THE LOBSTER (2016)

March 12, 2016

lobster Greetings again from the darkness. The scene playing over the opening credits is baffling to us and sets the tone of peculiarity that runs throughout the film. A lady gets out of her car during a rainstorm to perform an unthinkable act as we watch through the windshield as the wipers rhythmically clear our view. Next we watch as Colin Farrell’s wife announces, after 11 years of marriage, she is leaving him for another man. Curiously, Farrell asks if her new man wears glasses or contacts.

Welcome to a dystopian future via the warped and creative mind of writer/director Yorgos Lanthimos (Dogtooth, 2009). It really boils down to a satirical look at relationships and our societal outcast of single adults. In Lanthimos’ world, Farrell, now a single man, must check in to the oddest country hotel you’ve seen. He has 45 days to find a romantic partner. If he doesn’t, he will be transformed into the animal of his choice. He chooses the lobster because of its long life span … ignoring the probability of ending up on a restaurant platter.

It’s an oddball world overly structured with rules enforced by the Hotel manager – a terrific Olivia Colman. Farrell befriends a couple of other single fellows: the limping man (Ben Whishaw), and the man with a lisp (John C Reilly). It’s funny and uncomfortable and kind of sad to watch these folks awkwardly try to connect with others with a deadline fast-approaching.

The first half of the movie is really black comedy at its finest, but once Farrell escapes the Hotel and joins the “loners” in the forest, the tone shifts a bit. An uneven romance develops between Farrell and a woman played by Rachel Weisz (who is also the film’s narrator). Even though this group of loners pride themselves on independence, it’s ironic that Farrell has merely traded one set of rules for another … courtesy of the rebel leader played by Lea Seydoux.

It’s a bizarre film, and one from which we can’t look away. The deadpan-yet- emotional dialogue delivery is strange enough, but the site gags are even further off the charts – keep an eye out for animals (former singles) strolling by in the background (peacock, camel, etc). There is certainly insight into modern day relationships and how people connect based on instantaneous judgments … but at least we don’t have to dig our own graves … yet!

watch the trailer:

 

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Posted by David Ferguson

EMBRACE OF THE SERPENT (Columbia, 2016)

March 12, 2016

embrace Greetings again from the darkness. Breathtaking black & white photography takes us on parallel scientific expeditions down the Amazon River, with stories inspired by the travel journals of Theodor Koch Grunberg (1872-1924) and Richard Evans Schultes (1915-2001).  It’s the first ever Oscar nomination (Best Foreign Language Film) for Columbia, and director Ciro Guerra’s film certainly deserves any and all acclaim.

The common link between the two expeditions is an Amazon Shaman named Karamakate. A young and proud Karamakate (Nilbio Torres) acts as a guide in the early 1900’s for Theo (Jan Bijvoet), who is already quite ill when we first see his travel guide Manduca (Yauenky Migue) dragging him from the canoe. 30 plus years later, Evan (Brionne Davis) finds an older and wiser Karamakate (Antonio Bolivar), and the two head down the river on much the same route as the decades earlier expedition. Supposedly both trips were a search for the sacred and rare healing plant called Yakruna.

David Gallego’s cinematography is absolutely gorgeous throughout, and adds a dimension to the journeys as we see first-hand the sociological and biological destruction caused by colonialism and the rubber barons. The lost/forgotten cultures are reason enough for the natives to distrust white men, yet the mysticism and pride of the indigenous tribes are fascinating.

The character of Karamakate is a pleasure to get to know, and the film has a great deal to say … and does so while being a visual stunning experience.

watch the trailer:

 

 

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Posted by David Ferguson

BOOM BUST BOOM (doc, 2016)

March 12, 2016

boom bust boom Greetings again from the darkness. On the heels of Adam McKay’s scathing and entertaining explanation of the 2008 financial collapse comes Terry Jones (of Monty Python fame) with a more global perspective of the same era. McKay’s Oscar nominated The Big Short was designed to let us know who did what and why, while Jones’ version applies a British spin and his wildly creative approach in breaking down the long-standing economic models that wreak havoc with our money.

Jones has joined forces with Economics Professor Theo Kocken to school us on the “leftover” strategies and economic models used by Politicians and Bankers … models that assume the market (investors and institutions) will act rationally. Our education comes courtesy of a multi-media show featuring animation, puppets, music and expert interviews (economists, authors, academic leaders, and at least 3 Nobel Prize winners).

According to the movie (and it’s difficult to argue otherwise), human nature is the Achilles heel of Capitalism. In fact, they use the term euphoria to describe the phenomenon that occurs as “stable” economic times lead to more risk and more debt. Debt clearly is the most profound 4-letter word in economics.

