SUPERBOYS OF MALEGAON (2025, India)

February 28, 2025

Greetings again from the darkness. These are the kind of movies that it’s a pleasure to champion. Writer-director Reema Kagti and co-writer Varun Grover have produced a feel-good underdog story based on what a few folks actually accomplished in Malegaon, a small, poverty-stricken town in India. This inspirational true story opens in 1997 and is told in the Hindi language with subtitles.

Adarsh Gourav (THE WHITE TIGER, 2021) stars as Nasir, a videographer and photographer who uses his love of cinema to show Charlie Chaplin and Buster Keaton movies in the backroom of his brother’s shop. The size of his audience jumps when Nasir figures out how to use iconic scenes of those classic for comedy mash-ups to get people really laughing and enjoying themselves. As you might guess, video pirating was as frowned upon in 1997 as it is now, so after being forcefully shut down, Nasir had the bright idea to create his own parodies using local talent (aka friends).

The locals have a grand time working together, and those early auditions are a hoot. Their first production is a big hit! During this time, we see Nasir as a focused, dedicated filmmaker who leans heavily on Farogh (Vineet Kumar Singh) and Shafique (Shashank Arora), as well as some other friends. Farogh envisions himself as a serious writer … “The writer is the boss!” … and doesn’t buy into these silly parodies. Shafique is Nasir’s best friend, and he quietly dreams of becoming an actor while carrying out all of the tasks to make Nasir’s job a bit easier. Shafique is later part of a tender love story with the group’s lead actress (Manjiri Pupula). It’s also during this time that Nasir loses his girlfriend to a marriage arranged by her parents.

The story skips ahead to 2004, finding a backlash against Nasir from his friends who feel taken advantage of. He also experiences his first flop and himself becomes part of an arranged marriage (bride played by Muskkaan Jaferi), although he still carries a torch for his first love. The backlash appears to have exposed Nasir’s selfishness and clueless focus on film rather than people. Interestingly, there is an underlying theme of originality – what is it, and is it important in movies or not? It’s a question the industry still struggles with today.

Jumping to 2010, Shafique’s situation is the driving force behind friends reuniting and the most creative and personal movie project yet for Nasir. Much of the story revolves around chasing one’s dreams, the importance of friendship, and the urge to create art, specifically movies that entertain. The inspirational final act reminds us that everyone deserves to be a star at least once, and the value of friendship is priceless. There is a 2008 documentary titled SUPERMEN OF MALEGAON that focuses on the early days of filmmaking for these underdogs, and would be a nice complement to this film from Reema Kagti, whose end credits recap the real people portrayed in the story.

Opening in select theaters on February 28, 2025

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Posted by David Ferguson

VERMIGLIO (2024, Italy)

February 21, 2025

Greetings again from the darkness. It’s 1944 in the mountainous northern Italy commune of Vermiglio. WWII has been raging for years, and even the families in this remote village have felt the effects. Writer-director Maura Delpero has delivered a beautiful and touching film that follows the four seasons. There is little wonder this was Italy’s Oscar submission for Best International Film. Although it missed on a nomination, it’s still one of the best films from 2024.

Much of this story focuses on the local schoolmaster’s large family. And by large family, I mean the mother delivers her tenth child during the story. It’s a close-knit community – the kind where everyone knows everyone else’s business. Secrets are difficult to keep, yet they play a vital role in the proceedings. First of all, Pietro is a Sicilian who has gone AWOL during the war. He’s hiding out in the barn, yet all the locals are aware. Then we have second oldest daughter Ada, whose developing desires take her “behind the wardrobe”, necessitating her cutting deals with God for self-inflicted punishments, becoming more severe with each episode. And lastly, we have the film’s biggest secret – a whopper that shocks the family.

