ICEMAN (Der Mann aus dem Eis, 2019)

March 14, 2019

 Greetings again from the darkness. Some writers struggle with how to end their story. In this case, writer-director Felix Randau had his ending served up in newspaper headlines almost 30 years ago, and his challenge was to come up with an interesting beginning and middle (as well as meaning for the ending). In 1991, at almost 10,000 feet above sea level, a body was discovered. Originally thought to be a missing hiker, it was determined instead to be a 5300 year old Neolithic man. Thanks to the ice, he was well-preserved along with his clothes, tools, and supplies.

Nicknamed Otzi the Iceman since he was found in the Otztal Alps (Italy), some basic information could be derived about his existence and death. Filmmaker Randau then created a fictional account of his final days, speculating on and imagining the life he led. German actor Jurgen Vogel stars as Kelab (Otzi the Iceman), and we get our first glimpse of native Neolithic life in the community of his clan. The mother of his child dies giving birth, and we see Kelab display a magical box used as a shrine of worship to pay respect. The contents of the box are not revealed until near the end of the film.

While Kelab is out hunting for food, the village is violently attacked. The invasion kills most of the inhabitants and destroys their homes and supplies. Kelab takes the surviving infant child with him as he sets off to seek revenge. As he tracks those who attacked, we see him balance his incredibly strong survival instincts with his emotional need for revenge. Another community led by the legendary Franco Nero offers Kelab a place to rest and a safe haven for the infant child that couldn’t possibly make the trek that lies ahead for his father. The scenery is breathtaking and environment treacherous.

Very little dialogue is spoken, and what there is must be interpreted by the situation. The filmmakers and researchers decided on an early form of Rhaetian for the film, so unless you are a world renowned linguist, you’ll likely have to join the bulk of viewers in interpreting meaning. Mr. Vogel is quite believable in his performance … at times we forget he’s an actor rather than the Neolithic man he’s portraying.

The costumes and makeup are excellent and realistic, while the setting, scenery and environment (nature) are the true co-star. We feel the cold and grasp the harsh conditions. This was a violent life … typically out of necessity, yet sometimes out of emotion. QUEST FOR FIRE (not CAVEMAN) and the brutal elements of THE REVENANT (without the bear) are recalled; however, Mr. Randau’s dramatized account of Kelab’s last days in pursuit of vengeance are a perfect fit for this coldest of all cold cases. Otzi the Iceman’s preserved mummy can be viewed at the South Tyrol Museum of Archaeology in Bolzano, Italy.

watch the trailer:

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Posted by David Ferguson

MISSION OF HONOR (2019)

March 14, 2019

aka HURRICANE

 Greetings again from the darkness. The true story of the Polish fighter pilots who helped the Royal Air Force (RAF) win the Battle of Britain in WWII is certainly fascinating and deserves telling. However, the budget constraints are a hindrance to this production, and though the story gets told, it’s missing the visual flair we’ve come to expect. It’s the first screenplay from co-writers Robert Ryan and Alastair Galbraith, and together with director David Blair, they all seem to understand the historical importance of the story and those involved.

The film begins in 1940 German occupied France, and this is where we first see Zumbach (played by Iwan Rheon), on his way to meet up with his fellow Polish pilots in England. Poland had only been a free standing country for about 20 years at this time, and these men were committed to salvaging their country … even if this meant fighting with the RAF against Germany. Initially the arrogance of British commanders borders on racism, as it’s assumed the Polish fighters don’t compare to the elite Royal Air Force pilots. Once stationed in Northolt under Kentowski (Milo Gibson, Mel’s son), Squadron 303 begins to take shape flying Hurricanes, disproving most of the preconceptions of British brass and pilots; although their success does cause some jealousy in the ranks over the prowess of the Polish pilots.

The less than stellar CGI used for the dogfights is a bit distracting, especially since there is only minimal character development. Polish fighter ace Witold Urbanowicz (played by Dorcin Morocinski) is idolized, but we learn very little about the man outside of flashbacks of his family in war torn Poland. There is a budding romance with Zumbach and Phyllis Lambert (Stephanie Martini), but quite a few assumptions must be made to take us to their final sequence. The character of Ms. Lambert is the standout female role here, and though she’s given a few quality scenes, it’s unfortunate that it’s her shock of blonde hair that seems to stand out most.

