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

GET AWAY (2024)

December 5, 2024

Greetings again from the darkness. Every movie review provides the opportunity to walk the line between telling enough, but not too much. Some movies pose more of a challenge than others, and this is one. Director Steffan Haars (the ‘New Kids’ movies) and writer-actor Nick Frost team up to deliver a devilish and campy folk horror-slasher-comedy that brings a bit of innovation to genre that could use a boost.

Nick Frost stars as Richard Smith, a Dad-Joke-loving goof desperate for a relaxing holiday with his family. He’s joined by his wife Susan (the multi-talented Aisling Bea), and their teenagers Sam (Sebastian Croft, “Heartstopper”) and Jessie (Maisie Ayers in her first feature film). Their odd choice for the ‘get away’ is Svalta, a remote Swedish island that sports a dark history with its tragic 19th century plague that nearly wiped out the population. The family has scheduled the trip around the Festival of Karantan (Quarantine) marking the unfortunate events of yesteryear.

Upon their arrival, the locals give them an icy and somewhat threatening reception. Referring to the festival as a “play” doesn’t help their cause, and it’s only when their creepy Airbnb landlord (Eero Milanoff) shows up to claim them does the tension soften a bit. The house they’ve rented seems perfect, but soon things feel a bit off. Sam’s vegetarian diet and Jessie’s spirited approach add an extra dimension, while Richard and Susan play off each other expertly (as we’d expect from Frost and Bea).

This was my second Nick Frost horror movie in less than a month, as this is on the heels of his much less funny turn in BLACK CAB. Of course, he’s known for his comedic turn in the Cornetto trilogy, and his screenplay here is quite impressive. The film really plays up the whole “outsiders” feeling unwanted … just before the magnificent twist that turns the film into an off-the-rails blood bath. Barry Blue singing “I Eat Cannibals” provides a fitting musical ending to this wild ride from Shudder Films.

Opening in theaters on December 6, 2024

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Posted by David Ferguson

PORCELAIN WAR (2024, doc)

November 22, 2024

Greetings again from the darkness. While we have grown accustomed to movies about war, this documentary is a true and stunning war movie. There are no special effects or stunt doubles or guns with blanks. The bombs are as real as the three people bringing us an all too intimate look at the war.

Slava Leontyev creates porcelain figurines, and his wife Anya Stasenko paints them – often with color and inspiration from nature. Slava and Anya are dedicated artists and it’s art that connects them to their friend Andrey Stefanov. Slava and Anya bring the personal aspect to this film, while Andrey’s work with the camera speaks the horrific truth. The war in Ukraine began in 2022, and when we meet Slava and Anya, they are in Kharkiv, a mere 25 miles from Russia.

“We are ordinary people in an extraordinary situation.” What initially hits as such an understatement, soon make sense as we watch Slava and Anya go about living within their new reality … a reality that involves warning sirens, underground shelters, and the whistle of incoming bombs that lead to explosions causing and property damage and human deaths. The tenacious and disrespected Ukrainian army is made up mostly of civilians willing to fight for their country after the invasion. Slava spends a good amount of time training civilians on basic firearm usage. It’s quite a contrast to his art, yet both are crucial.

We are told, “If one doesn’t stop evil, it keeps going” … a lesson we hope world leaders understand. The homes and lives of these folks will never be the same, but as they explain, stories told through art prevent erasure. Andrey states, “Bad people are not as creative at being bad, as good people are at being good.” We hope he’s right and we hope that matters. These stories are told amidst craters and rubble and incoming missiles. The danger and urgency of each minute ensures the horror is always as present as their pet pooch, Frodo. It is explained to us that porcelain and Ukraine are similar in that they both break but are nearly impossible to destroy. Co-directed by Brandon Bellomo and Slava Leontyev, this was the Grand Jury Prize winning documentary at Sundance.

PORCELAIN WAR will open in theaters, beginning on November 22, 2024 in NYC, on November 29 in Los Angeles, followed by a roll out across North America

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Posted by David Ferguson

RITA (2024, Guatemala)

November 22, 2024

Greetings again from the darkness. This would be a tough film to watch even if it wasn’t inspired by true events. Guatemala-born writer-director Jayro Bustamante w-d, Guatemala-born (LA LLORNA, 2019) serves up a fictionalized version of the 2017 tragedy at the Virgen de la Asuncion Safe House where 41 girls burned to death while protesting the abusive environment of the home and actions of the staff. The reality of the story elevates it from “tough to watch” to heartbreaking and anger-inducing.

Thirteen-year-old Rita (newcomer Guiliana Santa Cruz) escaped from a home situation where she and her younger sister were being abused. An incident puts her in the hospital, and from there the authorities escort her to a government-run safe house. It’s basically a quasi-prison facility for troubled kids. The adult caregivers look and act more like guards than guardians. As she re-tells her story, Rita admits upfront that this is her version of how she remembers it. We understand the memories and perception of a young girl may be slightly skewed, and it gives the filmmaker a bit of leeway, while making it more palatable for the viewers.

Fairy tales, fantasy, magic, and mystical beings come into play as Rita is dumped into the facility. Factions exist and are divided into groups called Angels, Stars, Wolves, Rainbows, etc. Rita, though initially hesitant to don the wings, becomes an Angel. The girl leaders in the home include Sulmy (Angela Quevedo) and Bebe (Alejandro Vasquez). It’s unsettling to see what the girls do to make do in the surroundings, and Rita holds firm to her belief that she doesn’t belong there and should be released. Margarita Kenefic plays Social Worker Ernestina with a look that could be a villain straight from a Guillermo Del Toro movie. She is downright creepy.