This is a beautiful film shot in a beautiful part of a beautiful country. The seasonal changes provide built-in colors and textures delivering a contrast to the mostly serene characters. Lucia, the eldest daughter, is attracted to Pietro. A stolen kiss and a hand-drawn heart lead to much drama, and ultimately, tragedy. A couple of the other kids have significant roles, but Lucia’s journey is the main focus. There is a quietly stunning moment when Pietro asks Lucia’s father for her hand in marriage.

The slow and steady and sometimes disturbingly quiet pace of the story will likely not appeal to some viewers, but the subtlety displayed is enchanting and mesmerizing. There are moments of heartbreak, and we realize that this family and these local people are tough … they’ve learned how to survive and continue on, despite challenges. The concern about one being “ruined” makes for interesting conversation, and offers quite an example of how times have changed. This is a terrific drama that hopefully many will give a chance.

Opens in theaters on February 21, 2025

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Posted by David Ferguson

PANDA PLAN (2025, China)

February 17, 2025

Greetings again from the darkness. Jackie Chan starring as … Jackie Chan! He’s an international action-comedy star appearing in this international action-comedy as himself. In fact, one of the running gags has various people questioning if it’s really “him” and whether or not he can actually fight like he does in his movies. The film is from writer-director Luan Zhang and co-writers Wei Xu and Meng Yida.

An amped-up and expansive action sequence opens the movie. It’s also where we learn Jackie is playing Jackie. He’s a bit frustrated at the roles he’s being offered (the man is now 70 years old) and quickly jumps at the opportunity to adopt a rare baby panda. Not only does he find the cub irresistibly cute, but so does the entire universe … including a Middle Eastern dude willing to pay $100 million to a group of mercenaries to steal (bear-nap?) and deliver the panda. Jackie arrives at the island zoo at just about the same time as the bad guys’ pirate ship. What follows is rampant chaos as Jackie and the panda’s nanny, Su Xizozhu (Chi Se) try to protect the (CGI) cub.

For most of the movie the panda is referred to as ‘Big Babe’, but is blessed with an actual name later in the game. The film is purposefully cartoonish and leans heavily into Jackie Chan’s natural charm and presence. It likely would have played better as a pure family film about a cute panda, and aimed squarely at kids, but unfortunately, the action sequences pack enough violence to keep the youngsters away. There are some entertaining sequences … including a rare escape utilizing a forklift as a getaway vehicle. The finale lifts the story from the dark cloud that hung over most of the film, and Jackie Chan fans will be thrilled to know that a sequel is already in the works for next year.

On digital and Blu-ray on February 18, 2025

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Posted by David Ferguson

ARMAND (2024, Norway)

February 9, 2025

Greetings again from the darkness. Accusing someone, anyone, of something or anything, is as easy as speaking the words. The challenge of justice unfolds with the (often) difficulty in finding sufficient evidence for proof. Although all of this holds true for any age and most any infraction, when the scenario plays out with six-year-olds at school, the situation can prove nearly unbearable for the parents and faculty. This is the basis for the first feature film from writer-director Halfdan Ullman Tondel (grandson of Norwegian actress Liv Ullman and legendary Swedish director Ingmar Bergman).

Elisabeth, a well-known actor, is on the phone with her son Armand, “I love you. Do you love me?” She is rushing to attend an after-hours meeting that’s been called at her son’s school. She has no idea of the topic. Her heels clack against the tile floor in the school hallway as she steams towards the assigned classroom, unprepared for the ambush awaiting behind the door. Demure teacher Sunna (Thea Lambrechts Vaulen) is reluctantly running the meeting. The other two parents in attendance are Sarah (Ellen Dorrit Peterson, THE INNOCENTS, 2021; THELMA, 2017) and her husband Anders (Endre Hellestveit). Sunna explains that Armand is accused of highly inappropriate action towards Sarah and Anders’ son. Elisabeth is shocked and can’t believe any 6-year-old, much less her Armand, would perform such an act.