The film concludes in 1946 London with the victory parade for King George VI. Despite Polish pilots helping immensely in the RAF victory in the Battle of Britain, no Polish pilots marched with the Allied forces. As a bitter Zumbach states, “we wouldn’t want to offend %&*$ing Stalin.” Squadron 303 was the highest scoring squadron of RAF during the war, and it’s unforgivable how the British viewed Polish casualties as mere numbers, despite the dead being friends and countrymen to the Polish pilots. This is overall a respectful approach to a key historical story … a story in which all Polish people should take pride.

watch the trailer:

 

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Posted by David Ferguson

ALICE (2019)

March 13, 2019

 Greetings again from the darkness. So much trust goes into a marriage. We try to choose someone we can imagine growing old with, and also whose morals are in line with our own … especially if raising kids is part of the plan. Of course sometimes things don’t work out as hoped, and writer-director Josephine Mackerras shows us what happens when things go horribly wrong – when the person we have trusted is so drastically different than the person we believed them to be.

Alice (Emilie Piponnier) and Francois (Martin Swabey) appear to be a normal wife and husband raising a cute little boy named Jules. Alice is a beautiful and caring person, whose goodness shines through in her smile. Francois is the charming type who recites literary passages at dinner parties before planting a passionate kiss on his wife in front of everyone at the table. One day, Alice’s credit card is declined which leads her down the dark trail no one hopes to travel. Francois has maxed out the cards and emptied the bank account. Worse yet, their apartment is nearing foreclosure from lack of payments.

Further research leads Alice to Elegant Escorts and the realization that her beloved husband has been leading a secret double life – one that has left her penniless with a young child. What happens next is quite surprising. Sweet Alice proves to be much tougher than she appears. After some terrible guidance from her mother, Alice takes control of the situation in order to save her home and provide for her son. Her friend and mentor in her new vocation is Lisa (Chloe Boreham), who offers tips and emotional support. This gets her through the clumsy and awkward initial attempts at carrying out her new duties. Soon she believes the plan is working and she’ll be able to save her home, but alas, Francois reappears and complicates the situation.

This is the first feature film from Ms. Mackerras and the film won a Grand Jury prize at SXSW. The obvious comparison here is to Louis Bunuel’s masterpiece BELLE DE JOUR (1967) starring Catherine Deneuve, with the obvious difference being one character was bored and craved attention, while another was desperate to save her home. Self-discovery plays a role for both. The tagline for this film is: “She did everything right, until it all went wrong”, and it’s a reminder that often we find the inner strength needed during times of crisis. The film also offers up a nice moral of the story in noting the cleansing power of nature. It’s a terrific little film that flashes significant talent from filmmaker Josephine Mackerras and lead actress Emilie Piponnier.

watch the trailer:

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Posted by David Ferguson

THE HEIRESSES (2019, Paraguay)

February 28, 2019

 Greetings again from the darkness. It would be a tight race to determine which is rarer: a Paraguayan film with distribution, or a movie centered on a middle-aged lesbian couple together for 30 years. The first feature film from writer-director Marcelo Martinessi is remarkable in its level of quiet, as everything that matters lies beneath the surface. Neither happiness nor sadness is particularly obvious at any given time.

Chela (Ana Brun) and Chiquita (Margarita Irun) live in the capital city of Asuncion and are both from wealthy families. They are in the process of selling off family heirlooms from their large (and well worn) house due to the debt run up by Chiquita … a debt that has her headed soon to jail after being found guilty of fraud. Chela, the introverted artist, is embarrassed and withdrawn by their situation, whereas the more affable and gregarious Chiquita takes it all in stride. We can’t help but notice that the items being sold and this couple’s relationship both seem relics of the past, trapped in a time warp.

Confinement and restrictions of movement play a role for both women. Obviously Chiquita is confined to jail, while the cave-like house surrounds Chela. Early on, we see further contrasts. Chiquita flourishes in jail, while Chela struggles with the placement of her coffee cup on the silver serving tray delivered by her maid (Nilda Gonzalez). In fact, the hiring of a maid is somewhat confounding to us – who does that while selling off furnishings to make ends meet?

Although Chela refuses help from the friends she has generously assisted over the years, circumstances are such that she kind of falls into a private uber-taxi business for the local ladies (doctor appointments, card games, funerals, etc). Chela slowly begins to discover living life again. After years of not driving, she’s a bit nervous at first, but driving the car is her literal vehicle to a new life approach. Her jail visits with Chiquita are a bit awkward, but things turn for Chela when she meets and becomes enamored with Angy (Ana Ivanova). Angy is a lively woman who ignites interest and hope within Chela. As an object of desire, Angy excels … turning Chela on to designer sunglasses and cigarettes.

