare display of levity, Irena befriends an elderly servant named Schultz (Andrzej Seweryn, SCHINDLER’S LIST, 1993) whose advice to her is to keep a low profile and ‘know nothing’. Fans of the old “Hogan’s Heroes” series will appreciate the connection.

The current issue of antisemitism gives this one a bit of a contemporary feel, as does the abortion discussion amongst those hiding. At first, we can’t help but wonder if this was for dramatic effect, although the answer becomes quite clear over the end credits. Sophie Nelisse was exceptional in THE BOOK THIEF, and she is terrific here as well, playing Irena Gut Opdyke who much later in life was honored with Righteous Among the Nations … after being imprisoned for supporting Nazis. The epilogue spells out much of what happened, and all of it leaves us with the utmost respect for this quietly courageous woman.

A Fathom Events presentation on April 15 and April 16, 2024

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Posted by David Ferguson

IN FLAMES (2024, Pakistan)

April 11, 2024

Greetings again from the darkness. One of the unheralded roles movies can play is to help us better understand various cultures around the world. It’s important to grasp the challenges others face based on where they live. The first feature film from writer-director Zarrar Kahn takes us to Pakistan and elegantly lays out cultural traditions that may have even outlasted laws that have passed.

Mariam (Ramesha Nawal) spends much of her waking hours studying for the upcoming medical exams. However, the recent death of her beloved grandfather has the film opening with preparations for the funeral service. His passing has left Mariam, her younger brother Bilal (Jibran Khan), and their mother Fariah (Bakhtawar Mazhar) in a precarious situation. The law allows for Fariah to inherit the apartment, car, and belongings; however, family traditions aren’t quite in sync. Sleazy Uncle Nasir (Adnan Shah) offers to take care of everything for the grieving family. Mariam is wise not to trust him to act in their best interests, but the passive-aggressive discussions between mother and daughter make it clear that Fariah trusts the Uncle.

A brick through the car window reminds us of other differences between Pakistani law and traditions. Mariam is simply driving herself during daylight hours – an activity that traditionalists refuse to accept. Not long after, Mariam meets Asad (Omar Javaid), and a budding romance blossoms as they enjoy a lovely day at the beach. A tragic accident adds even more stress to Mariam’s life, yet the beauty of her character stems from her quiet strength in handling anxiety, grief, and a culture built to hold her back.

The first half of the film employs a relatively slow pace so that we might better understand these people and their situation. Death and visions of departed loved ones play a prominent role, as does the inner-strength of women in a world structured to abuse and take advantage of them. The cinematography of Aigul Nurbulatova deserves special notice here, not just for how the visions and apparitions are handled, but also the interactions which often take place in confined spaces. It all feels as if it could be happening. Ms. Nawal also earns kudos for her performance as Mariam. She allows us to feel the emotions without ever once over-emoting. Kahn’s film was Pakistan’s submission of Oscar consideration last year and it’s easy to see why.

In theaters beginning April 12, 2024

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Posted by David Ferguson

THE TASTE OF THINGS (2023)

February 14, 2024

Greetings again from the darkness. I do not cook and have never had an interest in learning to. Still, I do understand how some are drawn to it as an art form … creating new dishes and new flavors, while generating such pleasurable sensations across the palettes of others. It’s a passion like many professions (or hobbies), and it’s one that is best shared with others.

This is the first film from writer-director Anh Hung Tron since 2016, and he has adapted the popular novel, “The Passionate Epicure” by Marcel Rouff. An extended opening scene (30 plus minutes) features a camera weaving in and around the activities in a kitchen where a gourmet meal is being prepared. Chit-chat does not occur. These people know their work and go about preparing multiple dishes precisely, meticulously, and expertly. Specific timing is the only thing requiring spoken language. Despite this, we learn much about these folks.

Juliette Binoche (Oscar winner, THE ENGLISH PATIENT, 1996) portrays Eugenie, the cook to gourmet chef Dodin, played by Benoit Magimel. Dodin periodically takes leave to mingle with guests, while Eugenie finds pure joy in her task at hand. Two assistants Violette (Galatea Bellugi) and Pauline (Bonnie Chagneau-Ravoire) work efficiently and quickly. Pauline is young and relatively new to the kitchen, yet she possesses a preternatural taste palette and flavor instincts, while Violette is a long-trusted staffer. As viewers, we are in awe of the precision and coordinated efforts that go into preparing world class dishes.

