OUR LITTLE SISTER (2016, Japan)

September 6, 2016

our-little-sister Greetings again from the darkness. Movies don’t frequently begin after the most disruptive drama has already occurred. However, such is the case with director Hirokazu Koreeda’s adaptation of Akima Yoshida’s graphic novel “Umimachi Diary”, the source material for this tale of sisterly love formed by tradition and some unfavorable circumstances that are “nobody’s fault” (a recurring theme).

Three adult sisters live together in their large family home, and have done so for many years – since their father left for another woman, and their mother, unable to cope, abandoned them. Sachi (Hanuka Ayase) is the oldest and self-burdens by carrying the most responsibility. Yoshino (Masami Nagasawa) and Chiko (Kaho) are quite a bit more care-free than their older sister, but this non-traditional family unit functions with traditional meals served within the walls of their traditional house.

The sisters attend their father’s funeral where they meet their half-sister Suzu (Suzu Hirose), who they invite to come live with them. The small town community of Kamakura provides a quaint and beautiful backdrop for the film … which has plenty of personal drama (what would you expect from 4 sisters?) but lacks the high drama that cinema usually heaps on screen.

We easily get to know each of the characters, and how they deal with being a product of their past, while hoping not to repeat the mistakes of their parents. Although “death” is seemingly everywhere, this is mostly a story about appreciating life and beauty – and the strength that comes with a family bond.

The acting is superb throughout, and director Koreeda’s camera work is understated and complimentary … except for the moments when it’s breathtaking – the Cherry Blossom tunnel, for instance. The look and feel of the film is quite tranquil, but emotions are constantly stirring – whether at a local diner or harvesting the family plum tree for this year’s plum wine. It’s little wonder that the film was so well received at Cannes Film Festival, and for those who enjoy a less-thunderous approach to cinema, it should be quite a pleasant two hours.

 

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Posted by David Ferguson

HUNT FOR THE WILDERPEOPLE (2016)

July 7, 2016

Oak Cliff Film Festival 2016

hunt for Greetings again from the darkness. It just doesn’t seem very many movies are designed to be funny to a wide range of viewers. There are raunchy comedies for taboo lovers. There are comedies for young kids. There are even Nicolas Cage movies for unintentional laughs. But writer/director Taika Waititi actually delivers a thoroughly entertaining movie that will generate laughs across multiple generations … it’s quite simply, a fun time at the theatre.

Based on the 1986 book “Wild Pork and Watercress” by Barry Crump, who himself is a bit of a legendary figure in New Zealand, the film begins with Child Protective Services (or whatever it’s called in New Zealand) dropping off 12 year old Ricky Baker to his new foster family. Paula, the CPS agent, considers Ricky a lost cause and describes him as “a very bad egg” as she rattles off his list of previous rebellions to new foster mom Bella, who takes note of Ricky’s heft with a couple of wisecracks – delivered with a well-meaning smile.

In a terrific screen introduction, “Uncle” Hec slowly comes into frame flashing a world class scowl and a wild boar slung over his shoulder. Ricky continues his habit of running away at night, but Bella slowly wins him over with her kindness, understanding and breakfast offerings. A tragic occurrence and fear of being shipped back to the juvenile center, has Ricky disappearing into the New Zealand bush. Soon enough Hec catches up and the two begin a relationship that is the core of the film.

Rima Te Wiata plays Bella as a perpetually optimistic woman with a sincere drive to help Ricky adjust and find some joy in life. Sam Neill plays Hec in full grumpy curmudgeon mode … a nice compliment to the extraordinary presence of Julian Dennison (Paper Planes) as Ricky. Ricky and Hec together are a hoot to watch. It’s not simply the generational differences, but also a clash of one man who wants little more than to be left alone and a young boy who wants little more than to be noticed and cared about. It’s not so much the direction of their relationship that surprises, but rather the manner in which it develops.

Director Waititi’s next film is Thor: Ragnarok, so this makes us appreciate even more his pleasant little indie film that features not just colorful and interesting characters, but the beautiful landscape of the New Zealand bush … much of which we see during the humorous manhunt for Hec and Ricky. It’s a farcical comedy with a dose of profundity and loads of adventure for two social misfits. Rachel House is pretty funny as the obsessed CPS worker, and Rhys Darby (“Flight of the Conchords”) is downright hilarious as Psycho Sam. Watching criminial-wannabe Ricky literally count off his Haiku, leaves little doubt as to why this one has been such an “audience favorite” at multiple film festivals.

watch the trailer:

 

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Posted by David Ferguson

A MONSTER WITH A THOUSAND HEADS (Mexico, 2016)

June 17, 2016

a monster with Greetings again from the darkness. Instances of the little guy fighting mightily against a bureaucratic monolith are featured often in cinema, so it’s helpful to have an auteur like director Rodrigo Pla serving up his vision … in this case, a story from writer Laura Santullo.

