LION (2016)

January 12, 2017

lion Greetings again from the darkness. Sometimes the real life story is enough. The story of Saroo Brierley is proof. A 5 year old boy from rural India gets stranded at a train station and inadvertently takes a train trip that strands him in Calcutta, thousands of miles from home. He is adopted by a Tasmanian couple and later uses Google Earth to systematically track down his village, family, and ultimately his self.

Saroo’s story would be interesting enough had a writer fabricated it; but in fact, Luke Davies adapted the screenplay directly from Mr. Brierley’s book “A Long Way Home”. Director Garth Davis and an exceptional cast bring this incredible and inspirational and touching story to the big screen in a wonderfully entertaining manner.

The first part of the film introduces us to 5 year old Saroo (a bright-eyed and energetic Sunny Pawar) and his beloved and protective older brother Guddu (Abhishek Bharate). The two boys are nearly inseparable and seem oblivious to the hard life provided by the small village they live in – where their mother literally carries rocks all day. A fluke of circumstance causes the train station separation for the brothers, and young Saroo finds himself on a train ride that will forever change his life.

Very little dialogue is found in this first part, but we immediately connect with the young boy, and we feel his frantic desire to return home as a tightness in our chest as he falls into the quagmire of homeless kids in Calcutta. When Saroo first meets Sue and John Brierley (Nicole Kidman, David Wenham), he isn’t sure how to react. His assimilation into this unrecognizable new world might just as well have been on another planet as a home in Tasmania.

Once the film jumps ahead, Dev Patel takes over as Saroo and the film turns into a journey for the universal need to understand our identity … where we come from, and who we really are. Rooney Mara has a small but important role as Saroo’s girlfriend Lucy (a composite character), as does Divian Ladwa as Mantosh, another boy adopted by the Brierleys. It’s here where Google Earth enjoys its biggest plug as the tool Saroo utilizes to solve the mystery of his origin.

The film is beautifully shot by cinematographer Greig Fraser, and he perfectly captures the harshness of young Saroo’s home village, the frenzied pace of Calcutta and the beauty of Tasmania … all without losing the emotions of any given moment. To cap it off and to prove the filmmakers never stooped to any ‘trickery’, the film ends with actual footage of Saroo reuniting with his mother, and then the magical moment when his two mothers embrace. Good luck maintaining composure during this part!

watch the trailer:

 

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Posted by David Ferguson

UNDER THE SUN (2016, doc)

January 1, 2017

under-the-sun Greetings again from the darkness. There is an old episode of “The Twilight Zone” that has always stuck with me. It starred Bill Mumy (who later became well known as Will Robinson in “Lost in Space”) as a young boy with God-like mental and telekinetic powers. The entire town was afraid of him, so they constantly acted in ways to make him believe they were happy and appreciated him. Memories of that show came rushing back as I watched this documentary from Russian director Vitaly Manskiy. We outsiders know little about life in North Korea (it’s known as ‘the Hermit Kingdom’), though the film seems to confirm what we’ve been led to believe: it’s a country filled with citizens either living in fear or living with acceptance of their plight (or both).

Director Manskiy was contracted to make a movie about daily life of an ordinary family in Pyongyang. Two “escorts” were assigned to him, a state-sponsored script was provided, and his footage was reviewed daily. When the project was dissolved, Manskiy assembled the pieces … and added the secretly saved snippets from when he kept the cameras rolling between takes. The result is a documentary on the attempts of a Communist government to stage an illusion of perfection. It comes off as a foolish propaganda effort to convince the world that North Koreans are a happy people. What we see on screen convinces us otherwise.

At the center of all this is 8 year old Zin-mi and her family. If you thought The Monkees were a pre-fab TV version of The Beatles, this shows what true manipulation is all about. Zin-mi’s parents are given new jobs for the movie version. Rather than a print journalist, her father is given a job as an executive at a garment factory; and rather than a cafeteria worker, her mother is presented as working at a soy milk factory. Additionally, the family is moved into a nice apartment and then provided with meal time conversation, and even told where and how to sit and stand.

Zin-mi has joined the Childrens Union and the whole community is preparing for Day of the Shining Star – the national holiday celebrating the birthday of Kim Jong-Il; keeping alive the memory of their supreme leader who died in 2011. During these preparations, we see the clean streets and no-frills buildings, as well as the brainwashing that occurs during presentations and classes … the Japanese are labeled scoundrels, while Americans are cowards. The lingering images, and faces of those posing for photos, can’t mask the emptiness of the individuals.