As the film progresses, we learn Dodin has proposed marriage to Eugenie many times over the years. She has always turned him down, choosing instead their kitchen partnership as well as occasional evening soirees in her room (when the door is unlocked). This arrangement works for her and has made him famous in the culinary world. Love and respect exists between the two, and he worries about her too-frequent fainting spells and light-hearted moments. Their conversation one evening after work tells us all we (and they) need to know. As for their backstory, given Eugenie’s mentorship of Pauline, we can’t help but wonder if maybe Dodin had once recognized such rare talent in Eugenie some twenty years past.

This is a film, and these are performances, meant to be savored every bit as much as the dishes we see prepared and the garden Eugenie tends. It’s a delicate world that requires precise movements and commitment … just as any relationship. We can all strive to find the joy and satisfaction on display here, despite knowing that these types of connections will at some point lead to loss.

In theaters on February 14, 2024

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Posted by David Ferguson

PERFECT DAYS (2023, Japan)

February 7, 2024

Greetings again from the darkness. For most folks, life is a constant battle each and every day as we attempt to avoid the chaos stemming from work, health, friends, family, and overall stress. Sometimes we kid ourselves into thinking we have things under control, but inevitably, a sharp reminder pops up letting us know “control” is a mirage, and life is meant to be more rollercoaster than smooth sailing. Longtime (and always interesting) writer-director Wim Wenders and co-writer Takuma Takasaki have teamed up for this Oscar nominated film (Best International Feature) depicting one man’s attempt to control his life.

Veteran actor Koji Yakusho stars as Hirayama. He’s the proverbial creature of habit, which the first 45 minutes of the movie prove. We see him rise from sleep in his simple, well-organized apartment. He spritzes his plants, smiles at the sky, and drives his van to his job as a sanitation worker in the city. The logo on his jumpsuit is The Tokyo Toilet and we follow him on his rounds as he scrubs the public toilets … each structure more artistic than the last. When he pauses for rest, Hirayama takes photos of trees with his camera. Taking pride in his work, this man of few words, has found serenity in his routine which includes nighttime reading (Faulkner, Koda, and even Patricia Highsmith). While driving his van, Hirayama utilizes his carefully selected collection of cassette tapes to provide the classic rock he loves (The Kinks, Lou Reed, etc).

Generational and personality differences are apparent when contrasting Hirayama and his young assistant Takashi (Tokio Emoto). As the elder works towards a job well done, Takashi plays on his phone, flirts with a girl, a strives only for a job done so that he can move on to the more enjoyable evenings. The two are not friends, but the elder does seem to understand the desires and anxiousness of the younger man. At night, Hirayama does his reading and then dreams … visions we see in black and white, many which seem to relate to nature’s beauty of the trees he photographs each day.

When one is so meticulous about the steps for each day, it takes little to shake his world. It could be the actions of his co-worker, a kiss on the cheek, a recurring homeless man in the park, and certainly, the arrival of his teenage niece after she runs away from home. When his sister arrives to take the girl back, we sense the strain in their relationship – something from the past that still lingers. It’s these minor blips, along with an odd game of ‘shadow tag’ that shake Hirayama’s routine and open him (back) up to life’s ups and downs. At first, we believe Wenders is showing us the difference between alone and lonely, as this man seems quite content. But the final shot is of Hirayama’s awakening and acceptance, or at least acknowledgment, of the emotions to be found in uncertainty. It’s a wonderful film, beautifully directed, and expertly acted. “Perfect Day” by Lou Reed and “Feeling Good” by Nina Simone are two of the standout songs featured here.

In theaters beginning February 7, 2024

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2024

January 31, 2024

Every year I find myself with more appreciation for the Slamdance Film Festival. Celebrating innovative independent filmmaking, the lineup always features creative and unconventional movie projects – often from filmmakers just beginning their journey. Below are brief reviews on some of the films I caught virtually through this year’s festival.

BRANDO WITH A GLASS EYE

This story from writer-director Antonis Tsonis is based in Greece, where we find two brothers in dire need of funds. Luca (Yiannis Niarros) is a talented actor who has just received notice that he has been accepted into a prestigious method acting program based in New York City. He needs money for the trip, the tuition, and living expenses. Alekos (Kostas Nikoulis) has a dream of starting his own business. The two come up with the not-so-brilliant idea of a heist to secure the necessary funds.