All three lead actresses are relatively inexperienced, cinematically speaking; yet each delivers an exceptional performance. Ms. Irun is a stage veteran, while Ms. Ivanova has a terrific screen presence. Most remarkably, this is Ms. Brun’s first movie role, and she excels as a quiet listener and silent observer through doorways. As she emerges from the shadows, her transformation offers hope, while still remaining cloaked in sadness. A more experienced actress might have instinctually offered up a more showy performance, though Ms. Brun’s Chela is what keeps us mesmerized.

To call this film female-centric is an understatement. The few men are mere blurs on the screen. It’s no wonder the film has been so well received at festivals, as the story, performances, music and camera work offer something a bit out of the norm. It was Paraguay’s submission for Best Foreign Language Oscar, and it would have fit quite comfortably with the final nominations.

watch the trailer:

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Posted by David Ferguson

Oscar Nominated Live Action Shorts 2019

February 22, 2019

Oscar Nominated Live Action Shorts 2019

Top-to-bottom, this is the strongest shorts category I can recall. The quality of each is such that winning the Oscar would be well-deserved for any of the nominees. Four of the five are tension-packed, while the fifth is just as emotional – only in a more intimate manner. That being said, I have listed these in order of my preference. However, should you ask me tomorrow, the order might change. All five films are that strong. Just a reminder, these are not Oscar predictions, just personal opinion.

 

 MADRE (Spain) 19 min

Greetings again from the darkness. Filmmaker Rodrigo Sorogoyen begins his film with a long, slow pan shot across a deserted beach until we see the waves rhythmically rolling in and out. It appears to be a most peaceful setting, but instead it’s actually the set up for one of the most intense and emotionally shattering short films ever.

Marta Nieto and her mother Blanca Apilanez are hanging around the apartment on what’s a typical day for them. When Marta’s answers a call, an unimaginable horror unfolds via cell phone. On the other end is her 6 year old son. He’s on holiday with his father, Marta’s ex. Only her son tells her, as his cell phone battery is dying, that dad left him and now he’s alone on a beach … he thinks it’s France, but could be Spain.

Marta and her mother juggle cell phones as they try to track down the father, while keeping the young boy as calm as possible. It’s a captivating and stunning performance by Marta Nieto, and a brilliant piece of filmmaking from Mr. Sorogoyen. It may be the most unsettling 19 minutes of movie I’ve seen, and if it had gone any longer, it might have become truly unbearable.

 

 DETAINMENT (Ireland) 30 min

Greetings again from the darkness. Evil personified. That is the only possible way to describe 10 year old boys Robert Thompson and Jon Venables. In February 1993, the British boys skipped school and spent the day doing typically mischievous activities around the local shopping center. Typical that is until they abducted 2 year old James Bulger.

This is writer-director Vincent Lambe’s 4th short film, and it’s based on the disturbingly true story of the abduction-torture-murder of toddler James by the two young boys. The film draws directly from the actual tapes of interviews/interrogations once the boys were identified from the grainy security footage. This dramatization includes the pleas of innocence from the boys, as well as the reactions of both their parents and the police officers. The scenes depicting the questioning of the boys is powerful, and the scenes of the 3 boys together is more than most of us can bear, despite little of the crime being shown (thankfully).

Young actors Ely Solan (Jon) and Leon Hughes (Robert) are both extraordinary in their performances. Director Lambe deftly applies judgment in what is shown on screen and what instead corrupts our thoughts. It’s heart-breaking to see what the parents of these boys must endure, but it’s beyond our comprehension to imagine what Baby James Bulger’s parents must have endured. The boys were tried as adults in 1993, and both subsequently released from incarceration and given assumed identities for their own protection. If somehow Lambe’s short film isn’t disturbing enough, it’s pretty simple to get the full report of what the boys inflicted on that poor child. Evil personified.

 

 FAUVE (Canada) 19 min

Greetings again from the darkness. Two young boys, obviously good friends, are spending the day just hanging out and exploring the area on the outskirts of town. They are engaged in an ongoing game of one-upmanship as they spontaneously compete over a string of mindless pranks to see who is the bravest or toughest.