The tension in the room is extreme and becomes heightened as more of the story is revealed. There is an existing relationship between these two parties, and a recent personal tragedy has created a rift that might never heal. We understand how Elisabeth could presume the accusations are retribution for the previous events, and as viewers, we are caught off-guard by these connections. Malfunctioning fire alarms periodically interrupt the proceedings, and we can’t help but wonder if false alarms are the real theme of this story. Still, the accusations are such that some type of discussion is merited.

Soon two additional school officials join the meeting. Ajsa (Vera Veljovic), battling a recurring bloody nose tries to keep the peace, while principal Jarle (Oystein Roger) is most concerned about the school’s reputation and lack of formal procedure. Filmmaker Tondel includes some surreal sequences that lead to a panic attack, and mostly what we see are adults who can’t agree on how best to handle the awkward situation … or even if there is a situation to handle. Elisabeth is played brilliantly by Renate Reinsve, who proves her amazing performance in THE WORST PERSON IN THE WORLD (2021) was no fluke. She has a scene of uncontrollable emotions that generates true discomfort for those in the room, as well as those of us watching.

This was Norway’s Oscar submission for Best International Feature, however it did not land a nomination. Still, it’s a different kind of drama meant to display the power of emotions and stress as it urges the viewer to decide not just how they would react on either side, but also what would be the proper manner in which to handle the situation.

Opens in theaters on February 7, 2025

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Posted by David Ferguson

EVIL DOES NOT EXIST (2024, Japan)

January 19, 2025

Greetings again from the darkness. This was one of the films I watched in my end of year movie frenzy, and it immediately became one of my favorite foreign language films of the year (in a solid year for the category). Writer-director Ryusuke Hamaguchi is back after his excellent and Oscar nominated DRIVE MY CAR (2021). Sharing credit on the film’s concept is Eiko Ishibashi, a rare breed: a combination composer-story writer. I should probably clear this up immediately – despite the genre-sounding title, this is not a horror film. It falls quite comfortably into the “drama” category, and as previously stated, it’s a good one.

Mizubiki Village is a rural area located just outside of bustling Tokyo. It’s where Takumi (Hitoshi Omika) lives with Hana (Riyo Nishikawa), his 8-year-old daughter. Their life is simple, though not easy. Days are spent chopping wood and retrieving water from the stream. It’s a serene lifestyle fully linked to nature, and one that’s been similarly lived for generations. These scenes of Takumi and his daughter are slow-moving, yet vital to ensuring viewers understand the impact of what’s coming.

A Town Hall meeting is held by two representatives of the development company that is planning a ‘glamping’ project in the heart of the area. As the locals bring up topics that clearly haven’t been considered by the company, two things become painfully obvious: the two reps are woefully unprepared for the questions and pushback, and this development would drastically alter the ecosystem that provides a way of life for these folks. Sensitive issues like septic run-off, fire safety, and personal security have only been lightly addressed in the developer’s study.

Of course, we have all seen instances where corporate types see only dollars and potential profit, paying little attention to the impact on locals and nature. Rather than comprehensive analysis and communication, projects tend to get rammed through in support of the almighty dollar (or yen, etc). Hamaguchi’s point seems to be that the power of nature is a draw for all types, and this knowledge should be respected. Noteworthy here is that the film serves as the feature film debut for both Hitoshi Omika and Riyo Nishikawa, and both strike just the right note. We should also note that filmmaker Hamaguchi should be admired for always including life lessons in his beautifully filmed projects … nice to look at and worthy of consideration (even with an ending that’s a bit heavy-handed).

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Posted by David Ferguson

I’M STILL HERE (2024, Brazil)

January 11, 2025

Greetings again from the darkness. True stories are often at the heart of many movies each year. However, there are true stories and then there is the story of the Paiva family. Marcelo Rubens Paiva has written two books, which along with numerous interviews with family and friends, serve as the basis for this film from famed Brazilian director Walter Salles (THE MOTORCYCLE DIARIES.2004). The screenplay comes from co-writers Murilo Hauser and Heitor Lorega.

