CAPERNAUM (2018, Lebanon)

January 31, 2019

 Greetings again from the darkness. Rare is the film that casts a kid in the lead role and then features him in most every scene … often with only him and a toddler on screen. It’s even rarer when that kid is a first time actor, and the film gets nominated for an Oscar (Best Foreign Language film). Each of these come to pass in the latest from writer-director Nadine Labaki (CARAMEL, 2007), with a script she co-wrote with four others: Jihad Hojelly, Michelle Keserwany, Georges Khabbaz, and Khaled Mouzanar (Ms. Labaki’s husband, who also produced the film’s music).

The film opens in a courtroom setting which acts as a framing device for a story that is told mostly through flashbacks. Zain (Zain Al Rafeea) is asked by the judge why he is suing his parents. His answer: “Because I was born.” Zain is an undernourished 12 year old Lebanese slum-dweller who lives with his parents and an indeterminate number of brothers and sisters. Zain is particularly close to his 11 year old sister Sahar (Cedra Izzam), and the two work odd jobs on the streets to bring home money and food for the family. When Sahar comes of age, Zain knows this spells change, as their parents view her as little more than an asset that can be traded for chickens. When this happens, an angry Zain runs away from home.

Zain’s adventure takes him from the slums to shantytown, where a kind-hearted, poverty stricken single mom takes pity on him. Rahil (Yordanos Shiferaw) is an undocumented Ethiopian who works multiple jobs while hiding her toddler Yonas (so freaking adorable). In exchange for food and shelter, Zain agrees to babysit Yonas while Rahil works. The two young boys become like brothers, and when Rahil doesn’t return home, Zain’s street smarts kick in. He reverts to the lessons of his previous life and begins literally scrapping for scraps. His ingenuity is inspiring, as is his full-blown survival mode … all while caring diligently for Yonas.

In the courtroom, director Labaki appears as Zain’s attorney, but it’s the young actor who carries the weight of the film. He is truly remarkable to watch, whether he’s interacting with other street hustlers, conversing with “Cockroach Man” on the bus, or in that final freeze-frame ending, Zain steals our heart. The film is not dissimilar to SHOPLIFTERS, the Japanese film also nominated for Best Foreign Language Oscar this year. The title means “chaos” and it begs the question, without paperwork, do we exist to society? Ms. Labaki manages to put a pretty face on a tragic environment, and offer up a rare matter-of-fact melodrama on the hardships for children in poverty.

watch the trailer:

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Posted by David Ferguson

WEST OF SUNSHINE (2019, Australia)

January 24, 2019

 Greetings again from the darkness. Life’s eternal mysteries include the question, how can one be a father when not yet a man? The feature film debut of writer-director Jason Raftopoulos focuses on fatherhood and the price of self-destructive behavior, while finally gathering the strength to right one’s self.

Damien Hill stars as Jim, a blue collar courier with a gambling habit that likely cost him his marriage, his previous job, and a solid relationship with his son. Jim is basically a decent guy who can’t seem to overcome his weaknesses, which leaves us judging him as a hapless dude who can’t buy a clue. The story unfolds over a single day as Jim faces a deadline from the loan shark he owes thousands. Banos (Tony Nikolakopoulos) is a scary looking guy who, in loan shark circles, would be considered relatively patient … although he has reached the breaking point with Jim.

Of course, Jim has a stellar plan to pay back the money – a “sure thing” on a horse in today’s race #2. However, there’s a blip (at least one) in his plan. His estranged wife reminds him that today is his day to look after their son Alex (Ty Perham, real life stepson to Mr. Hill). So father and son, rocky relationship and all, take off on a road trip around Melbourne as Jim proves to be one of the city’s worst couriers, and a borderline incompetent father. When Jim’s horse does in fact pay off, he makes the all-too-familiar mistake of a gambling addict … rather than pay off the debt, he tries to win more. You can surely guess how that goes.