Predictably, the heist goes bad for these two (previously) non-criminals, and in the ruckus, an innocent bystander gets shot in the stomach. The brothers manage to get away without being caught or identified. Already burdened with the guilt of his mother’s passing, Luca tracks down the gunshot victim, Ilias (Alexandros Chrysanthopoulos) and visits him at the hospital. These visits are a bit funny and quite uncomfortable – making them intriguing to watch. Soon, Luca and the well-to-do Ilias have formed a strange bond of unexpected friendship.

One of the entertaining pieces here is the Luca is always playing a role. Famed method actor Dustin Hoffman is referenced a few times via MARATHON MAN and DOG DAY AFTERNOON, as is the titular Marlin Brando (thankfully no scenes with butter). Luca’s acting exercises make for good entertainment, as both Nikoulis and Chrysanthopoulos are excellent in their roles. We are told that theater is about giving everything to art, and Tsonis has done that with his first feature-length film.

DARLA IN SPACE

Original with a big “O” (wink-wink, nudge-nudge), this zany film from co-writers and co-directors Eric Laplante and Susie Moon is offbeat and humorous while making a statement about money and ethics. It also manages to make orgasms as unsexy as possible.

Darla (Alex E Harris, director Laplante’s wife) is on her 18th business. This serial entrepreneur has cut a commercial for her Kitty Kasket, an artsy, customized product for the remains of deceased pet cats. We see the commercial and it’s as cringeworthy as you would imagine. A trip to the CPA reveals Darla owes a tax lien of a staggering (and unusual) $349,002 thanks to the selfish actions of her overbearing and irresponsible mother (Constance Shulman).

In a most head-scratching turn of events, while mopping in the required figure 8 motion, Darla stumbles on a ‘sentient orgasm-granting kombucha scoby’ named Mother (voiced by JS Oliver) that’s been hidden in a warehouse container. Picture a huge flapjack or pancake and then visualize Darla covering up with it and being treated to a Timothy Leary-inspired orgasm. Darla and Mother cut a deal so that Mother will help Darla raise the money to pay off the tax lien, while Darla will assist Mother fulfill the inexplicable dream of going to space.

Of course, we recognize Mother’s speech pattern as a nod to HAL9000 of Kubrick’s classic 2001: A SPACE ODYSSEY, but that’s about all we recognize here. Another character, Dr Brittney St Clair (Jenn Lyon) seems to always be on TV and is Darla’s inspiration, along with the “Yeah, OK” book. For those of us who respect creativity and risk-taking, filmmakers Laplante and Moon deliver a whopper.

THE ACCIDENT

How do we react when it seems the world is conspiring against us? Do we seize the opportunity to cheat the system if it means gaining an advantage that has eluded us? Does it matter if we are a kind and gentle person just trying to stay afloat? Italian filmmaker Giuseppe Garau delivers a film that offers one set of answers, while asking other questions, and reminding us that there is always a price to pay when our decisions skirt the bounds of ethics.

Marcella (a wonderful Giulia Mazzarino) is a stressed-out woman. Separated from her husband, the demands on her time cause her to be late picking up her daughter and ultimately losing her job. She possesses what we used to call a doormat personality – one who just seems to get walked on and taken advantage of at every turn. In hopes of digging herself out of a hole, Marcella goes into debt to purchase a used tow truck. Unprepared for the backlash from fellow “rescuers”, things turn ugly as her truck is vandalized and she is assaulted. Her claim that Italy is a “civilized country” clearly doesn’t apply to all citizens.

Mr. Garau’s unconventional storytelling is accompanied by an even more unconventional shooting style. Much (probably three-fourths) of the movie is shot inside the truck cab with the lens aimed at Marcella’s profile. We as viewers are literally riding shotgun on her daily adventures. We have such empathy for kind Marcella … right up until the tone changes. An opportunity pops up and she can’t resist, despite knowing this crosses a line of morality that she would have never previously dreamt of crossing. Does this decision prove her mettle, or does it cast her in a true light? We want people to be inherently good, and when they prove they aren’t, we can’t help but be disappointed. However, in Marcella’s situation, we (and she) can’t help but wonder if these actions are forgivable … until the moment we (and she) know they aren’t. It’s a terrific thought-provoking film with one of the best final lines you could ever ask for. The film won the Narrative Feature Grand Prize at Slamdance 2024.