In just the few opening scenes we quickly gain an understanding that this is an emotional story, and not one determined to spell out all details through intricate dialogue. Instead the lighting and camera focus on Sonia (Jana Raluy) as she tries to comfort her husband as he moans in pain (her face relaying that feeling we’ve all had as a loved one suffers so).

Next we see a determined and desperate Sonia … with teenage son Dario (Sebastian Aguirre Boeda) in tow … escalating her battle against the doctors, insurance company and pharmaceutical company that have seemingly conspired to prevent her husband from receiving the treatment he needs. Sadly, we easily see ourselves sliding into Sonia’s shoes as she pursues the proper treatment for her husband – blackmail, kidnapping and assault laws be damned!

Her fight against a corrupt and rigged system never gets easier, even after she uncovers documented proof that doctors are incentivized for high rejection rates. In other words, profits are priority over healing and treatment. Though set in Mexico, this personal desperation has been experienced by citizens of most every country.

Mr. Pla’s expertise as a filmmaker is evident throughout. The use of a running courtroom narrative as a backdrop adds dimension to the otherwise minimal use of dialogue. Additionally, the camera work is stellar … especially in an early parking garage scene where we witness the first confrontation through the windshield of another car (assisted by that vehicle’s headlights). It’s yet another example of how emotional responses outweigh the verbal here, and why this story of fighting bureaucratic red tape goes beyond many others.

watch the trailer:

 

 

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Posted by David Ferguson

A BIGGER SPLASH (2016)

June 5, 2016

a bigger splash Greetings again from the darkness. I’ve said before that she is such a fascinating actress that I would probably buy a ticket to watch Tilda Swinton just stand on stage. In her latest collaboration with director Luca Guadagnino (I Am Love, 2009), Ms. Swinton’s character remains mostly silent, save a few well placed whispers and one uncontrollable outburst, and she is certainly worth the price of that ticket.

Adding to the movie fun here is a script by David Kajganich adapted from Alain Paige’s story that was the basis for the 1969 film La Piscine. Ms. Swinton plays Marianne Lane, a glam rock singer (think 60’s-70’s David Bowie) who has gone on holiday to recover from throat surgery. She is accompanied by her photographer/filmmaker boyfriend Paul (Matthias Schoenaerts), and the couple has sought seclusion and serenity on the picturesque Italian island of Pantalleria in the Strait of Siciliy. They spend their time sunbathing (European style) and enjoying intimacy in the swimming pool at the stunning compound they have rented.

Of course it wouldn’t be much of a movie if things went according to plan. Blowing into town like the upcoming sirocco winds is Marianne’s former lover and former music producer Harry (Ralph Fiennes), along with his daughter Penelope (Dakota Johnson). Showing up uninvited adds to the palpable underlying tension – which only gets thicker as the layers are peeled back. In addition to the former relationship of Marianne and Harry, it turns out Harry and Paul were once close friends, and it’s only been in the last year that Harry found out Penelope is his daughter (and there’s even some doubt on this).

Fiennes’ Harry is the kind of annoying blow-hard we want to punch after about 5 minutes. He is unrelenting with his energy and motor-mouth approach to most every moment in life. In that same 5 minute span, we also figure out his not-so-subtle desire to win back Marianne. His Lolita-type daughter may or may not be part of his plan, but she surely has her own sights set on Paul. Over food, wine and swimming, we learn more and more backstory on each character, and it’s pretty obvious the beautiful bodies and faces are masking mountains of vulnerabilities and insecurities.

Ms. Swinton, despite her minimal dialogue, makes Marianne a captivating character – balancing the entitlement of a rock star with a desperate attempt to be normal. Mr. Schoenaerts brings his usual physicality and simmering emotional quiet to the role of Paul – a guy much less “together” than he would have us believe. Penelope is a good fit for Ms. Johnson, as she mostly lounges around the pool leering lustfully at Paul. But it’s Mr. Fiennes who rules the roost here with his appendage-flapping portrayal of the vulgar and vulnerable Harry – complete with Monty Python references, Mick Jagger dancing and au natural pool diving. It’s a different kind of role for Fiennes and one he clearly relishes.