The film reinforces more than enlightens, and it’s more a rare snapshot of this society than a global perspective. Still, we can’t help but feel saddened for the people as their lines are fed to them with directions like, that was “too gloomy”, and, do it again with “joy”. No proof of the brutal regime is presented, but it’s obvious freedom of thought is not encouraged. The correlation becomes all the more ironic when it’s recalled that the title of that Twilight Zone episode was “It’s a Good Life”.

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

THINGS TO COME (2016, France)

December 3, 2016

things-to-come Greetings again from the darkness. What was once a rarity is now becoming more commonplace … movies made by women about women. This latest from writer/director Mia Hansen-Love (Eden, 2014) features one of the most interesting lead characters from any film this year.

Nathalie (Isabelle Huppert) is a philosophy professor, writer, longtime wife to Heinz (Andre Marcon), mother of two grown children, and care-taker to a depressed, slightly-dementia-stricken mother (Edith Scob) who is prone to calling for emergency workers when Nathalie doesn’t answer her phone calls. The film offers no murder mystery, alien invasion or other earth-rattling event. Instead it guides us through Nathalie’s process in dealing with life things that occur on a daily basis.

The genius of the film, script and character stems from the fact that Nathalie never creates drama where none exists … a rare personality trait these days. Rather than plead for mercy from the universe, she simply plows forward during what would be three personal-world-crumbling events in a lesser movie: her husband cheats and leaves her, her mother dies, and she is fired (or at least forced to move off her method) from the job she loves.

Ms. Huppert delivers yet another stellar performance (see her in this year’s Elle) as Nathalie. She is an intellectual and thoughtful woman, but not necessarily the warm and cuddly type. Sure she cares for her family and inspires her students, and rather than lash out at her confessing husband, she only shows frustration when he takes a couple of her beloved books in his move out (or stuffing his flowers in the trash can). Disappointment is more obvious when her prized former-pupil Fabien (Roman Kolinka) is unable to competently debate his radical views with her … choosing instead a condescending, brusque approach designed to shut her down.

Nathalie is more shocked by her publisher’s intention to “modernize” her book than by finding “The Unabomber Manifesto” on the shelf at Fabien’s commune for intelligent anarchists. The politics of a particular situation has influence on nearly every scene, and Ms. Hansen-Love’s script emphasizes the importance of seasoning/experience in handling life … and does a remarkable job contrasting those who have it from those who don’t. Few movie soundtracks include both Woody Guthrie and Schubert, but then both fit well when the story avoids a mid-life self-discovery, and instead focuses on the realization of freedom. These are two very different things, and you’d have a difficult time finding a better look than this film offers.

watch the trailer:

 

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Posted by David Ferguson

EVOLUTION (2016)

December 3, 2016

evolution Greetings again from the darkness. If your preference in movies leans towards atmospheric and creepy, rather than on intricate story lines and sub-plots, this latest from writer/director Lucile Hadzihalilovic is likely to scratch your cinematic itch. We never really know what’s going on or where the story is headed, or even if there is a story … but we are entranced nonetheless.

Nicolas (Max Brebant) is an observant and curious 10 year old who lives in an isolated Oceanside community (probably an island) populated only by women and young boys. While most of the boys spend their days doing typical boy things, Nicolas whiles away the hours drawing in his sketch book. His most recent sketch is of the horrific sight he witnessed during a leisurely swim … a dead body with a red starfish nibbling away. The use of the color red plays a recurring role throughout, but as to its meaning, I haven’t a clue.

What follows are some bizarre medical procedures and beachside rituals that leave us grimacing and confused. The purpose of these actions is related to reproduction, and the medical experiments on the boys will certainly cause some uneasiness in the audience. Julie-Marie Permentier plays Nicolas’ “mother” – in quotes due to the uncertainty around the conception process, and Roxane Duran plays Stella, the nurse who takes a liking to Nicolas and his drawings.

Billed as a horror film and thriller, my best description is some type of blending of The Island of Dr Moreau, The Stepford Wives and Upstream Color. Ms. Hadzihalilovic is the partner and frequent collaborator of offbeat indie director Gaspar Noe, and the influence is clear. This is a strange and enigmatic film that is exquisitely filmed (cinematographer: Manu Dacosse) and offers very little dialogue to accompany its quiet creepiness. The key seems to be not spending any time trying to figure out what it’s all about. Whether you find it hypnotic or senseless is a personal decision.