Desperate times call for desperate measures, and the father-son team go about tracking down Jim’s old contacts in hopes one might help him through this dilemma. It should be noted that Jim and Alex are traveling in style – Jim’s classic Ford Fairlane, with quite an impactful story of its own. Support work is provided by Arthur Angel (as Jim’s friend and co-worker), Kat Stewart (a former girlfriend who runs an illicit business out of her bakery), Fay Smythe (Jim’s wife), and Eliza D’Souza (a would-be girlfriend and yet another Jim lets down).

Being a role model for a kid is not easy for someone as self-destructive as Jim. The steady stream of “I promise” and “I’m sorry” make it clear where Jim’s priorities rest. Alex wants to look up to Jim, but spends more time looking down on him. It takes a near catastrophe for Jim to wake up … a wake up that only occurs when one grows weary of always racing against the clock. Leaving the past behind – both emotionally and with a symbolic sacrifice – is Jim’s only path to redemption. Fine, naturalistic performances make these characters relatable to us, and filmmaker Raftopoulos does a nice job with keeping the pace moving along, while never losing that sense of reality.

watch the trailer:

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Posted by David Ferguson

SHOPLIFTERS (2018, Manbiki kazoku, Japan)

January 3, 2019

 Greetings again from the darkness. We typically think of family as blood relatives, those affiliated by marriage or adoption, and those funky cousins (sometimes ‘removed’) that, according to the family tree, are supposedly related to us. Expert Japanese filmmaker Hirokazu Kore-eda (LIKE FATHER LIKE SON, 2013) presents a story that will have you questioning whether the strongest connection is blood, heart, or money.

We first witness ‘father’ Osamu Shibata (played by Lily Franky) and adolescent ‘son’ Shota (Jyo Kairi) in a well-coordinated shoplifting maneuver at the local grocery store. On the way home they stumble across a shivering child, maybe 4 or 5 years old, who has been seemingly abandoned by her parents. They take her home to warm her up and feed her, and it’s here we discover the multi-generational family living in a tiny apartment. This family also consists of ‘grandmother’ Hatsue (an excellent Kirin Kiki), ‘mother/wife’ Nobuyo (Sakura Ando), and teenage daughter Aki (rising star Mayu Matsuoka).

When the family discovers signs of abuse on the little girl Yuri (Miyu Sasaki), they decide to keep her – less an informal adoption than an admission to the club. See, this family lives in poverty, and finds comfort in working odd jobs and shoplifting. They do bad things out of necessity, in a kind of twisted ‘honor among thieves’. Each person, regardless of age is expected to contribute to the team. The eldest provides a steady income through her deceased ex-husband’s pension, and by scamming mercy money from his second family. Osamu and Nobuyo have regular part time jobs, while Aki works in a sexy chat room. Shota polishes his shoplifting skills and even tiny Yuri begins to learn by watching him. Everyone contributes in what can be described as a pyramid scheme of petty cons.

As the film progresses, we get to know each of the characters and begin to care about them … rooting for them to find success. Writer-Director Kore-eda draws us in with subtle scenes of interaction between the characters, each willing to sacrifice for the other. He raises the question on whether choosing one’s family might create a stronger bond than those blood ties. What really seems to matter is where we feel we belong, and where are accepted.

The film won the Palme d’Or at the 2018 Cannes Film Festival, and it’s likely due to the devastating and expert final act. In a dramatic shift in tone, true character is revealed – it’s a shocking revelation on some fronts, and fully expected on others. Each family member has a backstory that slowly unfolds through the first two acts, and then abruptly slaps us upside the head as the film nears conclusion. There are many social aspects to be discussed after this one, including how the child welfare system (seemingly regardless of country) sometimes works against a child’s best interest, even with the best intentions. This is one that will grab your heart and then stick with you for a while.

watch the trailer:

https://www.youtube.com/watch?v=9382rwoMiRc

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Posted by David Ferguson

COLD WAR (2018, Zimna wojna, Poland)

January 2, 2019

 Greetings again from the darkness. Who doesn’t enjoy a good love story? The wonderfully talented filmmaker Pawel Pawlikowski proves to us the massive difference between a story of ‘good love’ and a ‘good story’ of love. With two lead characters based (somewhat) on his own parents (and named after them), we witness how two people can be simultaneously meant for each other AND not meant to be together. It’s the story of a man and woman forever connected, yet painfully mismatched.