A film within the film … “Terry Jones’ Short History of Financial Crisis” takes us back to the 1500’s and through modern times, as the same mistakes recur. One of the more effective sequences shows State of the Union addresses from President Calvin Coolidge (1928) and President George W Bush (2006). Both speeches proclaim solid economies only 1-2 years prior to the two biggest collapses in U.S. history … just two extreme examples that the experts have no idea where the economy is headed as long as they continue to utilize the models that have proven to be ineffective.

It’s fascinating to get specifics on Hyman Minsky’s “Financial Instability Hypothesis”, as well as an explanation of the Neoclassical Economic Model (better known as the Free Market). Insight is provided by University of Texas Professor James Galbraith, son of famed economist John Kenneth Galbraith, and it’s quite enlightening to hear Allan Greenspan (a long time believer in the Free Market system) admit to being wrong about expecting rational behavior from those in the market.

The movie will forever act as a reminder for us to pinch ourselves should we think “this time is different”. In fact there is a movement by Economics students to change the way Economics degrees and PhD programs are structured – more emphasis on learning from history, and re-thinking and re-designing economic models.

The applicable websites are:

http://www.rethinkeconomics.org/

http://www.ecnmy.org/

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Posted by David Ferguson

Lolo (France, 2016)

March 12, 2016

lolo Greetings again from the darkness. The old saying “opposites attract” is on full display in director and co-writer Julie Delpy’s latest, as she offers up a twist on the French farce by adding a dark undercurrent. Additionally, the film addresses the personal and societal challenges facing women in their 40’s who are successful in their career, and who also hold out hope for finding true love.

Ms. Delpy also stars as Violette, a germaphobe divorcee who works in the fashion industry in Paris. The film opens as Violette and her best friend Ariane (Karen Viard) are deep into girl-chat while hanging out at a spa … each annoyed that they are without a soul mate that would complete their lives (or at least fill the sexual void).

After dumping a freshly caught tuna in Violette’s lap (as they meet for the first time), and then informing her that he understands she’s not his type … you know, since she is a lesbian (which she is not) … Jean-Rene (Dany Boon) re-groups and begins charming her with his grounded and simple nature. These two form a cute, but odd couple of opposites and seem to very much enjoy each other’s company.

Things start to get confusing for the couple when her 19 year old son Lolo (Vincent Lacoste) begins his (initially) subtle clandestine activities designed to break up the couple. Soon enough we realize this wannabe artist goes well beyond typical passive-aggressive activities, and straight into full-on psychotic mode with Oedipal tendencies. His psychological warfare against Jean-Rene slowly builds from childish antics, to deceitful and devilish scheming, to downright criminal … all with a sense of black comedy for us viewers (can’t say the same for Jean-Rene).

Other movies such as Cyrus and We Need to Talk about Kevin have dealt with the mother-son relationships ranging from creepy to dangerous, but Delpy’s movie always hits us with a dose of laughter when it’s needed. The use of the movie classic Village of the Damned (1960) is especially spot on as Violette and Jean-Rene continue to plug away as a couple … even when it’s obvious to us that 3 is too many for a healthy relationship – especially when one could be a reincarnation of Damien from The Omen.  The perfect ending reminds us that no one beats the French when it comes to a farce; even when the darkness is sprinkled on a bit heavier than usual.

watch the trailer:

 

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Posted by David Ferguson

THEEB (Jordan, 2015)

February 18, 2016

theeb Greetings again from the darkness. The first film from Jordan to be nominated for a Best Foreign Language Oscar has drawn comparisons to the epic classic Lawrence of Arabia, and the legendary Monument Valley canon of John Ford. This feature film debut of writer/director Naji Abu Nowar takes a more intimate approach in being more while also being less.

It’s 1916 in Hijaz Province, Arabia – nearing the end of the Ottoman Empire – and the film opens with a voiceover of fatherly advice that provides our basic introduction to the tribe’s customs. Soon enough we are watching a couple of Bedoin brothers doing typical brotherly things. The older brother Hussein alternates between teasing young Theeb and teaching him some basic survival skills.

Circumstances are such that the boys find themselves on a cross-desert adventure that is both beautiful and dangerous. It’s a rare snapshot into this part of the world as it is transitioning from an era where the tribesmen were renowned guides across this stretch of desert, to the modern era where trains (The Iron Donkey) transport people and cargo in significantly less time.