 

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Posted by David Ferguson

ELLE (2016, France)

November 17, 2016

elle Greetings again from the darkness. It’s best not to pre-judge what to expect in a new Paul Verhoeven directed film. We haven’t seen or heard much from him in the past decade (the underrated Black Book, 2006), but we know surprises and twists and entertainment will be part of his work given his track record of Robocop, Total Recall, Basic Instinct, and Showgirls. Factor in that he is now working with one of the best actresses on the planet in Isabelle Huppert, and we walk into the theatre with no assumptions but a high level of anticipation.

The phrase ‘tour de force’ is no exaggeration for Ms. Huppert’s performance here. No time is provided for settling into one’s seat as the opening scene stuns us with a brutal sexual attack by a masked intruder. Afterwards, the bloodied victim calmly cleans the house, soaks in a tub and orders takeout. This is our introduction to Michele (Huppert) and begins our two hour mission of trying to figure her out.

Is she the ultimate feminist? She is the co-owner (with her best friend Anna) of a video game company that specializes in highly stylized and violent fantasy games (no subtle irony in that). Is she demented? She fools around with the husbands of her best friend and neighbor. Is she simply off-center? She scolds her mother for wanting to marry a much younger man, and her son for living with his selfish girlfriend who has a new baby via another man. She is not a good friend, business partner, mother, daughter, wife or person. This is no sympathetic character, yet thanks to Ms. Huppert, we simply can’t take our eyes off of her or stop wondering how she will handle the next situation (of which there are many).

Based on the novel “Oh …” by Phillipe Dijan, with a screenplay from David Birke (who has a similar theme in much of his work), the film spares us little from the daily life of Michele. We see her as a confident business person, a sexual being – whether peering through binoculars at a neighbor or trysting with a married man – and a somewhat devious and devilish person intent on revenge. It’s not until later in the film that we learn the family history that has been the driving force behind her rebuilding her life while also being unable to escape the past.

Ms. Huppert is in most if not every scene. It’s a powerful and rare performance that is complemented by some fine supporting actors: Anne Consigny as Anna (Michele’s friend and business partner), Christian Berkel as Robert (Anna’s husband and Michele’s play toy), Charles Berling as Richard (Michele’s ex-husband), Judith Magre as Michele’s mom, Laurent Lafitte as Patrick (the neighbor), and Jonas Bloquet as Vincent (the dim bulb son). Michele has interactions with each of these characters … none better than the Christmas dinner party where all are in attendance.

Verhoeven’s film can be viewed as a slightly sleazy guilty pleasure, or as a profile of a strong, independent woman with a flawed moral compass. It’s a reminder that we never fully escape the shadow cast by our parents, and some pay a greater price than others. It’s rumored that no major American actress would take on the role, which in the end, benefits the film greatly … no other actress could have provided what was needed (except perhaps Barbara Stanwyck, who died more than 25 years ago). Ms. Huppert’s performance allows this to cross many genres, and it is undoubtedly the best of the year in this category: a comically mean rape-revenge psychological thriller centered on consent and desire. Should you doubt this, perhaps Michele’s own words will convince: “Shame isn’t a strong enough emotion to stop us from doing anything at all.” It’s a pleasure to meet you ma’am.

watch the trailer:

 

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Posted by David Ferguson

AQUARIUS (2016, Brazil)

November 12, 2016

aquarius Greetings again from the darkness. If you were an avid movie-goer in the 1970’s, you likely fell in love with Sonia Braga while watching Dona and Her Two Husbands (1976) and Kiss of the Spider Woman (1978). Those movies catapulted the Brazilian actress to global stardom, and a long career limited only by some regrettable script choices.

Writer/director Kleber Mendonca Filbo wisely casts Ms. Braga in the lead of his latest, and she delivers what may be her best performance ever … and certainly one of the best by any actress this year. Clara is the lone holdout in a beachfront apartment complex against a corporate developer intent on modernizing the old building in order to maximize profits.