Director Pawlikowski’s extraordinary last film, IDA (2013) won the Oscar for Best Foreign Language film, and this time he starts us off with a curious montage of Polish folk musicians (including bagpipes and violins) performing their songs … each in stark and static close-ups. This strange opening only makes sense to us much later, as we realize what a key element music plays in the numerous shifts in tone – the chapters – of the story.

Former lovers Wiktor (Polish star Tomasz Kot) and Irena (Agata Kulesza, IDA) are co-directors of a Polish song and dance performance team, and as they are conducting auditions, Wiktor is immediately drawn to Zula (Joanna Kulig), one who has a pure singing voice but a questionable past to go with no previous dancing experience. Irena recognizes lust when she sees it, but Wiktor stands firm that he perceives Zula’s stage presence as something special. The film covers the period of 1949 through 1964, and in that time we watch as Wiktor and Irena are both proven right. Mr. Kot and especially Ms. Kulig deliver extraordinary performances … truly captivating.

Director Pawlikowski offers up a love story unlike anything we’ve ever seen on the big screen. Wiktor and Zula experience the most tumultuous and romantic ride through Poland (the company first performs in Warsaw), East Berlin, Paris, Yugoslavia, back to Paris, and back to Poland. There were likely some other stops along the way, but those are the ones I made note of. Sometimes they are together, other times they are separated. It’s 1952 East Berlin where they formulate a plan to defect … only Zula is a no show, and they don’t meet up again for a couple of years. In one Paris rendezvous a few years later, Zula explains to Wiktor that she married another man “for us”. Somehow this makes sense.

It’s best to know no other specifics of this relationship. Star-crossed lovers is not a phrase used much these days, and perhaps even that description falls short. What causes someone to sell their soul for another – or sacrifice so much? How can so much pain and humiliation be accompanied by so much longing and yearning? What’s fascinating is that the film’s music styles shift in tone right along with their relationship. Sometimes the music is political (with a Stalin poster) – as that is the wall between them, and then later Zula is dancing totally free to “Rock Around the Clock”.

There are no wasted words here. The black and white images of cinematographer Lukasz Zal complements each segment with the appropriate softness or harshness depending on the characters’ emotions of the moment. Certainly at the heart of this story is the role of memories … how snapshots in time can impact our feelings, at times causing us to be oblivious to rational thought. As viewers, we experience a constant feeling of impending doom – even during the good times for Wiktor and Zula. The unusual editing style of extended cuts to black signal shifts in time … the blackness held for an extra beat or two, allowing us to brace for the next chapter. Polish jazz pianist Marcin Masecki scored the film – a crucial element not just because our two main characters are musicians, but because the music guides us through the lives we see. The film recalls the crown jewel of mismatched lovers in CASABLANCA as two lovers apparently meant to be together, but real life circumstances prove too much. Yet another excellent film from Pawel Pawlikowski.

watch the trailer:

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Posted by David Ferguson

ROMA (2018)

December 23, 2018

 Greetings again from the darkness. It is possible for a filmmaker to be “too close” to the material when undertaking a story that is somewhat autobiographical. It’s also possible, in that situation, for them to catch lightning in a bottle and magic on the screen – and that’s exactly what writer/director Alfonso Cuaron has achieved with this look back at his childhood home life. In his follow-up to GRAVITY, for which he won the Best Director Oscar, Mr. Cuaron has dedicated the film to Libo, his family maid/nanny during his youth in Mexico City.