Director Jeremy Comte places Tyler (Felix Grenier) and Benjamin (Alexandre Perreault) in common situations that most of us (at least from my generation) easily recognize. A vacant lot or deserted train car are easily turned into a playground as the mischievous boys deal with their unchaperoned independence. We find ourselves chuckling at their harmless teasing … well, harmless until it’s not.

Even with a run time of only 14 minutes, director Comte doesn’t rush the set up. It’s just a lazy, care-free day until the boys make their way into an open-pit mining zone. For someone with a quicksand-phobia (thanks to those early Tarzan movies), the shift in tone delivers an emotional gut-punch. A terrific final scene caps off a powerhouse short film that deserves the festival accolades it has received. From Canada with French dialogue, expect this one to receive even more award consideration.

 

 MARGUERITE (Canada) 19 min

Greetings again from the darkness. It was after the Oscar nominations were announced that I tracked down this one, the last of the 5 nominated live action shorts in the category that I’ve watched. While the other 4 nominees are tension-packed, this beautiful 18 minute film from writer-director Marianne Farley is serene and both heart-warming and heart-breaking.

Beatrice Picard began her acting career in the 1950’s, and here she is extraordinary in the titular role. Marguerite is a lonely elderly woman in the final stage of life. Understanding that her time is near, she has refused the daily dialysis recommended by her doctor. A window in her living room is literally her window to the world. As her body slowly fails, she is a captive in her home. Her time is spent anxiously awaiting the daily arrival of her in-home caregiver Rachel (Sandrine Bisson), a patient and compassionate woman who provides care, as well as Marguerite’s only human contact.

Bathing Marguerite, shampooing her hair, helping her get dressed, and applying lotion are part of Rachel’s routine. The importance of these moments is obvious by Marguerite’s face. One day she overhears a brief phone conversation between Rachel and her partner, which leads to an innocent question … the answer which ignites a memory in Marguerite that causes much reflection.

Forbidden love left unrequited and unmentioned highlights the generational and societal differences between these two women in ways we don’t often consider. It also brings them closer together. The wound that won’t heal on her foot is truly insignificant to the decades-long pain Marguerite has carried in her heart. Making peace with her past allows her final stage to play out thanks in part to the tender compassion shown by Rachel.

Marianne Farley is a French Canadian known mostly as an actress, yet this, her second short film as director creates a deep connection despite minimal dialogue between the two women. Cinematographer Marc Simpson-Threlford expertly uses lighting, color and framing to guide us through. C’est beau.

 

 SKIN (USA) 20 min

Greetings again from the darkness. Bestowed with an Oscar nomination for Best Live Action Short Film, this story from Israeli director Guy Nattiv, who co-wrote the script with Sharon Maymon, is stunning and frightening in how much of a punch it packs into 19 minutes. The influence parents have on their kids is at the heart of this devastating tale.

Jackson Robert Scott (Georgie from IT) stars as Troy, the young son of Jeffrey (Jonathan Tucker, “Justified”) and Christa (Danielle Macdonald, PATTI CAKE$). The film opens with dad Jeffrey taking the shears to Troy’s hair on the front porch. Then all 3 hop in the car with friends, singing a horribly inappropriate song on the way to shooting guns at beer bottles. Later, Troy convinces his dad to take him “surfing”. Of course, there are no waves in sight … you just have to see it to believe it.

Two things are abundantly clear: these are stereotypical hillbillies, and Troy loves his dad very much. Soon we learn something else. Dad is a white supremacist. While at the grocery store, a black man (Ashley Thomas) offers a friendly greeting to Troy, and dad snaps into vile racist mode. Seemingly out of nowhere, Jeffrey’s fellow gang of racists join him in violently pummeling the friendly black man. The vicious beating takes place in front of the man’s frantic wife, daughter and son (roughly the same age as Troy). It’s a family that mirrors Troy’s, with one exception – skin color.

It’s not long before a group of African-Americans take revenge on Jeffrey, albeit in a less violent, yet more permanent and clever manner. Bronny (Lonny Chavis, “This is Us”) is allowed to watch as the revenge plays out. The tables have been turned on Jeffrey, and the shocking ending proves that hate only leads to more hate … and sometimes hate is blind. Racism is a self-perpetuating culture that survives only when passed from one generation to the next. Filmmaker Nattiv and his producing partner-wife Jaime Ray Newman remind us that we reap what we sow. They have a feature length film being released later this year based on the true story of Bryon Widner – a story that likely influenced this impactful short.