More than anything, this is a coming of age story for young Theeb. He quickly learns to apply life lessons taught by his big brother and their late father. Each decision becomes a matter of life and death, and it’s the expressive eyes and facial gestures of Jacik Eid as Theeb that makes this so much more than a stunningly beautiful film to look at. The sand, the sun, and the colorful canyons are like so much of nature – simultaneously visually spectacular and life-threatening. Watching Theeb react to each moment through wits and quick-thinking is a unique experience, and when we realize that Theeb fully understands his place in making things right for the family, it becomes emotionally profound.

Theeb is defined as “wolf” and it’s the strength, independence and savvy of young Theeb that grabs the viewer and prevents us from simply enjoying the landscape and photography. We are engaged with the adventure of this growing-up-too-fast young man.

watch the trailer:

 

 

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Posted by David Ferguson

OSCAR NOMINATED SHORTS: Live Action and Animated (2015)

February 14, 2016

Greetings again from the darkness. Oscar night is rapidly approaching, which means my annual pilgrimage to see the Oscar nominated Short Film Showcase has taken place. It’s always one of my favorite movie events of the year, and if you’ve never experienced it, I highly recommend you give it a try. You are guaranteed 10 high quality short films from around the globe, and they usually throw in a few more “commended” ones to enhance your time at the theatre. Here is my recap of this year’s nominations:

LIVE ACTION (alphabetical order)

AVE MARIA (Palestine, France, Germany) – In a year when the other four nominees are pretty serious in tone, this jocular, slightly satirical jab at religious extremism from filmmaker Basil Khalil is quite stuttererwelcome. Set in the West Bank, Palestine, a quarrelsome Jewish family literally crashes into the sanctity of 5 cloistered nuns.

DAY ONE (USA) – set within the war in Afghanistan, director Henry Hughes’ film depicts the first day in the field for a rookie translator as she accompanies a squad in their capture of a suspected bomber. When the bomber’s wife is discovered to be pregnant, things take a wicked turn and spontaneous decisions must be made that rattle the religious, cultural and moral state of those involved.

EVERYTHING WILL BE OKAY (Alles Wird Gut, Germany Austria) – I reviewed this one earlier in the year, and director Patrick Volrath’s film is just as gut-wrenching the second time. A desperate German father attempts to carry out an ill-conceived plan that will thwart his ex-wife’s attempts to prevent him from spending time with his young daughter. It’s well acted and emotional.

SHOK (Kosova, UK) – a bicycle stranded in the road brings back a flood of childhood memories from the Kosovo War for an adult man. Based on true events, this one from director Jamie Donoughue is a gut punch and reminder that nothing is as strong as the bond between friends.

STUTTERER (UK, Ireland) – my personal favorite of the Live Action nominees, this one will have you questioning how you view “disabilities” and your quick trigger on assumptions. Director Benjamin Cleary also provides insight into how insecurities play a role in the motives and actions of people.

 

ANIMATION (alphabetical order)

BEAR STORY (Historia de un Oso, Chile) – Director Gabriel Osorio Vargas offers up a very intricate and meticulous story of a former circus bear who tells his heart-breaking life story through a fascinating mechanical diorama. Along with the Russian entry, this is one of my two favorites in the category.

PROLOGUE (UK) – a beautifully drawn depiction of a brutal two-on-two battle between Spartan and bear storyAthenian soldiers from more than 2000 years ago. Director Richard Williams provides a taste of the violence and intimacy in hand to hand combat, and also the fallout from war regardless of the era.

SANJAY’S SUPER TEAM (USA) – Surely the most widely viewed of all nominees, as this Pixar production played before every showing of Pixar’s feature The Good Dinosaur. Director Sanjay Patel tells a semi-autobiographical tale of father, son and religion … complete with a real photo at the end.

WE CAN’T LIVE WITHOUT COSMOS (Russia) – The power of friendship and human bonding is on display as two cosmonauts train together for a trip into space. Director Konstantin Bronzit offers a no-holds-barred look at grief and the lack of understanding by others. The right stuff from a Russian perspective looks pretty similar to ours.

WORLD OF TOMORROW (USA) – I first saw this gem from director Don Hertzfeldt at the Dallas International Film Society, and the simple animation can’t mask the complexity of the cautionary tale. Technology and our desire for immortality may not provide the idyllic future we imagine. This one is both frightening and funny.

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Posted by David Ferguson

A WAR (Krigen, Denmark, 2015)

February 11, 2016

a war Greetings again from the darkness. Distinguishing between right and wrong has always been pretty easy for me, which probably explains my fascination when a good book or movie presents a decision weighted by moral ambiguity … especially one involving life and death. Such is the case with writer/director Tobias Lindholm’s (A Hijacking, 2012) latest, which has been Oscar nominated for Best Foreign Language Film (Denmark). It’s tension-filled and overflowing with moments that will make you question yourself and your beliefs.