Unless you are a history scholar, it’s highly unlikely you can recite the various Latin America dictatorships and military coups over the past decades. Yet you surely know they have happened, and that many innocent people and families have been victimized. The Paiva family is one example, and their story is gut-wrenching. The film begins in Rio de Janeiro in 1970 when military rule was in place. Director Salles affords us plenty of time to get to know architect Rubens Paiva (Selton Mello), his wife Eunice (Fernanda Torres), and their five kids. Theirs is a happy family living a pleasant and comfortable life … gatherings on the beach, music and dancing, family meals and photos. In one moment, the happiness fades and things change forever.

A group of men show up to escort Rubens (a long-ago local Congressman) in for a deposition. He smiles and tells the family that he will be back soon. The saga of this family is torturous to watch. Eunice and her oldest daughter are soon taken in and held for questioning in what appears to be some type of prison or military facility. They learn Rubens is accused of being a communist. Eunice’s return home is a beautifully filmed sequence, as it’s nighttime and the kids are sleeping.

The next morning’s reunion is touching, yet now the reality has hit for the older daughters. Eunice kicks into strong woman mode to protect her “babies”. The story shifts significantly here since the wage earner is gone. Eunice sells the house and the family moves to Sao Paulo. Eunice handles the extreme stress, continues caring for her kids, and never stops trying to find out about Rubens.

The journey of Eunice could easily fill a movie, however, Salles chooses to jump ahead 25 years (to 1996) and then again to 2014, when the family is together and wheelchair bound and Alzheimer’s stricken Eunice is played by 95-year-old Fernanda Montenegro (Oscar nominated for CENTRAL STATION, 1998), the real-life mother of Fernanda Torres. During these segments, we figure out what an impressive woman Eunice is and how much she has accomplished through determination. It’s likely a death certificate has never been more valued or more pursued than the one Eunice finally receives. We also see her son Marcelo is now physically disabled, yet becoming famous as a writer.  

Director Walter Salles knew the Paiva family quite well when he was young, and his personal connection shines through in this ode to a family shattered by political turmoil. Fernanda Torres delivers a stunning performance with more emotional depth than just about any other acting performance we’ve seen this year. Salles details that more than 20,000 citizens were tortured and held captive over these years, and via the closing credits he runs archival photos and a recap of history. Seeing the stress and turmoil of a previously happy family is not an easy watch, yet perhaps the accomplishments of Eunice help offset some of the pain.

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Posted by David Ferguson

THE SEED OF THE SACRED FIG (2024, Germany)

January 10, 2025

Greetings again from the darkness. In the year of long movies, this is one of the longer ones at two hours and forty-eight minutes. Also, in the year of only a few great movies, this is one of them. Writer-director Mohammad Rasoulof was arrested and sentenced for criticizing the Iranian government. He subsequently escaped and fled the country, only to show up for his film’s premiere at the Cannes Film Festival. This is Germany’s submission for the best Foreign Language Oscar.

On the surface, this seems like a simple story. Amidst severe and sometimes violent political unrest in Tehran, a man’s gun goes missing, which could cost him his job. He proceeds to accuse his wife and daughters of taking the gun, and takes such extreme measures in solving the theft that he destroys the fabric of the family. In the United States, we have recently witnessed how political discord can negatively impact family bonds, yet this pales in comparison to what occurs in countries like Iran. The violence in the street too often results in bloodshed that finds its way into homes.

Iman (Missagh Zareh) has not yet had time to celebrate his job promotion in the prosecutor’s office when he’s expected to file a false report regarding a case investigation. The result of the report would likely lead to the prisoner’s execution. It’s just ‘playing ball’ … or office politics (unless of course you are the one to be executed). The increased perks with his new position also bump up the level of danger for Iman and his family. As often happens with the younger generation, his daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) support the rebellion, which puts their mother Najmeh (Soheila Golestani) in the unenviable position of disagreeing with her daughters, yet having to protect them from their establishment father.