INVISIBLE NATION (documentary)

The festival’s closing night film selection was this penetrative documentary by Vanessa Hope (granddaughter of producer Walter Wanger and classic film actress Joan Bennett). Given the state of global geopolitics at the moment, this inside glimpse of Taiwan through the eyes of its first female President, Tsai Ing-wen couldn’t be more timely.

It’s tough to decide which is more heartbreaking: watching high school students proclaim their identity through a Taiwan they view as an independent nation, or China President Xi Jinping stating, “Taiwan is China”, and that reunification is inevitable. Taiwan has been a democracy for decades, but it’s also a de facto country, one that isn’t even allowed to use their own name at the Olympics (Chinese Taipei).

We immediately gain respect for President Tsai Ing-wen as an exceptionally smart and wise and tough leader. On a daily basis, she deals with suppression from China, and has to walk a fine diplomatic line between supporters and detractors. We learn a bit more about The Sunflower Movement, a student-led rebellion and what role that has played in recent history. Unfortunately, this well-made and informative documentary reinforces the dread we feel towards the future of Taiwan as an independent nation.

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Posted by David Ferguson

THE TEACHER’S LOUNGE (2023, Germany)

January 24, 2024

Greetings again from the darkness. The intensity and stress of everyday life and of everyday people are on full display in this film from writer-director Iler Catak and co-writer Johannes Duncker. They have brilliantly crafted a terrific suspense thriller from the most unexpected setting and group of characters … a junior high school and the faculty and students.

Teacher Carla Nowak (Leone Benesch, THE WHITE RIBBON, “Babylon Berlin”) is new to the school, originally hailing from Poland. She’s the type of teacher who motivates students by having them think creatively and from different perspectives. We can immediately tell she’s as idealistic as she is passionate about her profession. When one of her students is accused of stealing money, she’s at odds with school principal Dr Bohm (Anne-Kathrin Gummich) on the interrogation of students, as well as the conference with the accused student’s parents.

It turns out there is quite an epidemic of theft and dishonesty at the school, and it extends to the titular teachers’ lounge where Carla herself witnesses an occurrence. Carla decides to set a trap using her laptop’s camera and her unattended wallet. When the camera ‘catches’ the sleeve of an unusual blouse print, Carla confronts the ‘obvious’ culprit, school administrator Ms. Kuhn (Eva Lobau), who adamantly denies the accusation. Further complicating matters, Carla shows the video to Dr Bohm, who promptly suspends Ms. Kuhn, who also happens to be the mother of Carla’s favorite student, Oskar (Leonard Stettnisch).

Carla’s best intentions seem to backfire at every turn. She believes in right and wrong, and also in forgiveness and second chances (especially for kids). Her anxiety heightens at each misstep, whether by her, the administration, or students. Soon, even Oskar is lashing out and threatening her, despite Carla’s attempt to shield him. Many find Carla’s use of the laptop camera more offensive than the actual theft, and the student newspaper journalists seize on this opportunity to incite rebellion and independence.

Much of what we witness on screen is the result of actions taken out of our sightline – we are left to make assumptions right alongside Carla. Film Editor Gesa Jager deserves special recognition for keeping us just a bit off balance. Emptying the teacher’s coffee fund, cheating on a test, defying the truth … all of these (and more) actions are used by filmmaker Catak in delivering a snapshot of a society where we no longer trust one another. Morality, integrity, misplaced concern, racism, classism … these all play a role here in delivering the message. Leone Benesch is exceptional in the lead role, and Eva Lobau goes full throttle in her attempts to show she was wronged. It’s a Rubik’s Cube that serves up our final message, as well as providing some hope that good intentions do sometimes pay off. Yesterday, it was announced that the film has been Oscar nominated for Best International Feature Film. A well-deserved honor.

Opens in theaters on January 26, 2024

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Posted by David Ferguson

DRIVING MADELEINE (2024, France)

January 19, 2024

Greetings again from the darkness. This film surprised me with two clear and valuable reminders. First, with a bit of effort, we can always have a positive impact on others – sometimes to the degree that we change their life. Second, everyone has a life story, and we only learn it if we take the time to ask and listen. Writer-director Christian Carion is known for THE GIRL FROM PARIS (2001) and the superb Oscar nominated JOYEUX NOEL (2005). With co-writer Cyril Gely, Carion delivers a heartfelt story of two people with seemingly nothing in common, crossing paths and making a difference.