Three parts make up the whole, and each segment brings its own pressures and is presented with its own camera technique. We see Commander Claus Pederson (Pilou Asbaek) leading his squad of Danish soldiers in their Afghan peace-keeping missions. The film bounces between these boots on the ground and Pederson’s wife (Tuva Novotny) back at home in Denmark trying to maintain a sense of normalcy for their three kids. The final act is a tense courtroom drama that will undoubtedly mess with your head.

Mr. Asbaek (“Game of Thrones” and the upcoming Ben-Hur remake) is spell-binding as Commander Pederson. When a land mine causes the loss of one of his men, Pederson proves that he is no desk-jockey, but rather a leader by example. He has a calm presence that inspires his men, though his fearless approach is quietly questioned by some. His in-the-heat-of-the-moment decision with his squad under fire saves the life of an injured soldier, while also resulting in a tragedy that could affect his military career, his family life, and his freedom.

It’s interesting to see how director Lindholm parallels the struggles of Mr. and Mrs. Pederson … albeit in different worlds. The personal and emotional challenges are everywhere and affect everyone. The 3 kids miss their father and struggle in their own ways with their new world. The wife misses her husband and battles to keep the kids in line. The husband misses his wife and their closeness. He also misses the little joys that come with being a (present) father. The soldiers struggle with their orders to patrol a community that doesn’t seem to want them. Even the community struggles with the constant threat of danger.

Commander Pederson’s fateful decision is the focus of the courtroom drama. The dilemma faced by him and his men is truly a no-win situation. His job was to protect his men while also protecting the citizens of the community. It’s a judgment call in the heat of the moment. Either decision would be right and either decision would be wrong. The issue on trial is so complex that it’s very likely the desired verdict would be split among those in the theatre. When Pederson’s wife tells him “It’s not what you did that matters. It’s what you do now.” We certainly understand her, but do we agree? Is it possible to judge a war crime when lives are in immediate danger?  What would you do? Unless you’ve been in those boots, it’s impossible to know. The best intentions can be eclipsed by a will to live and quest to save those for whom you are responsible. Is lying ever OK, and if so, what is the fallout?  How does it impact you, those you love, and those whose respect you have earned?

This is an exceptionally well made movie with a script that constantly has us questioning our morals. while providing no easy answers.

watch the trailer:

 

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Posted by David Ferguson

BOY AND THE WORLD (animated, 2015)

February 11, 2016

O Menino e o Mundo (Brazil)

boy and the world Greetings again from the darkness. It may not be Pixar, but this wonderful film from Ale Abreu is absolutely worthy of its Oscar nomination for Best Animated Feature, though it’s heavier on message than story. It’s a wonderful reminder that one of the best features of animation is that the look can be unconventional and still be effective.

The stick figure boy is on a mission to re-connect with his father, who left the family’s country home to find work in the big city. For Abreu’s film, the boy’s real purpose is to be our tour guide through this exploration of the state of the “civilized” world. It’s an adventure that provides the boy (and us) insight into cities, the sea, the countryside and agricultural life. It’s also an examination of the loss of childhood innocence as we are exposed to reality.

A rare hand-drawn presentation is also mixed-media, as it utilizes a few real news clips to emphasize the cluttered, damaged world. It’s a different approach in making the arguments regarding climate change, carbon footprints and socioeconomic imbalance. The hand-drawn core here is more complex than what we initially believe. Colors explode onto the screen, and the visuals often carry multiple meanings in depicting the intended message.

Dialogue is minimal and often garbled in a manner that reminds of any adult in the Charlie Brown comics … but we are never confused on what is being conveyed. In addition to the visuals, sound effects play a huge role, as does the music from composers Ruben Feffer and Gustavo Kuriat, and Brazilian jazz favorite Nana Vasconcelos. It’s a unique approach to reminding us that our harsh treatment of the planet could play like a horror story or dangerous adventure to the innocent eyes of a child.

watch the trailer:

 

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Posted by David Ferguson

MUSTANG (France, 2015)

January 31, 2016

mustang Greetings again from the darkness. Writer/director Deniz Gamze Erguven admits to being inspired by Sophia Coppola’s 1999 The Virgin Suicides (though this is not a remake), and by offering us a rare glimpse into the lives of five sisters in a rural community in Turkey, it’s clear why the film has been so well received at film festivals – culminating in an Oscar nomination for Best Foreign Film. It’s a bit confusing that the film is credited to France (Ms. Erguven’s current place of residence) as it takes place in Turkey and is performed in Turkish. But of course, country of origin is a minor ripple in this year’s uproar over diversity at the Oscars.