It’s a film filled with lush visuals and fans (like me) of Francois Ozon’s 2003 Swimming Pool will recognize the stylings of cinematographer Yorick Le Saux. Beauty abounds: the setting, the water, the clothes, and the house. Things do get a bit clunky in the third act with a minor sub-plot involving Tunisian refugees. Fortunately that doesn’t negate the many good things here … including a terrific and creative soundtrack featuring a couple of deep cuts from the Rolling Stones, Nilsson’s “Jump into the Fire”, St. Vincent’s cover of “Emotional Rescue”, and even Robert Mitchum’s “Beauty is only Skin Deep”. It’s a stylish, ultra slow-burn emotional thriller that has a swimming pool shot somewhat reminiscent of the iconic one from Sunset Boulevard. If all of that is still not enough reason to buy that ticket … don’t forget about Ms. Swinton!

watch the trailer:

 

 

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Posted by David Ferguson

DHEEPAN (France, 2015)

May 25, 2016

Dallas International Film Festival 2016

dheepan Greetings again from the darkness. Wars exist in many different forms. Some are over contested international boundaries, others are religious conflicts, while others are more personal and intimate. The stories of many refugees could be described as fleeing one type of war only to end up fighting a different kind. Such is the story of Dheepan.

Jacques Audiard is one of the most exciting filmmakers working today. A Prophet (2009) and Rust and Bone (2012) are both compelling films, and though his latest may not be quite at that level, it’s still full of intensity and personal drama. Mr. Audiard co-wrote the screenplay with Thomas Bidegain and Noe Dibre, and some of it is based on the remarkable real life story of lead actor Jesuthasan Antonythasan.

Dheepan is a Tamli soldier who is so desperate to flee Sri Lanka that he teams with a woman and young girl he doesn’t know to form what looks like a real family. By using passports of people killed during the war, the pre-fab family of three is issued visas to live in France. Dheepan gets a job as the caretaker for an apartment complex riddled with crime, violence and drugs – and learns to keep his mouth shut and eyes open.

It’s fascinating to watch these three people navigate their new life as they struggle with the language and a new culture. There are flashes of real family problems, but also the awkwardness of three whose only true bond is their escape from their previous life. Living in such close proximity means their true colors are bound to shine through no matter how much effort goes into the family façade.

Jesuthasan Antonythasan (Dheepan) and Kalieaswari Srinivasan (as Yalini his wife) are both excellent and powerful in their roles despite being so inexperienced as actors. Their exchanges are believable, as is their disparate approach to the future. Ms. Srinivasan is especially strong in her scenes with local thug Brahim, played by Vincent Rottiers.  The two have such an unusual connection … alternating between warm and frightening.

Some have found fault with the final action sequence, but it’s such a fitting turn of events given Dheepan’s past … plus the camera work is outstanding. The film won the Palme d’Or at the 2015 Cannes Film Festival, and it’s another notch in the belt of filmmaker Jacques Audiard. It’s also a reminder that we can never really escape the past.

watch the trailer:

 

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Posted by David Ferguson

MAGALLANES (Peru, 2016)

April 30, 2016

Dallas International Film Festival 2016

magallanes Greetings again from the darkness. What a compelling neo-noir quasi-crime thriller from first time director (and long time Peruvian actor) Salvador del Solar. The story is based on Alonso Cueto’s novel “La Pasagera”, and while it’s anchored by a terrific performance from Damian Alcazar, there are numerous twists, turns, and intense sequences.

Mr. Alcazar plays Magallanes, a former Army soldier now struggling to earn a living as a freelance taxi driver in the city of Lima. He has a second job as driver and part-time caretaker for his former military commander (played by Federico Luppi), who now suffers from Alzheimer’s disease … though to what extent plays a role throughout.

One day Magallanes picks up a passenger whom he immediately recognizes. When she exits the taxi, his breathless anxiety is a powerful moment. We slowly learn that the woman is Celina (the stunning Magaly Solier), and there is a dark and horrific secret that binds these two to the colonel.

Watching the numerous story lines unfold is a nerve-racking movie-going pleasure, as secrets and pain and struggles abound. Celina is close to losing her salon and is being pressured by a tyrannical loan shark – a rare cinematic female role absent any empathy. Secrets and circumstances being what they are lead Magallanes to plan blackmail against the colonel’s wealthy doctor son (Christian Meier). To say that nothing goes according to plan is a bit of an understatement.