 

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Posted by David Ferguson

Oscar Nominate Documentary Shorts 2019

February 22, 2019

Oscar Nominated Documentary Shorts 2019

By definition, films in this category pack a punch with a real life story into a run time of just a few minutes. It’s possible one or two could be transformed into a feature length documentary or narrative interpretation, and yet it’s remarkable how much information or emotion can be relayed with a short film. In an unusual twist, one of the nominated films offers only an edited clip of historical footage – yet it will likely stick with you. Below you will find the five films listed these in order of my preference. Just a reminder, these are not Oscar predictions, just personal opinion.

 

 PERIOD. END OF SENTENCE (USA) 26 minutes

‘It’s some type of illness that mostly affects girls.’ That’s paraphrasing the answer from a group of young Indian men when asked to define menstruation. Unfortunately, the women aren’t much better educated or informed, and the subject remains taboo in rural India. The Pad Project is designed to empower women by providing a machine that makes low cost pads, far superior and more hygienic than the “cloths” they have used for generations.

Director Rayka Zehtabchi introduces us to the man who invented the machine, but this story is about the women. Not only do the pads improve their life and health, but by marketing the pads, the women experience financial gains that dramatically impact their lifestyle. The film is surprisingly humorous and uplifting, and it’s refreshing to see such a wonderful solution to what’s referred to as “a girl problem”. The film will be available on Netflix beginning February 12.

 

 BLACK SHEEP (UK), 21 minutes

When a young boy, not so dissimilar to her 10 year old Nicaraguan son, is killed on the streets of her London neighborhood, a mother takes steps she feels are necessary to protect her son. They relocate to Essex for safety, unaware that extreme racism exists. With the camera in close-up mode, a now adult Cornelius Walker re-tells his story as reenactments periodically accompany his words.

Director Ed Perkins captures the pain and intimacy of the decisions that led Cornelius to try and fit in … “make friends with monsters”, as he puts it. What a stark reminder of how strong our survival instincts are. We can rationalize actions that wouldn’t typically be considered, even if the long-term price paid for those decisions is to be forever haunted by losing our true self. The reenactments may cost it some votes in this category, but Mr. Walker’s story will stick with you.

 

 END GAME (USA), 40 minutes

Though emotions run high in all 5 of the Doc Short nominees, none reach the tearjerker level and gut-punch of this look at palliative care by co-directors Rob Epstein and Jeffrey Friedman. Teams of medical professionals are committed to end of life care and helping patients and families deal with death.

Mr. Epstein is a two time Oscar winner for Doc Feature (THE TIMES OF HARVEY MILK, 1984; COMMON THREADS: STORIES FROM THE QUILTS, 1989) and he and Mr. Friedman previously collaborated on the 2014 doc AND THE OSCAR GOES TO … There is an interesting look at the San Francisco Zen Hospice Guest House, but there is a bit too much time spent on one patient/family and the film is very similar to the previously nominated EXTREMIS (2016).

 

 A NIGHT AT THE GARDEN (USA), 7 minutes

On February 20, 1939, a Nazi-American rally took place at Madison Square Garden in New York City. Perhaps you were aware of this or not, but either way, this brief 7 minute clip edited from archival footage will surely chill you to the bone.

The rally takes place shortly before WWII begins, and the pomp and circumstance, as well as the scope of the event, are startling. Standing at a podium in front of a giant George Washington portrait, Fritz Kuhn, leader of the German American Bund, spews vile hate-filled words and the crowd of 20,000 cheers.

Director Marshall Curry has been previously nominated twice for Documentary Feature, and his work here is wisely restricted to editing the footage. No commentary or interview is necessary. The name you will want to know after this 7 minutes is Isadore Greenbaum.

 

 LIFEBOAT (USA), 34 minutes

Thousands of refugees take to rafts and battered boats in the Mediterranean Sea in hopes of escaping an environment of poverty, torture and/or bombings. They realize it’s a life or death step, yet they believe those odds are better than staying put. This is director Skye Fitzgerald’s follow up to his 2015 doc short 50 FEET FROM SYRIA, and the second of what he plans will be a trilogy.

We follow Sea-Watch Captain Jon Castle as his crew, funded by a German non-profit dedicated to rescuing refugees, strives to save as many as possible before starvation, illness or drowning occurs. Sometimes they succeed. This one would make an interesting double-bill with last year’s winner THE WHITE HELMETS, which focused on rescues on land (after bombings). Captain Castle (who passed away last year) makes the point that the rescues are the right thing to do as humans, as it could easily be us in need of rescue sometime in the future. Director Fitzgerald pays little attention to political arguments, and presents this as a humanitarian issue.