Balancing artistry and everyday humanity like few other films, it takes us inside the home of a well-off family: Antonio (Fernando Gredigaga), the father-husband-doctor; Sofia (Marina de Tavira, the only experienced actor in the main cast), the mother-wife; Teresa (Veronica Garcia), the grandmother; the four kids; and two live-in maids, Adela (Nancy Garcia Garcia) and Cleo (Yalitza Aparicio). There is no separating the human emotions from the near-poetic art form of Cuaron’s movie. It is unusually quiet, filmed mostly at midrange, and with no musical score. Yet, in the stillness and quiet, so much is happening.

The focus here is on Cleo. We hear many times how she is considered part of the family. Of course, she (and we) are reminded that’s only true to a certain extent as she is admonished for not cleaning up after the family dog or ‘wasting’ electricity in her living quarters by using the light in her tiny living quarters at night. First time actress Yalitza Aparicio brings a realism and accessibility to the role as the quiet, perpetually-in-motion maid/caregiver/nanny and she is mesmerizing to watch. Her duties include keeping the house clean, cooking meals, getting the kids up in the morning, getting the kids to/from school, and putting the kids to bed at night. What little scraps of time she has for a personal life are spent going on a date with the cousin of Adela’s boyfriend.  Fermin (Jorge Antonio Guerrero) is a martial arts fanatic and just prior to their intimacy, he demonstrates his skills to her with a shower rod and literally nothing else.

When Antonio and Sofia announce to the kids that dad will be attending a conference in Quebec “for a few weeks”, we as viewers understand what this means, even though the kids don’t. Spending time with his mistress means Sofia and Grandma Teresa must manage the house … but of course, as always, the bulk of the burden falls to Cleo. When Cleo finds out she’s pregnant, Fermin dumps her – leaving both Cleo and Sofia as abandoned by men. It’s fascinating to watch this unfold, and contrast how the two women react and cope. The dialogue is secondary to the situations in the film, but there is a great line of dialogue after the men leave: “We women are always alone.”

From a cinematic aspect, Cuaron’s film is a delight to watch – reminding at times of the classic Italian and French films of years past. Since his first film in 1995, Cuaron has frequently collaborated with (3 time Oscar winning) cinematographer Emmanuel Lubezki, but this time Cuaron wears multiple hats as writer/director/cinematographer/co-editor/producer. This is his movie – and his most personal one – from top to bottom. Working closely over the years with Lubezki has influenced Cuaron’s camera work … it’s stunning. He uses wide, initially static shots with slow pans – just the way we see in real life. And just like in real life, what he shows us is sometimes mundane and at other times various degrees of emotional. The remarkable opening credit scene could be quickly described as Cleo mopping the dog mess from the garage floor. But of course there is much more. We also see the reflection of planes flying overhead and hear only the sounds of everyday life. It sets the stage for the entire film.

This is 1970-71 Mexico City, so in addition to Cleo getting the kids to and from school, the street riots – some quite violent – play a role, as does the incessant sound of dogs barking in the background. Cleo’s trip to the delivery room is filmed with real doctors and nurses, while a later trip to the beach offers yet another gut punch … and both sequences maintain the overall feel of authenticity. Lest you think this is just another “small scale” indie, Cuaron goes big a few times – the street riot, a mass martial arts training session, and the beach trip. His film is a story of class and family, making it more than just a thing of celluloid beauty. It also brilliantly captures the essence of life’s emotions: the “bad” with two men who ignore their responsibilities, the “normal” with kids being kids, and the “good” with seeing Cleo become such a vital and beloved part of the family.