Director Rasoulof expertly weaves storylines of politics, family dynamics, societal upheaval, and generational differences into an incredibly interesting and often tense film without sugarcoating with unnecessary cliches or easy answers. This is what real life can look like – decisions have ramifications. Fingernail polish and protests can be related, and once again we see that it’s not paranoia if they are after you.

The film opens with an explanation of the sacred fig, and as the story unfolds, we catch the tie-in. We know that times change, and each generation brings new ideas and preferences. We also know that these transitions can range from clunky to violent. There is an extremely effective chase scene through the ruins of a deserted town, and it plays directly to the point that these family members are on different tracks. Rasoulof includes clips of real protests, as well as the gut-wrenching no-win situation Najmeh finds herself in. It’s a terrific performance by Soheila Golestani in a terrific movie from Mohammad Rasoulof.

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Posted by David Ferguson

ALL WE IMAGINE AS LIGHT (2024, India)

December 29, 2024

Greetings again from the darkness. With a population of more than 20 million people, Mumbai is one of the most densely populated places on the planet. It would seem impossible to feel alone or isolated in such a place. In this follow-up to her feature film debut, A NIGHT OF KNOWING NOTHING (2021), Indian filmmaker Payal Kapadia begins with a documentary style overview of the city with multi-dialect voiceovers recapping personal experiences with life in the city. “In Mumbai, there is work and money.”

Writer-director Kapadia then proceeds to highlight the very different challenges of three women who work at a busy local hospital. Pradha (a superb Kani Kasrudi) is a senior nurse. Her younger roommate Anu (Divya Pradha) has an administrative position, while Pradha’s best friend Parvaty (Chhya Kadam) is a cook in the cafeteria. Each has their own story. Pradha’s husband took off for Germany not long after their arranged marriage, and they have had little contact in over a year. Anu has a bit of a rebellious streak and has fallen for a Muslim boy named Shiaz (Hridhu Haroon), a cross-religion taboo. In the path of development, the widow Parvaty is being threatened with eviction from her apartment of 22 years, as her husband failed to leave the necessary ownership papers.

Pradha is not a cold woman, yet she’s certainly not prone to expressing emotions in front of others. So, when she cuddles on the floor with the fancy rice maker she assumes was sent by her husband, we understand this is a dramatic moment for her. Pradha tries to counsel Anu on the danger of spoiling her reputation, but Anu is strong enough to pursue her own desires – despite “helpful” date recommendations from her own mother. The generational differences are stark. Dr. Manoj (Azees Nedumangad) has a quiet crush on Pradha and offers his personally crafted poem to her as proof. When Parvaty decides to return to the seaside village of her childhood, Anu and Pradha assist with the move.

The intricacies of the delicate relationships among the three women is most evident and impactful during this final segment. The sadness and resignation inferred by “You can’t escape your fate” is contested in this third act. Pradha’s reserved nature and gentleness mask her inner-strength, and a terrific sequence occurs where she performs CPR on a man on the beach, and what follows is a touching, surreal vision.

The contrast between the hustle and constant movement of big city Mumbai (even in the time before sunrise) and the beach village is noteworthy as the three women are actually able to enjoy a moment. In fact, finding joy in a life lacking in joy is a key lesson here … in other words, making the best of one’s situation. A sometimes playful piano score from Dhritiman Das Topshe helps with the tone set by cinematographer Ranabir Das and the heavy dose of blue tint. The film financing was dependent on multi-country (mostly European) participation, and having the film overlooked as India’s submission for this year’s Oscar consideration was a clear slight to the talented Payal Kapadia. It’s such a shame, as this is without a doubt one of the best films of the year.

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Posted by David Ferguson

WALLACE & GROMIT: VENGEANCE MOST FOWL (2024, animated)

December 28, 2024

Greetings again from the darkness. They’re back! The last ‘Wallace & Gromit’ short film was in 2018, and their last feature-length film, WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT, was released in 2005. Creator Nick Park is back as co-writer and co-director with fellow W&G collaborators Mark Burton and Merlin Crossingham, respectively. This creative consistency is crucial to the franchise success, and helps overcome the 2017 passing of Peter Sallis, longtime voice of Wallace.