The film is divided into three parts: “Clara’s Hair”, “Clara’s Love”, and “Clara’s Cancer”. The initial segment is set in 1980 when Clara is recovering from cancer treatment and is attending the 70th birthday party for her beloved Aunt Lucia (Thaia Perez). Lucia’s flashbacks to her younger days bring a subtle smile to her face, while providing parallels to what we see later with Clara. Some secrets from family are treasured memories, not meant to be shared. As the story moves forward, we grow to admire and respect Clara and join in her defiance of the smirky hotshot developer.

The big company bullying the old lady would be an interesting and predictable story, but here it’s secondary to the story of a strong woman – a woman who overcomes cancer, carries on after the death of her husband, fights to keep her home, and generally lives life on her own terms. She maintains her strength and dignity despite outside influences.

A recurring theme throughout is “old vs. new”. From the first sequence with the “old” Aunt passing the baton to her younger niece, to the old lady battling the young developer in order to prevent the historic building from being turned into a modern co-op, to the contrast of the vinyl records of Clara’s collection to the digital music of the younger generation, to Clara’s preference for actual phone calls to texting. It’s the classic now versus then argument, and it’s summed up by Clara’s line to her kids: “When you like it, it’s vintage. When you don’t, it’s old.”

There are some similarities to Sebastian Lelo’s 2013 film Gloria, which featured an exceptional performance from Paulina Garcia, and this one utilizes some terrific “little” scenes … conversations with family and daily life with her housekeeper – all while staying close to a glass of wine, her favorite music, a cozy hammock, and her Barry Lyndon poster. While the ending is a bit disappointing, and Brazilian politics prevented it from being that country’s Oscar submission, those don’t negatively impact the strength of Sonia Braga’s Oscar worthy performance as we rejoice in the strength of an independent woman.

watch the trailer:

 

 

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Posted by David Ferguson

LONDON TOWN (2016)

October 8, 2016

london-town Greetings again from the darkness. The late 1970’s in London were filled with political, social and labor discontent. Director Derrick Borte (The Joneses, 2009) and writer Matt Brown (The Man Who Knew Infinity, 2015) use this backdrop, along with some cutting edge music of the era, to tell a coming-of-age story that is enjoyable despite its predictability.

Daniel Huttlestone (Into the Woods) plays 15 year old Shay (not Che) who carries the burden of babysitting for his sister Alice (Anya McKenna-Bruce) and cooking for his two-job dad Nick (Dougray Scott), as he dreams of meeting up with his free-spirited mom Sandrine (Natascha McElhone) who lives a bohemian lifestyle in London. Things start to change for Shay once he receives a package from his mom … his first taste of music from The Clash.

Soon enough, Shay finds himself chatting it up on a commuter train with wild girl Vivian (Nell Williams), who generously shares her own music from The Clash, as well as some insight into the band, and even a ticket to their next concert. After the best night of Shay’s life, a work accident puts his dad in the hospital, requiring the son to take on even more responsibility.

More than a coming of age story, this is what I call “the teenage awakening”. Once the world starts opening up to Shay, he begins to question everything. A serendipitous night in the clink with Joe Strummer (Jonathan Rhys Meyers) brings some surprisingly grounded philosophy and guidance. “Some people just burn bright” is a spot-on description of Shay’s mom and a lesson to Shay that parents are people too.

The movie belongs to Huttlestone, who bounces between responsible young man, bullied teen, and anti-establishment rebel. Ms. Williams is delightful in her role, and JRM brings the necessary hard edge to Strummer. Director Borte has a really nice eye for scenes, but probably was a bit too stingy with Clash tunes. The timing for the film is a bit unfortunate, as it’s released in the same year as the similar but superior Sing Street. Still it’s an enjoyable little film with enough philosophy sprinkled in that we don’t even mind the predictable ending with “I Fought the Law” carrying us to closing credits.

watch the trailer:

 

 

 

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Posted by David Ferguson

DENIAL (2016)

October 6, 2016

denial Greetings again from the darkness. Guilty until proven innocent. It’s a concept that is inconceivable to Americans, yet it’s the core of British Law in libel cases. When once respected British historian David Irving accused American scholar and educator Deborah Lipstadt of libel, based on her book that accused him of being a Holocaust denier, the burden fell to Lipstadt to prove not just that Irving’s work was a purposeful lie, but that the Holocaust did in fact take place.