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Posted by David Ferguson

Oscar Nominated Animated Shorts 2019

February 22, 2019

Oscar Nominated Animated Shorts 2019

The difference in production value is quite evident in the animated shorts category, as not all filmmakers are backed by the resources of Pixar or Disney. What really stands out here is the strength of the stories and how they play on our real life emotions and memories. Below you will find these listed in order of my preference. Just a reminder, these are not Oscar predictions, just personal opinion.

 

 WEEKENDS (USA) 16 minutes

Familiarity, in fact, all-too-familiar, may be the difference for this story from Trevor Jimenez. A young son gets bounced back and forth between the homes of his divorced parents. Initially the mother keeps things simple, with an emphasis on love. In contrast, trips to dad’s place include scary movies, video games, fast food and plenty of hands-on play time (with weapons and costumes!).

Fittingly, dad’s car radio is on an endless stream of Dire Straits’ “Money for Nothing”, while the other times are covered by the familiar and recognizable chords of Satie. The boy is caught between the two adults trying to put their own lives back together, and some amazing animation takes us through the boy’s imaginative dream and nightmare sequences.

While at Pixar, Mr. Jimenez worked on FINDING DORY and COCO, and this one seems to carry personal memories for him.

 

 ANIMAL BEHAVIOUR (Canada) 14 minutes

The husband and wife animation team of David Fine and Alison Snowden (two very real, not animated creators) won an Oscar in this category in 1995 for their short BOB’S BIRTHDAY, which was then turned into a TV series “Bob and Margaret”. It’s not a stretch to imagine that the animators have hopes for the same path for their latest.

We enter a group therapy session for an unusual collection of critters, including: a praying mantis, a leech, a bird, and a pig.  The session is led by a dog, and is soon crashed by a newcomer – a boisterous gorilla. The gag here – beyond the obvious – is that each of these critters is dealing with normal traits for their species, though they sound particularly bothersome when stated aloud. Kids are not the target market here given all the talk about sex (stay away from the praying mantis) and orifices. Creativity is on display here, and don’t be surprised if some mutation of this ends up on TV.

 

 ONE SMALL STEP (USA, China) 8 minutes

Former Disney animators Andrew Chesworth (animator on MOANA and FROZEN) and Bobby Pontillas co-direct a script co-written with Taiko Studios founder Shaofu Zhang. It’s a story of a single father and his Chinese-American daughter Luna, and takes us through her early childhood dreams of walking on the moon to her college years taking astrophysics classes.

The devoted father is there to encourage his young daughter’s dreams, and later to quietly support her with meals and shoe repair. It’s yet another reminder of how the efforts of parents sometimes go unappreciated, but the commitment never fades. The ending here is predictable, yet no less powerful and emotional.

 

 

 BAO – Pixar (USA) 8 minutes

It should come as no surprise that Pixar has a nomination in this category. The premier animation studio employees some immensely talented folks, including Domee Shi (previously a storyboard artist on INCREDIBLES 2), who becomes the first woman to direct a Pixar short film.

As with many Pixar projects, this one will likely resonate with parents as much, if not more, than with kids. Of course there are some exceptional visuals; however, it’s more poignantly a look at the stages of life … especially the trials and tribulations of parenthood (especially the overprotective type). This one is far and away the most viewed entry since it ran before theatrical showings of INCREDIBLES 2, which itself is Oscar nominated for Best Animated Feature.

Some may struggle a bit with the idea of a homemade dumpling coming to life and being raised as a growing kid, but the ending will likely hit home with most every parent.

 

 LATE AFTERNOON (Ireland) 10 minutes

Louise Bagnall previously worked as an animator on the Oscar nominated SONG OF THE SEA, but this one is all hers. These days there is no shortage of projects putting dementia front and center, and we quickly realize the elderly Emily (voiced by the great Fionnula Flanagan) suffers from this dreaded affliction.

The fantastical dreamlike sequences carry us away in Emily’s memories of life. These snippets of her childhood and adult life tell us much about the woman who now finds happiness in a biscuit with her tea. The past and present are often a jumbled mess for Emily, and although her caretaker’s identity is no real mystery, it is still a wonderful moment when it clicks for Emily … even if we know it’s only for a short while.