(Available on Netflix)

watch the trailer:

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Posted by David Ferguson

THE GUILTY (Den Skyldige, 2018, Denmark)

October 25, 2018

Dallas International Film Festival 2018

 Greetings again from the darkness. Some people prefer their movies to be light-hearted escapes from the real world – two hours of mindless entertainment that distract from real life responsibilities. Then there are the rest of us: the movie-goers who thrive on having our emotions and nerves mangled and twisted, leaving us drained and strained as we stumble from the theater after the closing credits. For those in the second group, meet Danish writer/director Gustav Moller.

It’s a remarkable first feature film, and Mr. Moller shares screenwriting credit with Emil Nygaard Albertsen, and it’s what we might call a one-room or confined-space thriller. Others in this claustrophobic category would include the classic 12 ANGRY MEN (1957) and more recent films like BURIED (2010), the underrated LOCKE (2013), and the Oscar nominated ROOM (2015). Most, if not all, of the action in these films takes place in a single setting, and the filmmakers creatively use that limited space in a way that elevates the story and tension.

Jakob Cedergren is stunning as Asger Holm, an officer frustratingly on “desk duty” at the emergency dispatch center. Asger has been so assigned due to an unspecified internal investigation, and he takes out some of his irritation on callers he quickly judges to be responsible for their own situation – drunken brawlers and those looking to exchange commerce for companionship (wink-wink). However, a breathy call from a woman who claims to be kidnapped immediately ignites Asger’s instincts and street smarts.

Iben (the voice of Jessica Dinnage) informs Asger, through a series of yes-no questions that her ex-husband has kidnapped her, stranding her two young children home alone. Asger cleverly uncovers that Iben is being transported via white van on a major highway. It’s at this point that he remains calm and reassuring to Iben, while expertly juggling other phone calls for assistance: dispatch, highway patrol, even his somewhat intoxicated and disinterested former partner. Rather than route this call per protocol, Asger takes control with technology, experience and instincts as his only tools … likely sensing both the need for urgency and his shot at redemption.

The film is mostly just a series of phone conversations, yet somehow my stomach was tied up in knots! The isolation and desperation is evident on both ends of the line between Asger and Iben, and some outstanding sound design with ambient noise provides our only other link outside the barren walls of the call center. Cinematographer Jasper Spanning makes creative use of cameras to enhance the claustrophobic setting and story – often using tight shots and close-ups of Asger’s remarkable face. Every viewer is likely to jump to conclusions without having full details, emphasizing human nature’s quick trigger for assumptions. Still, in only 85 minutes, we experience a tension-packed, nerve-wracking, yet artistic presentation … one that leaves us in awe of Jakob Cedergren’s performance and Gustav Moller’s future.

watch the trailer:

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Posted by David Ferguson

BLACK 47 (2018)

September 27, 2018

 Greetings again from the darkness. While filmmakers don’t tend to shy away from sad or even depressing characters or events, Ireland’s Great Famine has rarely been depicted on the big screen, for whatever reason. The film’s title refers to the worst year of the famine (1847). These were bleak times and folks were desperate – nearly without hope. More than one million people died, and between one million and two million emigrated from Ireland (depending on what time frame you exam). It all began with potato blight.

Director Lance Daly co-wrote the script with PJ Dillon, Eugene O’Brien, and Pierce Ryan, and have chosen to explain history through a personal story rather than an epic big picture one. Feeney (James Frecheville, ANIMAL KINGDOM, 2010) goes AWOL from the British Army in order to check on his family. The home he finds hardly resembles the one he left. His mother is dead from starvation and his brother was hanged. The rest of his family has been evicted and is soon dead as well. Apparently what he witnessed in war prepared Feeney for the horrors he discovers in his homeland. To complicate matters, he is not only viewed as a deserter by the British, but also a traitor within his own community (for fighting for the British).