Charles (Dany Boon) is a Paris-based taxi driver who feels his life crumbling ever so quickly. His marriage is on the rocks. His financial woes seem insurmountable. He’s one more traffic violation from losing his driver’s license, which means no driving a taxi, and of course, more money problems. His dispatcher calls and offers him a fare that would take him cross-town. At first Charles balks, but quickly remembers he needs the cash. Extremely annoyed when he arrives, Charles repeatedly honks his horn until an elderly lady assures him that she’s ready for the ride. In fact, it’s to be Madeleine’s (Line Renaud) final ride. A trip to the nursing home to live out her final days.

Appearing years short of her 92-year age, Madeleine requests Charles to drive her through the areas that were key to her life. It’s a life that has a shocking past and one that slowly emerges as her charms and warmth thaw Charles’ previously irritated demeanor. It’s fascinating to watch a bond … even a friendship … formed from this unusual day trip around the city. These two should share little common ground, but what we find is that people tend to respond to kindness and listening and sincerity. These two help each other in ways neither could have imagined.

Comparisons to Best Picture Oscar winner DRIVING MISS DAISY (1989) are understandable, yet Madeleine and Charles carve out their own movie niche, and we find ourselves liking each of them. Dany Boone starred in director Carion’s history-based JOYEUX NOEL (2005), and although he is best known for his comedic work, that film and this one proves his dramatic chops. Line Renaud began performing in the 1940’s and is a well-known singer in France. As a ‘sometime’ actress, she lights up the screen here as our beloved and spirited Madeleine. The ending may be a bit of a stretch (even though we see it coming), but the real joy here is watching these two connect as flawed human beings.

Progressive theatrical openings on January 12, 19, 26, February 2, 2024

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Posted by David Ferguson

THE ETERNAL MEMORY (2023, doc)

January 5, 2024

Greetings again from the darkness. Augusto and Paulina are a real couple facing real challenges in the real world. Their challenges aren’t related to where to head for dinner or whether Augusto will leave the toilet seat up or down. No, their daily challenges are whether Augusto will wake up and recognize his wife, or even know his own name. Chilean Documentarian Maite Alberti climbs inside this relationship to show us the real impact of Alzheimer’s Disease, and does so expertly and intimately.

Augusto Gongora was a professional News Reporter/Journalist during the Pinochet regime, and Paulina Urrutia was a successful actor … both well known in their country. We even see clips and archival newsreels of Augusto’s work. However, filmed during COVID, almost the entirety of the film is focused on these two people taking each day as it comes … the good days and the not-so-good days. And perhaps ‘moments’ is a better measure than days, as this cruel disease can shift quickly. Paulina handled much of the camera work so the director and crew could keep safe distance during the pandemic, and the result is a few blurry shots, none of which detract from what we are meant to see.

Paulina helps Augusto with his memory of work and kids. She helps him take a shower. She reads to him when they take walks, and she cringes as he rides a bicycle. She helps him with his eye protection as they view the eclipse. They even treasure the time they can dance together. There are many times they share a laugh, and there are times Paulina cries alone or Augusto appears lost. Mostly they have their tender moments which define the relationship that they so want to hold on to … all while surrounded by Augusto’s lifelong collection of books that fill the house – most of which he can no longer read.

Theirs is a love story. And it’s real.

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Posted by David Ferguson

THE ZONE OF INTEREST (2023)

December 15, 2023

Greetings again from the darkness. I’ve always had an issue with movies that portray the human or “normal” side of Nazis. Of course, we understand these were human beings – many caught in a no-win situation of self-preservation; however, we just find it so difficult to accept that decent people could carry out these orders of atrocities. Writer-director Jonathan Glazer (UNDER THE SKIN, 2013, SEXY BEAST, 2000, and numerous music videos) has loosely adapted the screenplay from the 2014 novel by Martin Amis, who passed away the same day the movie premiered at Cannes.

Glazer opens the film with a totally black screen. It lasts 2-3 minutes, and feels longer. He purposefully sets us up to fine tune our listening skills for his film that is every bit as much about sound as it is visuals. As the picture comes into focus, we find a family enjoying a day of sun and swimming at a river. When the dad stumbles on something, he immediately gathers up the kids and everyone heads home to bathe.