This is the first theatrical release in about 15 years for director Mick Jackson, who is best known for his 1991 L.A. Story and 1992 The Bodyguard, and for his Emmy-winning 2010 TV movie Temple Grandin. The script is adapted, from Deborah Lipstadt’s book, by playwright David Hare (The Reader, 2008), and the courtroom dialogue is taken directly from trial records and transcripts. Like most courtroom dramas, the quality relies heavily on actors.

Rachel Weisz plays Ms. Lipstadt with a brazen and outspoken quality one would expect from a confident and knowledgeable Queens-raised scholar. Timothy Spall bravely takes on the role of David Irving, a pathetic figure blind to how his racism and anti-Semitism corrupted his writings and beliefs. Tom Wilkinson is the barrister Richard Rampton who advocates for Ms. Lipstadt and Penguin Books in the libel suit brought by Mr. Irving. Andrew Scott plays Andrew Julius, the noted solicitor who also handled Princess Diana’s divorce from Prince Charles. Others include Caren Pistorius as an idealistic member of the legal team, and Alex Jennings as Sir Charles Gray – the sitting judge for the case.

Of course for any sane human being, it’s beyond belief that a Holocaust denier could achieve even a modicum of attention or notoriety, much less have the audacity to bring suit against a scholar who simply published descriptions of that denier’s own words. Rather than come down to fact vs opinion, a more fitting title would be opinion based on fact vs opinion based on a lie. If the words used against Irving in Lipstadt’s books are true, she would win the case. In other words, she had to prove that he was a racist, an anti-Semite and knowingly misrepresented the facts in his works as a Holocaust denier.

Mr. Jackson’s film begins with Ms. Lipstadt as a professor in 1994 at Emory University (where she remains employed to this day). In 1996, the lawsuit is filed, and in 1998, Lipstadt and Rampton visit Auschwitz. Though the courtroom drama and corresponding legal work takes up much of the film, it’s this sequence filmed at Auschwitz that is the heart and soul of the film. Very little melodrama is added … the scenes and the setting speak for themselves.

The trial finally started in 2000, and as always, it’s fascinating to compare the British court of law and process with that of the United States. The formality is on full display, but nuance and showmanship still play a role. The film and the trial ask the question … are you a racist/anti-Semite if you truly believe the despicable things you say/write? This is the question that the judge wrestles with (and of course, “Seinfeld” had a spin on this when George stated “It’s not a lie, if you believe it”).

It’s been a rough movie week for me with the Holocaust and slavery (The Birth of a Nation), but it’s also been a reminder of just what wicked things people are capable of, and how current society continues to struggle with such inexplicable thoughts. Kudos to Ms. Weisz, Mr. Wilkinson and Mr. Spall for excellent performances, and to Mr. Hale for the rare inclusion of a Chappaquiddick punchline.

watch the trailer:

 

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Posted by David Ferguson

THE DRESSMAKER (2016, Australia)

September 29, 2016

dressmaker Greetings again from the darkness. Sometimes we just have to give thanks (and credit) to a filmmaker for boldly stepping out of the Hollywood box and delivering a cinematic experience that is creative, interesting and downright unusual. Such is the case with director Jocelyn Moorhouse and her first film since A Thousand Acres (1997).

We know immediately that we are in for something a bit different. A1950’s era bus rolls down the dusty road and stops in a desolate little Aussie town with only a handful of store fronts. Western-style music accompanies Kate Winslet as she steps off the bus brandishing a Singer sewing machine rather than a Winchester or Colt. She lights up a cigarette, squints out from under her hat, and utters one of the more memorable first lines of any movie. We are hooked. (You had me at “bastards”)

What follows is based on Rosalie Ham’s best-selling novel with a screenplay from the director and PJ Hogan (Muriel’s Wedding, 1997), and features a most remarkable blend of slapstick comedy, dark humor, tragedy, romance, mystery, and revenge. At times the film has a Coen Brothers or Wes Anderson feel, while at various other moments it recalls the Keystone Cops, Chocolat, a spaghetti western and a spoof of … well it’s difficult to say whether it’s a spoof or homage to numerous genres.

Ms. Winslet is in full lead mode as Tilly … the local girl who was accused of murder at age ten and banished from her mother and hometown. After 25 years, Tilly returns to Dungatar in an attempt to reconnect with her mom, gain a bit of revenge on the petty townfolks, and remember that fateful day that has been blocked from her memory. The tool of her trade is a sewing machine (and at times a golf club) and Tilly has the magic touch to transform the local ladies into more attractive and confident versions of themselves. She wields her Singer with every bit of danger as Blondie (Clint Eastwood) did with his revolver in The Good, The Bad and The Ugly.