Not being any type of expert in Turkey culture or customs, I must accept that the insights provided by Ms. Erguven and her co-writer Alice Winocour are somewhat accurate, which makes the balance between the tradition of female oppression and the amazing spirit of the girls so relatable for many. What begins as a seemingly harmless game of chicken the girls play with some classmates (boys) on the way home after the semester’s last day of classes, turns into a series of events that most will find absolutely unacceptable. The shame brought to the family and the threat of the girls being “spoiled” highlights the extreme reactions from their grandmother (Nihal G Koldas) and Uncle Erol (Ayberk Pekcan).

Lale (Gunes Sensoy) is the youngest of the sisters and in the end proves to be the toughest and most independent. And that’s really saying something. We take in much of what happens through Lale’s expressive eyes, and we as viewers long for reasonableness to enter their lives. After being what can only be described as imprisoned in their own home, the spirit of the girls collectively and individually becomes clear. They find ways, small and large, to rebel … but it’s soon enough clear that the mission is to marry the girls off before it’s too late (there’s that “spoiled” thing again).

As Lale witnesses what her older sisters are subjected to, and how happiness or their own wishes play no role, she becomes more determined to avoid such destiny. With skewed perspective, one might make the argument that Grandmother and Uncle are doing what they think is in the long term best interests of the girls, but the Uncle’s despicable actions void any such thought. Instead we are left to marvel at the strength and spirit of the girls in world that holds them in such low regard as individuals.

Lale’s sisters are Sonay (Ilayda Akdogan), Nur (Doga Zeynep Doguslu), Selma (Tugba Sunguroglu) and Ece (Elit Iscan). The girls are so natural together that we never doubt their sisterly bond. They argue like sisters, defend each other as sisters, and play together like sisters … were it not for their isolated existence, their bond would be a joy to behold. The cinematography throughout the film adds to the discomfort and dread we feel, and the acting is naturalistic and believable.  In the end, it’s the unbridled freedom of the titular creature that Lale defiantly embraces … whatever the consequences may be.

watch the trailer:

 

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Posted by David Ferguson

BEAUTY AND THE BEAST (La belle et le bette, France, 2015)

January 28, 2016

beauty and the beast Greetings again from the darkness. If you are looking for dancing tea cups or singing candelabras, you’ve come to the wrong movie. If you are looking for the Gothic approach to the dark psychological analysis of the original story … again, you’ve come to the wrong movie. Director Christophe Gans (Silent Hill, 2006) offers up a version that is neither animated Disney (1991) nor Jean Cocteau (1946), though his film does have a visual flair that will likely keep audiences (it’s not for very young kids) engaged throughout.

The familiar story was first written by Gabrielle-Suzanne Barbot de Villenueve in 1740, however, it’s the revised version from Jeanne-Marie Leprince de Beaumont in 1756 that provides the fairy tale/fable that has been filmed so many times since. The story’s genealogy based in France instills a bit more hope and responsibility in a project starring Vincent Cassel, Lea Seydoux and Andre Dussolier, and directed by the Frenchman Gans.

Ms. Seydoux is an admirable Belle, and her grace and beauty make for quite the contrast to her needy and entitled sisters. Her time in the castle with the Beast is limited, and therein is the film’s biggest weakness. We never really see the transformation of the Beast to a man who repents, turns over a new leaf, and is worthy of love … it all just kind of happens thanks to the beautiful dresses. Mr. Gans and Sandra Vo-Anh co-wrote the script, and this misstep deflates the core of the story. We are on our own to interpret the messages of class warfare, greed, and judging others by looks. The focus instead is on the visual presentation, which at times is spectacular.

The set design and costumes are especially impressive and elaborate, and though the look of the Beast may not be precisely to your imagination, the film isn’t shy about putting him front and center with the camera. Vincent Cassel’s time as the Prince is pretty well done, and the CGI and explanation of the gold doe, nymph of the forest, magic healing water, pack of beagles and the curse are enough to move the story along … even if some details are lacking.

A bedtime story being read to two young kids is the framing device and might explain why the fantasy world is emphasized over the dark psychological undertones (more prevalent in the Cocteau version). While some might view the ending as somewhat mawkish, it’s really nice to see happily-ever-after is not twisted into some contemporary take on independence.

watch the trailer:

 

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Posted by David Ferguson

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