The man is Rudolph Hoss (played by Christian Friedel), the commandant of Auschwitz concentration camp in Poland during WWII. He and his wife, Hedwig “Heddy” Hoss (Sandra Huller, who also stars in ANATOMY OF A FALL, another outstanding film this year) are raising their kids in a beautiful home with a backyard that borders the wall of Auschwitz. While their servants clean and cook, Hedwig tends to her lush garden while the kids play in and out of the house. Once I realized this family was living an ordinary life in this extraordinary setting, a knot formed in my stomach … a knot that took a couple of days to subside, and has returned as I write this review.

Background sounds include periodic screams of terror and pain, as well as distant gun shots blending with the sounds of kids chirping and women chatting. When cinematographer Lukasz Zal (IDA, 2014) shoots a certain angle, we see the smokestacks rising above the wall, though we don’t venture inside the camp gates, even for Rudolph’s birthday when the other Nazi soldiers pay their respects to him. Hedwig is seen picking through items seized from those slaughtered mere feet from her front door. She takes pride in her nickname, “the Queen of Auschwitz”, even as she readily nabs a luxury coat.

Plot and drama are not big players here. We briefly see Rudolph in meetings with Nazi officials as they brainstorm on methods of improving efficiencies of mass extermination. The closest thing to family drama occurs when Rudolph is promoted to Berlin, and Hedwig refuses to go, claiming “This is our home.” It’s an incredible statement highlighting the mental block (or acceptance?) she has of the proximity to horrific actions, and the fact that evil and cruelty is the family business.

The sound design from Johnnie Burn (NOPE, 2021) and score from Mica Levi (JACKIE, 2016) play vital roles in setting and maintaining the atmosphere in a movie that rarely shifts tone and is never in a rush. By offering a different perspective, director Glazer provides a haunting film that will stick with you. He ends things with a glimpse inside the Auschwitz-Birkenau Museum where we see piles of shoes, suitcases, etc. The whole film is chilling, and painfully contemporary despite its WWII setting.

Opens in theaters on December 15, 2023

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Posted by David Ferguson

THE BOY AND THE HERON (2023, Japan, animation)

December 6, 2023

Greetings again from the darkness. Fast approaching his 83rd birthday, legendary Japanese animator Hayao Miyazaki claims this is the final film of his illustrious career. In 2015, he was presented with an honorary Oscar, and he has had three films nominated for Best Animated Feature: THE WIND RISES (2013), HOWL’S MOVING CASTLE (2005), and Oscar winner SPIRITED AWAY (2002). His career in animation dates back to the early 1960’s and this latest, which took six-plus years to complete, proves he is still amongst the best.

A young boy’s mother dies in a hospital fire during WWII. Mahito arrives to witness her become part of the flames – the first example of Miyazaki’s method of creating occurrences that are outside the norm. Many of his films include childhood trauma, and a few years after the fire, Mahito and his father move to a new home where his mother’s younger sister, Nutsuko, is to become his stepmother, while expecting a new child. Dad’s factory, which produces fighter jet parts, is booming during the war, and Mahito rebels a bit due to grief and all the changes … and has no appreciation for the titular gray Heron that’s obsessed with him.

A mystical tower on the grounds leads Mahito to an alternate world delicately balanced between the living and the dead. The intrusive Heron follows him, seemingly offering bad advice at most every step. On this journey, Mahito meets Kiriko, a great adventurer who takes him under her wing as he crosses paths with large hungry parakeets who sharpen their giant knives, and the Warawara, who are funny little creatures headed to life in another dimension – at least those that escape the pelicans. We understand who Kiriko represents, but it takes Mahito a while to catch on.

Spirit animals and mysticism follow Mahito along the way, and the themes of life and death are mixed in throughout. Miyazaki offers a world teetering and with an uncertain future. The stories are inspired by his own life and the 1937 childhood book, “How Do You Live?” by Genzaburo Yoshino. Miyazaki co-founded Studio Ghibli, and he remains a true artist with his stunning and beautiful hand-drawn animation blended into a multi-faceted story. We learn Mahito means “sincere one”, and his lesson here is that life is worth living and fighting through.

Opening in theaters December 8, 2023

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2 Comments | Animation, Fantasy, World Cinema/Foreign | Tagged: , | Permalink
Posted by David Ferguson

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