The brilliance of the story is that we find ourselves pulling for Magallanes right up until the moment when we can’t possibly forgive him his transgressions … any more than Celina can. More than an example of the jumbled mess of war and terrorists, the film is a wonderful observation of human nature and how we often rationalize our worst actions to the point of delusion of our own goodness. No matter how hard we try to put things behind us, the bad choices are always there. Some sins just cannot be washed away, and redemption is not always possible. In the words of the characters … “well, that’s football.”

watch the trailer:

 

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Posted by David Ferguson

SING STREET (2016)

April 20, 2016

DALLAS INTERNATIONAL FILM FESTIVAL 2016

sing street Greetings again from the darkness. The vast majority of 1980’s music usually inspires nothing but groans and an immediate change of the radio channel from me. Yet writer/director John Carney masterfully captured and held my attention with this crowd-pleasing story that leans heavily on the tunes from that era.

Mr. Carney was also responsible for two previous music-centric movies, Once (2007) and Begin Again (2013). He is an exceptional story teller who puts music at the center, but avoids the label of “musical” by making it about people, rather than notes.

It’s 1985 in economically depressed Dublin, and a strong opening sequence introduces us to Connor (Ferdia Walsh-Peelo) as his ever-arguing parents (Aidan Gillen, Maria Doyle Kennedy) inform him of the economic necessity of pulling him out of prep school and enrolling him into a much tougher environment … one that comes with bullies and hard-nosed teachers/clergy.

Soon enough Connor is hanging with the misfits and inviting an enchanting “older” girl to star in his band’s video. She agrees, and wide-eyed Connor quickly sets out to form a band that didn’t previously exist.

There are two interesting and fully realized relationships that make this movie click: Connor and the enchanting Raphina (Lucy Boynton), and Connor and his older brother Brendon (Jack Reynor). Brendan is Connor’s life mentor and music guru. They are quick to jump on the new world of music videos, and it’s a real hoot to watch Connor emulate the style and fashion of Duran, Duran, The Cure, etc.

It’s fascinating to note that Connor, while a pretty talented lyricist and singer, doesn’t really seem to be in love with the music except as a means to an end … a way to get the girl. That said, the real message here is that while teenagers often feel like they can’t fix the outside world (parents, teachers, bullies), they can fix themselves by finding a passion in life (the movie uses the term vocation).

It’s hard not to notice the influence of such filmmakers as John Hughes and Cameron Crowe, and Carney certainly brings his touch of romanticism. Plus, one must appreciate any movie that delivers an original song as catchy as “Drive it like you Stole it”, while also taking a shot at Phil Collins. It’s a funny and sweet movie that should really catch on through positive word of mouth.

watch the trailer:

 

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Posted by David Ferguson

TALE OF TALES (Italy, 2016)

April 20, 2016

tale of tales Greetings again from the darkness. Fairy tales have long been a fruitful source for movie material. Some, like Disney productions, land gently on the family/children end of the scale; while others like the Brothers Grimm material are much darker and adult in nature. And now, along comes director Matteo Garrone and his blending of three stories loosely based on the 17th century tales published by Giambattista Basile … and “black comedy” falls short as a description.

Mr. Garrone is best known for his chilling look at an Italian crime family in the award winning Gomorrah (2008), so a trilogy of demented monarchial fantasies may seem a bit outside his comfort zone … but grab ahold of your crown jewels and be ready for just about anything.

A very strong opening leads us into the first story about a King (John C Reilly) and Queen (Salma Hayek) who are by no one’s definition, the perfect couple. The Queen’s inability to have children leads her to strike a deal with a Faustian seer who promises a baby to the royal couple. The only catch is that the King must kill a sea monster, and the Queen must eat its heart after it’s properly prepared by a virgin. Yep, it’s pretty dark and pretty odd. Of course, as with all actions, there are consequences (albino twins of different mothers) … some of which are not so wonderful.

The second story involves a lecherous King (Vincent Cassel) who falls in love with a local woman based solely on her singing voice. Much deceit follows and the actions of two sisters (played by 3 actresses – Hayley Carmichael, Stacy Martin, Shirley Henderson) and some supernatural aging products lead to a twisty story of romance that can’t possibly end well for anyone involved.

The third of our 3-headed story is the strangest of all, as a King (Toby Jones) nurtures a pet flea until it grows to behemoth size. Yes, a pet flea would be considered unusual, but eclipsing even that in uniqueness is the King’s willingness to offer the hand of his daughter (Bebe Cave) in marriage to a frightening ogre who lives a solitary life in the mountains.