Feeney becomes a renegade on a mission to avenge the deaths in his family. The film plays like one of those Charles Bronson movies, where a man of principle believes in doling out his own form of justice. A posse of 4 is assembled to track down Feeney. Captain Pope (Freddie Fox, THE THREE MUSKATEERS, 2011) is a despicable soul and by-the-book soldier who blindly follows orders and ignores the suffering of citizens he views as barely human. Young Hobson (Barry Keoghan, THE KILLING OF A SACRED DEER, 2017) is the Captain’s personal valet, while Conneely (Stephen Rea) is local added as a translator – and some much needed comic relief. The most interesting of the group is Hannah, a disgraced Inspector and Feeney’s former commanding officer.

Hugo Weaving (THE MATRIX) plays Hannah as a man driven to the edge by his war experience. One a hero, now slightly unstable in his actions, Hannah agrees to join the posse instead of spending his life in prison. His commitment to the cause is always in question, as we are led to believe there is much to the connection of Hannah and Feeney … a connection that plays out dramatically when they finally cross paths again. Mr. Weaving’s great face is contrasted nicely by Mr. Frecheville’s dead eyes (‘like a doll’s eyes’).

The revenge mission plays out with some violence, but director Daly never stoops to gratuitous gore. Instead, we typically see the aftermath … one of which brings a twist to the phrase “pig-headed”. Feeney’s time as a soldier has well prepared him for this mission. Even Crocodile Dundee would be proud of Feeney’s knife, and he does tend to make a statement with each of his killings.

Supporting work is provided by Jim Broadbent, Moe Dunford (“Vikings”), and Sarah Greene (“Penny Dreadful”). There are a couple of themes on display here: the politics (and power grab) of the time, and one man’s drive to knock down corruption and clean up his beloved country … while showing no mercy to those who have harmed his family. The contempt for the British is quite clear. Religion doesn’t escape commentary and judgment, with a sequence involving a Protestant minister, a Roman Catholic priest and a soup line with a catch.

Director of Photographer Declan Quinn (MONSOON WEDDING, IN AMERICA, LEAVING LAS VEGAS) does work capturing the contrast between beautiful vistas and incredible hardships. The stunning Connemara (western Australia) landscape is offset by immense suffering and cruelty … only the art design is a bit shaky, which is understandable given budgetary challenges. Though we’ve rarely, if ever, seen such a cinematic treatment of this era, it’s clear the guns misfired more often than this production.

watch the trailer:

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Posted by David Ferguson

MADRE (Spain, short film, 2018)

September 26, 2018

 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.

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Posted by David Ferguson

ONE WILD MOMENT (2018)

September 26, 2018

 Greetings again from the darkness. In 1977, French Producer-Writer-Director-Actor Claude Berri directed a film version of his own original screenplay entitled IN A WILD MOMENT. In 1984, director Stanley Donen’s (SINGIN’ IN THE RAIN) final feature film was an Americanized remake that inexplicably left Mr. Berri as uncredited. Perhaps that’s how Berri preferred it, since Donen’s BLAME IT ON RIO was atrocious and nearly unwatchable despite a cast that included Michael Caine and a 21 year old Demi Moore. This third iteration, directed by Jean-Francois Richet (who co-wrote the adapted screenplay with Lisa Azuelos) does credit Berri, and returns the material to France where it’s a better fit.

Best friends Antoine and Laurent take their teenage daughters Louna and Marie (who are also best friends) on holiday to Antoine’s childhood home in the Corsica countryside. The house is a bit rustic and neglected, has spotty (at best) internet, includes a family burial plot, and is miles from town. The only neighbor is an elderly gentleman and his roaming dog. The girls aren’t nearly as taken with the serenity as their dads seem to be.

Both dads are loving and protective of their daughters, though the usual teenager-parent squabbles occur regularly. Watching the interactions between the dads and daughters, between the two men, and between the two teenagers is quite entertaining and exceedingly believable. Of course, the core of the story is what happens in one “wild” moment when Laurent is simply being supportive of Antoine’s daughter Louna – and her teenage crush of the older man shifts into seduction. A late night naked frolic on the beach crosses the line that should never be crossed. Laurent instantly regrets the action, and Louna falls “in love” like only a teenager can.