 

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Posted by David Ferguson

EVERYBODY KNOWS (2019, Todos lo saben)

February 21, 2019

 Greetings again from the darkness. Sometimes we just click with the work of a particular filmmaker, and such is the case with Iranian-born Asghar Farhadi. From ABOUT ELLY (2009) to his two Oscar wins for Foreign Language films, the instant classic A SEPARATION (2011) and THE SALESMAN (2016), Mr. Farhadi has proven himself to be a terrific and distinct story teller. As an added bonus in this latest film, he works with cinematographer (and frequent Pedro Almodovar collaborator) Jose Luis Alcaine to take his visuals to a new level.

There is a playful and warm and familiar set-up before the switch is flipped. Laura (Penelope Cruz) has been living in Argentina with her husband Alejandro, teenage daughter Irene (Carla Campra) and young son Diego (Ivan Chavero), and has returned to her hometown outside of Madrid for her younger sister Ana’s (Inma Cuesta, THE BRIDE) wedding. Laura’s husband Alejandro did not make the trip, and that plays a role deeper in the story. Hugs and kisses are exchanged amongst some of the most attractive people you’ll see on screen as family and friends are reunited … including Laura and local vineyard owner Paco (Javier Bardem), who share a romantic history from years ago. We quickly learn that Laura’s daughter Irene is a bit rebellious and free-spirited as she re-establishes her connection with Paco’s lovestruck nephew.

Slowly, we are introduced to other friends and family members, including Paco’s wife Bea (Barbara Lennie). These introductions are vital, not for the raucous and music filled wedding reception, but for what happens after. Having put her to bed earlier, Laura comes back to find daughter Irene missing and the only clues are newspaper clippings from a local child kidnapping years past. A most festive evening has been jolted into panic and dread. Soon Laura receives an untraceable text (I guess that’s how it’s done these days) asking for a huge ransom. It’s at this point, where secrets previously kept begin to surface.

The Farhadi trademark kicks in about this time. Although Laura is understandably distraught and disoriented, it’s clear the story is less about the crime and more about the interactions of the characters – resentments, the weight of long held grudges, and more of those dark secrets that begin to find the light. Everyone is a suspect, including Laura’s husband Alejandro (Ricardo Darin, THE SECRET IN THEIR EYES) who shows up convinced God will protect his daughter. The worst traits of human nature are on full display as quick assumptions are drawn. There are lots of pieces to this puzzle and it’s dizzying fun keeping track.

Trust within the family and amongst friends is at the core of the story, and Mr. Farhadi makes solving the crime secondary to the actions and reactions of these folks who have known each other for so long. Melodrama abounds (in a good way) and there are some wonderful visuals, including drone photography from the wedding reception, and an opening sequence featuring the church bell tower and clock. This is the 5th film collaboration between real life couple Cruz and Bardem (the most recent being the disappointing LOVING PABLO), and both are exceptional here. Ms. Cruz offers up a gut-wrenching performance and Mr. Bardem is a joy to watch as he struggles with emotions too complex to verbalize. This is Mr. Farhardi’s first Spanish language film, but it’s clear his subject matter and characters are universally recognized.

watch the trailer:

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Posted by David Ferguson

NEVER LOOK AWAY (2019, Germany)

February 13, 2019

 Greetings again from the darkness. As much as we pride ourselves on ‘artistic freedom’, the reality is that politics has long played a vital role – either as inadvertent inspiration for the work, or as organized suppressor or moderator. Rarely in history has the latter been more in effect than during the Nazi regime. This film begins at an art gallery in 1937 Dresden as a loving aunt takes her young nephew to an installation of “degenerate artists”. Nazi propaganda presented modern art by such artists as Picasso and Kandinsky as a blight on German culture, and proceeded to educate (or brainwash) the populace accordingly.

Writer-Director Florian Henckel von Donnersmarck was behind the extraordinary Best Foreign Language Oscar winner THE LIVES OF OTHERS (2006), as well as the all-but unwatchable THE TOURIST (2010). Fortunately, this latest is much closer to the level of the first one, and it has been rewarded by also being Oscar nominated. Miss May, the loving and free-spirited aunt of the opening sequence is played by the luminescent Saskia Rosendahl. As a student, a simple gesture of handing Hitler a bouquet of flowers destroys her psyche, which leads to even more dramatic ramifications. This was an era when being a free-spirit was treated harshly, which could mean mass sterilization or even being “relieved of a meaningless existence.”  Miss May crosses paths with Nazi gynecologist Professor Carl Seeband (Sebastian Koch), in a gut-wrenching scene that hovers over the entire film, and especially that beloved young nephew.