Judy Davis (A Passage to India) is fantastic (worthy of an Oscar nom) as Tilly’s mother “Mad” Molly. In a role that would have been pure caricature in different hands (Maggie Smith), Ms. Davis provides a depth and humanity to a role that is truly the heart of the film. Also excellent is Hugo Weaving as the local Police Sergeant who has his own secret quirks and guilty conscience, and is one of the first to appreciate the talents Tilly brings to the small town. Liam Hemsworth spends the movie grinning and gazing in the role of arm candy Teddy – one easily recognizable as the female role in most movies (those not directed by a woman). The deep cast always features Sarah Snook as Gertrude and Kerry Fox as the villainous school marm Beulah (replete with devilish hairdo).

While the story itself is relatively predictable, it’s the manner in which scenes are staged that makes this such a pleasure. The offbeat combination of desolate Aussie town and near cartoon characters are set against the colorful and textured world of highly fashionable clothes, wicked twists, twisted humor, reconciliation and tragedy – many scenes combining more than a couple of these.

Marion Boyce and Margot Wilson deserve special attention for costume design, as the costumes themselves play as characters to contrast the local atmosphere. It’s startling to realize that such a coherent story utilizes such topics as domestic violence, spousal rape, misogyny, cross-dressing, murder, perjury, blackmail, Billie Holliday, South Pacific, cannabis brownies, and Sunset Boulevard in such creative ways. Though many critics will not agree, Ms. Moorhouse has delivered an entertaining and accessible movie despite its complexity with multiple subplots and various undertones. Let’s hope she doesn’t wait 20 years for her next film project.

watch the trailer:

 

2 Comments | Comedy, Drama, World Cinema/Foreign | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

MY KING (Mon roi, France, 2016)

September 8, 2016

my-king Greetings again from the darkness. We have all had that friend who falls head over heels for someone we know is not good for them. If we are a dutiful friend, we make every effort possible to open their eyes before it’s too late. Sometimes they are simply too far gone to listen … and what follows is a roller-coaster of emotions, or even an outright train wreck. Writer/director (and sometimes actress) Maiwenn, who was once married to director Luc Besson, finds much to examine in the roller-coaster relationship of Georgio and Marie/Tony.

The story is viewed through the eyes (and recollections) of Marie/Tony played with exuberance by Emmanuelle Bercot. After a skiing “accident”, Tony goes to a rehabilitation center to receive post-surgery treatment. While her knee is healing, she also spends her time self-analyzing a tumultuous and destructive relationship with her ex Georgio (Vincent Cassel). It’s easy to see the parallels for her learning to walk again, while also learning to live again.

Tony is a successful criminal attorney and self-described “normal” woman. She falls hard for the exciting Georgio, a life-of-the-party type. Tony’s brother Solal (Louis Garrel) and Georgio’s suicidal ex Agnes (Chrystele Saint Louis Augustin) are both against this relationship, but it’s challenging to stop the love bug when it hits this hard. The film acts as a blueprint of how relationships and falling in love can start strong, build to a crescendo, and then crash and burn.

Georgio has many childlike characteristics. He is fine when he gets his way, but explosive and manipulative at the drop of a hat. He is fully engaged in phase one which is filled with passion, lust, fun and excitement; however, once the everyday toil and maintenance of the relationship is required, his bi-polar personality becomes difficult to watch.

Addiction plays a key role here. Georgio is addicted to freedom, partying, and drugs; Tony is addicted to the excitement and passion that he delivers to her “normal” life. There are some cinematically rare “real life” scenes scattered throughout, and none better than the couple’s first time in bed, and a later dinner scene where Georgio’s charm and manipulation skills are on full display as he puts Tony in a no-win situation.

Vincent Cassel has joined Mads Mikkelsen on my short list of actors that I will watch regardless of the project. His screen presence is powerful and emotionally-driven, and here he generates both admiration and disgust at varying times. We understand why Tony is in a “can’t live with him, can’t live without him” mode. Emmanuelle Bercot (also a writer and director for other films) manages to cover the full spectrum of emotions during the film, and she takes us along for the self-reflection. We pull for her even as we question her sanity at times. Somehow we get it … he’s the king of jerks, but he’s her king. If only she had listened…

watch the trailer:

 

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

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