Ben Whitehead fits seamlessly as the voice of Wallace, the master inventor of contraptions and gadgets – gadgets that sometimes make simple tasks a bit more complicated, though quite entertaining. Wallace’s loyal, observant, and intelligent pet beagle is Gromit – a non-speaking pooch who emotes through eyes and body language, often expressing annoyance, frustration, or concern. If you’ve seen the films, the shorts, or the TV series, you are familiar with the set-up, though this one takes on somewhat of an ominous tone early on.

When the story begins, Wallace is an esteemed local hero having contributed to the capture of the Blue Diamond Thief. It turns out the thief is none other than Feathers McGraw, the dastardly penguin of the 1993 short film, WALLACE & GROMIT: THE WRONG TROUSERS. Wallace introduces us to his newest and most contemporary invention: Norbot (Reece Shearsmith), a ‘smart’ garden gnome programmed to help with chores around the house. In an obvious swipe at Artificial Intelligence (A.I.), the wily penguin hacks into Norbot from the confines of his (zoo) cell, setting off an army of robotic gnomes. His plan is to gain revenge on Wallace.

As a viewer, I find so much joy in the creativity on display. In fact, the storytelling and character development is superior to much of what passes for movies these days, and I found myself purely satisfied with the entertainment value and the comedic elements that generated welcome laughter. Peter Kay is back to voice now Chief Inspector Mackintosh, the frazzled leader, while Lauren Patel voices PC Mukherjee, the officer with good instincts. The stop-motion animation visuals are better than ever (especially in the action sequences), and it’s a pleasure to find an entertaining film for all ages (even if it slyly sneaks in a message here and there). The franchise dates back to the first short film in 1989 and if you are unfamiliar, I recommend getting to know Wallace & Gromit.

Opens in theaters on January 3, 2025

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Posted by David Ferguson

FLOW (2024, animated)

December 5, 2024

Greetings again from the darkness. Cats tend to be solitary creatures. And by ‘tend’ I mean about 99% of the time. In this superb animated fable from writer-director Gints Zilbalodis (AWAY, 2019) and co-writer Matiss Kaza, our protagonist is a cat who learns (and teaches us) that a community working together is more powerful than any single being working alone.

Clocking in at a brisk 84 minutes, the film opens with the cat gazing at his own reflection in the river. After a frantic chase with dogs on it’s trail, the cat escapes back to the house where he was once cared for by a cat-loving carpenter who has presumably since passed away. After a thundering herd of deer run by, a massive flood hits the forest and sends the cat scurrying for higher ground. The adventure begins … and though there are some similarities to other animal journey movies, this one is unique in its approach.

Zilbalodis has utilized no humans or human voices. The animal sounds are actually recorded animal sounds specific to each critter (no cute voiceovers). The exception is the capybara, where a camel’s recording is used instead. Much of the time is spent on a floating sailboat filled with an odd group of animals: our ever-present cat, the capybara (sleepy but loyal), a labrador (playful and friendly), a ring tail lemur (collecting all sorts of items along the way), and a large white bird ( I believe an African secretarybird who steers the boat despite a broken wing).

As you might imagine, this group of misfit sailors learn that survival depends on getting along and working together. Their teamwork is quite impressive, even as they encounter obstacles, and their own conflict – which leads to a stronger bond. This is not the hyper-realistic animation we’ve recently seen with animals, but the movements are extremely true-to-form for each of them. Zilbalodis includes some mystical elements, but as a fable, the message is that community and teamwork are stronger than solitude, and the final shot reinforces this. The filmmaker purposefully avoided any particular geographic locale (as noted by the various species) in order to ensure the deeper message is not lost. This is Latvia’s Oscar submission, and it will likely gain support in the animation category.

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Posted by David Ferguson

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