The rest of the movie becomes an uneasy dance of lies, threats, insinuations and betrayals. Most of it is handled with a comedic intentions, and that compounds the feelings of queasiness and disgust that we have towards Laurent and his unacceptable and unforgivable (and illegal) actions. We see the two men frazzled for much different reasons. Though he doesn’t know the identity of the “older man” who took advantage of his daughter, Antoine is obsessed with tracking him down and making him pay. On the other hand, Laurent is desperate to keep the secret from his friend, and that forces him to play along with Louna’s taunting games.

Two of France’s biggest stars, Vincent Cassel (MESRINE) and Francois Cluzet (THE INTOUCHABLES, TELL NO ONE) play Laurent and Antoine, respectively, while Lola Le Lann (age 19 during filming) and Alice Isaaz are Louna and Marie. Mr. Cassel and Ms. Isaaz are especially effective – he in a no-win role, and she leaving us wanting even more characterization.

Though it was filmed more than 3 years ago, it’s now getting a second life. Original writer Claude Berri is probably best known for his stellar work on JEAN DE FLORETTE and MANON OF THE SPRING, and we can’t help but think his script would work better in contemporary times if the comedy turned much darker and made it abundantly clear that Laurent’s actions were entirely unacceptable – instead of leaving his response to young Louna’s come-on as understandable. The film is produced by Thomas Langmann, the son of Claude Berri, and kicks off with the beautiful and familiar version of “La Mer”, a 1946 song by Charles Trenet.

watch the trailer:

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Posted by David Ferguson

THE CAPTAIN (Der Hauptmann, 2018)

July 27, 2018

Greetings again from the darkness. It’s mind-boggling how many fascinating stories – both large and small – continue to come from World War II, even 75 years later. Writer/director Robert Schwentke (RED, FLIGHTPLAN) abruptly opens his latest with a single soldier desperately running from a posse of Nazi soldiers who appear to be hunting him down. The soldier manages to escape, kicking off an incredible journey that we are informed occurred during the final two weeks of the war (April 1945).

Max Hubacher stars as Willi Herold, the soldier we are to assume has deserted his military outfit and is now dirty, hungry and cold as he evades German patrols. Things change drastically for Herold when he stumbles on an abandoned suitcase neatly packed with a German Captain’s coat and full uniform. We are left to wonder what happened to the officer, but do get to watch Willi’s crazy next few days as he impersonates a German officer and assumes command of his situation.

Circumstances result in “Captain” Herold gaining followers, each of whom are as lost or unwilling to continue fighting as himself. The ragtag group ends up at prison camp Aschendorfermoor … a camp containing German deserters and looters. Herold has convinced those in charge that he has direct orders from Hitler to take command of the camp, and a horrific massacre of prisoners takes place over the next few days.

While this is a stunning story ripped from historical documents, the film works even better as a psychological character study. Herold first employs his newfound power as a survival strategy, but he is soon corrupted by the power of his assumed position. We witness as some blindly follow orders, and we watch (dumbfounded) as Herold’s thirst for power overtakes whatever integrity he might have had prior to the desperation injected by war.

The film moves at a meticulous pace and at times feels redundant. It could have been a stellar short film, but director Schwentke uses the slow pace to allow our shock to grow as Herold evolves into a coy monster (with a fine performance from Mr. Hubacher). Filmed in stark black and white, it offers some beautiful shots from cinematographer Florian Ballhaus (THE DEVIL WEARS PRADA), the son of famed cinematographer and 3 time Oscar nominee Michael Ballhaus (GANGS OF NEW YORK). The elder Ballhaus passed away in 2017, and the son continues to build his own legacy. Set in Germany during April 1945, this blend of docudrama and black comedy is a collaboration of German, Poland and France, and as a true story, packs quite a punch.

watch the trailer:

Leave a Comment » | Comedy, Drama, War, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

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