These three stories are interwoven so that we are bounced from one to another with little warning … which seems only fitting given the material. Knowing the theme of the three stories does not prepare one for the details – neither the comedy, nor the dramatic turns. All actors approach the material with deadpan seriousness which adds to the feeling of a Grimm Brothers and Monty Python mash-up.

Alexandre Desplat provides the perfect score for this oddity, though the audience may be limited to those who can appreciate grotesque sequences assembled with the darkest of comedy. The moral to these stories may be difficult to quantify; however, it’s a reminder that actions beget consequences no matter the time period.

watch the trailer:

 

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Posted by David Ferguson

HOTEL DALLAS (Romania, 2016)

April 17, 2016

Dallas International Film Festival 2016

Hotel Dallas Greetings again from the darkness. Remember when the 1980’s TV show “Dallas” saved Romania? Though it’s the tongue-in-cheek theme of this innovative docudrama, it’s understandable if you haven’t previously heard about this connection in the Romania-United States pop culture clash. Married filmmakers Livia Ungar and Sherng-Lee Huang deliver a visually unique standout even amongst the unusual offerings of a film festival.

In the 1980’s communist Romania, “Dallas” was the only Western show permitted to be broadcast to the general public … the idea being it would act as a warning of the evils of capitalism. Of course the result was much different, and Romanians embraced the film as a fantasy lifestyle. The show perpetuated the Poverty vs Wealth, and Communism vs Freedom differences.

Ms. Ungar also stars as a version of her youthful self, and her training in art plays a huge role in how she presents this story … it’s artsy, imaginative and even impressionistic at times. She utilizes “Endless Column” from Romanian sculptor Constantin Brancusi as the imagery for the link to United States culture and dreams. Time is also a bit relative here, as we bounce forwards and backwards periodically.

One of the more fascinating segments is the Southfork Ranch-style Hotel developed by a Sunflower Oil business tycoon (who also spent time in prison). It’s known as the Southfork of Slobazia, and one of the most oddball songs/videos you’ll ever hear/see accompanies us on the tour.

Patrick Duffy, who of course played Bobby Ewing in the “Dallas” series, plays an unusual American tourist named Mr. Here. Mr. Duffy contributes quite a bit of narration and his appearance adds to the surreal feel of the film. There are also re-stagings or reimaginings of some actual “Dallas” plotlines, including the infamous “Pam’s dream”. For those who like their movies on the extreme end of the artsy scale, they will be quite happy. Others may just be satisfied with the excessive number of shots featuring Ms. Ungar’s rear end in tight denim jeans.

watch the trailer:

 

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Posted by David Ferguson

THE CLAN (Argentina, 2015)

April 2, 2016

clan Greetings again from the darkness. It seems inherent within human nature for kids to want to make their parents happy and proud. Most of the time the reverse is also true: the majority of parents want to be good role models for their kids. However, when the latter is not true, things can get pretty ugly … even frightening. Such is the case with the real life story of the Puccio family in Argentina.

Acclaimed Argentinean director Pablo Trapero (Carancho, 2010) gives us a look at the Puccio crime family, and in the process draws parallels between the political turmoil and re-structuring of Argentina as it returned to a democracy in the early 1980’s.

The façade of the happy family makes for perfect public cover as horrendous crimes are perpetuated … often in the basement of the family home. Arquimedes (Guillermo Francella, The Secret in Their Eyes 2009) is the father who often seizes on the celebrity of his rugby star son Alex/Alejandro (Peter Lanzani) to catch their victims off-guard. The family Modus Operandi is pretty simple: kidnap-collect ransom- kill.  Arquimedes was known for his hospitality, often offering home-cooked meals to the victims as they were chained in the family basement. Quite a contrast to the brutality involved in the crimes.

The film raises many questions, and makes us wonder where the line of guilt is drawn between committing a crime, and simply looking the other way. It’s presented as if Alex felt compelled to support his father’s endeavors even though it caused major internal struggles for him. Certainly the mother/wife (an excellent Lili Popovich) made the conscious decision to do what was necessary. It’s especially unsettling to see Arquimedes helping his daughter with her school work, while the most recent victim is shackled in the cellar.

As Argentina’s Oscar submission for Best Foreign Language film, it didn’t make the final cut, but it’s absolutely at the level of the five nominated films. Fans of Scorcese and Coppola crime films will see the influences, and the film rates with such crime gems as A Prophet (2009) and Animal Kingdom (2010).

watch the trailer:

 

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Posted by David Ferguson

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