Tom Schilling (and his turquoise eyes) plays Kurt Barnert (the nephew at older age), one who possesses exceptional artistic talent. As Kurt begins making a name for himself (painting as directed), he meets and falls for design student Ellie Seeband (Paula Beer, FRANTZ). Yes, she is the daughter of the Professor who determined the fate of Kurt’s aunt, although Kurt is unaware. As the war escalates, Kurt and Ellie flee to West Germany, while the past haunts all involved.

Once accepted into the new art school, Kurt falls under the guidance of Professor van Verten (Oliver Masucci). It’s this Professor’s personal horror story that becomes a turning point for Kurt, and enables him to discover his own voice as an artist. During this time, Professor Carl Seeband has smoothly switched allegiances and become a communist to save his arrogant hide, though he is burdened with the knowledge that his war crimes past could catch up at any moment. This man is both family member and villain to Kurt and Ellie, tormenting and belittling at every opportunity. It’s fascinating to see how the couple perseveres through his psychological games and even medical malpractice – as if the war, Nazism and Communism weren’t enough of a daily challenge.

The film is loosely based on German artist Gerhard Richter, though mostly in the form of his earliest artwork. Mr. Richter is still alive today and still creating. Cinematographer Caleb Deschanel (father to Emily and Zooey) has produced a beautifully shot film, and the result is his 6th Oscar nomination. Brace yourself for a 3-plus hour run time, and the frustrations of how an artist can discover their voice despite an organized singular ideology that one is pressured to accept.

watch the trailer

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Posted by David Ferguson

BIRDS OF PASSAGE (Pajaros de verano, 2019)

February 12, 2019

 Greetings again from the darkness. It’s not unusual for movies to “trick” us into embracing a drug dealer, and even kind of rooting for them – despite the near universal condemnation of such folks when we are outside of a dark theatre. Co-directors Cristina Gallego and Ciro Guerra were the producer and director behind the Oscar nominated EMBRACE OF THE SERPANT (2015) about an Amazon tribe striving to hold tight to their way of life despite outside interference. This time out, they focus on the rural Guajira territory of Columbia, with its desert conditions and villagers committed to their own traditions.

The film is based on a true story and covers the time period of 1960-1980, and is separated by chapter titles that include the year and a hint of what’s to follow. We first see Zaida (Natalia Reyes) as a girl in confinement as she prepares to be introduced as a woman to the villagers. This is one of the more elaborate rituals of the village, and it leads to Rapayet (Jose Acosta) asking for Zaida’s hand in marriage. Her mother Ursula (Carmina Martinez), a respected village elder, sets the dowry at what she believes in an unattainable level for Rapayet: 30 goats, 20 cows, and 5 necklaces. Ursula has unwittingly set off a chain of events that eventually brings the family money, power, and tragedy. How can a few goats and cows cause this? Well, when one is poor and needs to quickly assemble a large dowry, what better way than to enter the drug trade? And that’s exactly what Rapayet does.

Rapayet’s friend and partner in the coffee trading business, Moises (Jhon Narvaez), joins him in the transition of careers, and while Rapayet is content to build his empire quietly and under the radar, Moises runs amok with the power and money. Ursula is respected for her abilities as a dream reader, and she’s constantly dousing Rapayet’s business with the cold water of her visions … worried mostly about the safety of her daughter Zaida. By 1971, Rapayet’s business of peddling marijuana to gringos is booming, and by 1979 (in a chapter entitled “Prosperity”) we see the results: a mansion-fortress in the desert protected by guards with automatic weaponry (a sure sign that bad news is on the way).

What began as a look at peaceful remote villagers sticking to the traditional path of their ancestors, transforms into a drug war featuring cartel mobsters. Cinematographer David Gallego contrasts the beauty and simplicity of traditions with the danger and violence of new money and new world order. Leonardo Heiblum’s score is a terrific complement as well. The infancy of the Columbian drug trade presented here conveniently places blame on the free-spirited youngsters of the Peace Corps; while the story plays out like a Greek tragedy, replete with mixed messages on revenge, capitalism, tradition, greed, and family ties. It’s a rags-to-riches story that pulls no punches when it comes to the price paid for taking an illicit shortcut. It’s a path that can destroy lives and culture.

watch the trailer:

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Posted by David Ferguson

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