The girls plan a form of revolution, but sometimes revolutionists are forced into a group pee, followed by group cleanup. The climax involves a planned escape that goes sideways, followed by a harrowing situation that turns tragic thanks to poor decision making by all. Special recognition goes to cinematographer Inti Briones for camera work that adds realism to the odd elements presented here. The film is well made and anything but light-hearted entertainment, although the actual tragedy did (thankfully) lead to reform.

Will stream on Shudder beginning November 22, 2024

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Posted by David Ferguson

THE DEVIL’S BATH (2024, Austria)

November 13, 2024

Greetings again from the darkness. If you simply have too much happiness and joy in your life right now, filmmakers Severin Fiala and Veronika Franz (GOODNIGHT MOMMY 2014, THE LODGE 2019) have an elixir for you. Their film, based on historical records from 1750 in Upper Austria, is just about as bleak as any movie I can recall. It has the look and feel of a folk horror, but it’s more about a slow trek to madness by way of depression.

If you haven’t stopped reading yet, you should know that the film looks gorgeous thanks to cinematographer Martin Gschlatt (GOODNIGHT MOMMY 2014, REVANCHE 2008). The color palette and camera work bring a texture to the film that is rarely seen on screen. But enough optimistic chatter. The opening sequence finds stressed out new mother Ewa (Natalia Baranova) carrying her screaming baby through the woods to the top of a stunning waterfall near the Austrian Alps. We next see Ewa at the church confessing, “I’ve committed a crime.” It’s what’s known as ‘suicide by proxy’ so that one’s sins may be forgiven prior to execution. The ultimate loophole.

We next see Agnes (musician Anja Plashg) as she prepares for her wedding. In fact, this may be the only glimpse of happiness in the entire film … at least as I recall. Of course, my initial description of the film would not be accurate if Agnes’ joy lingered. Her mood turns quickly at the reception as she spots her new husband Wolf (David Scheid) leering longingly at another man, and then making things worse with his actions in their wedding night bed. This is after he blows all of their money on a house Agnes doesn’t much like. Wolf chose it since it’s close to his mother’s house. Maria Hofstatter plays one of the most intrusive mothers-in-law one could be stuck with.

The rest of the film is us following the slow descent of Agnes, as each day’s misery builds upon the previous. Trips to “the Barber” are horrific, and Agnes desperately searches for a way out of the situation. The practical effects here are excellent, combining with the cinematography, acting, and direction for a technically stellar film. However, it does feel like a celebration of suffering, and it’s likely more for cinephiles than it is for the average movie goer. It opens with a tragically violent act, soon followed by another. Then we are subjected to Agnes’ helplessness in a hopeless situation, until we finally end with more violence. Enjoy Austria’s Oscar submission for Best International Film!

Re-releasing in select theaters on November 13, 2024 and streaming on Shudder.

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Posted by David Ferguson

MEMOIR OF A SNAIL (2024, animated)

November 7, 2024

Greetings again from the darkness. If you believe that animated films should be whimsical fairy tales developed for children, Adam Elliot would like a word. Actually, he would like about 90 minutes of your time to introduce you to an entirely different approach with stop-motion animation. Elliot won an Oscar for his animated short HARVIE KRUMPET (2003) and also developed the excellent animated feature MARY AND MAX (2009). Not one to shy away from grown-up topics, Elliot’s latest is a gem filled with most every emotion.

Relying heavily on narration, the story is told by Grace Pudel (voiced by Sarah Snook, “Succession”). It’s her own life story, but contrary to what the film’s title would have you believe, Grace is a person, not a snail (at least not a shelled gastropod). However, she is telling her story to her favorite pet snail, Sylvia. It’s OK if that sounds a bit strange, because Grace and her story will draw you in and have you caring very much. The story starts at the beginning … with Grace’s premature birth ahead of her twin brother Gilbert (Kodi Smit-McPhee).

Grace chaperones us through her early years. These were not easy years as mom died early on, and dad was an alcoholic paraplegic with sleep apnea. Mostly we learn about Grace and her collection (hoarding) of snails she kept in a glass jar with Vegemite for their nutrition. She tells us about her beloved brother Gilbert’s love of animals, reading, magic, and fire. When their dad dies, Child Services sends Grace and Gilbert to separate foster homes in different parts of Australia. It’s not just geography that makes a difference. Grace is fostered by a couple of self-help gurus who are also swingers (it’s not a movie for kids). Gilbert is sent to live with a harsh religious cult family demanding work while offering no love.

The twins maintain contact through letter-writing, and Grace fills in some of the details for us. Her story includes a romance with Ken, a neighbor who loves his leaf blower and has a certain fetish that takes Grace a while to uncover. She also forms a special bond with Pinky, and older lady (voiced brilliantly by Jacki Weaver) who teaches Grace to relish life. While Grace often lives inside a shell, much like her pet snails, she does treasure her time with Pinky, whose final letter is touching.

This is an all-too-ordinary life told exquisitely (that’s me trying to avoid saying ordinary and extraordinary in the same sentence). The emotions are overflowing and range from grief to sadness to frustration to anger to hope. Elliott includes nods to literature, roller coasters, Parisian street performers, guinea pigs, and nudist camps (possibly a first in the animated world). We also see the dark side of religion and the importance of friends and family. Grace truly lives the circle of life, as she learns that snails have no choice but to live in the shell under which they are born, but she does have a choice. The score from Elena Kats-Chernin is beautiful and fitting, and Elliot leaves us with this thought: “Life can only be understood backwards, but we have to live it forwards.” So get busy living!

In theaters on November 8, 2024

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Posted by David Ferguson

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