NEVER RARELY SOMETIMES ALWAYS (2020)

April 2, 2020

 Greetings again from the darkness. Movies that put youngsters in peril can go one of two directions: the story can feel contrived to the point of manipulation, or it can be real and heartfelt with commentary on society. Filmmaker Eliza Hittman proved her mettle with BEACH RATS (2017), and she proves yet again, that her instincts translate to the screen in stories and characters that hit a nerve.

It’s stunning to discover that this is the first screen credit for Sidney Flanigan who plays 17 year old Autumn. We first see her onstage at her school talent show singing a soulful rendition of “He’s Got the Power”, a 1963 song by The Exciters. Her performance stands in contrast to the mostly generic acts from her classmates, though it’s our first hint at how she is perceived. Autumn is one of those teens who seems to be naturally burdened with more than she can carry. A bloated belly leads her to take a pregnancy test at the local clinic, where she is informed that “a positive is always a positive” – a brilliant line than doesn’t hold true for all interpretations.

The clinic worker shows Autumn an anti-abortion video, which leads her to Google do-it-yourself abortion, and finally to the realization that because of Pennsylvania’s requirement for parental consent, she’ll have to travel to New York City for the procedure. Fortunately for Autumn, she has a trusted and resourceful friend/cousin/co-worker in Skylar (Talia Ryder, who will appear in Spielberg’s upcoming WEST SIDE STORY remake). The girls skim from their cash registers at the grocery store they both work at, and then hop on the bus towards the city.

Their time in the city is an adventure unto itself. By this time we’ve seen some of the everyday obstacles faced by teenage girls, including thoughtless teenage boys, a loathsome stepfather (Ryan Eggold), and a sleazy store manager. All of this is in addition to the challenges brought on by being a sexually active minor. On the trip, they meet Jasper (Theodore Pellerin, “On Becoming a God in Central Florida”), a fellow bus traveler who strikes up a conversation. Is he a good guy or not? Can he be trusted or not? Again, these are situations that the teens must navigate through instincts not yet fully developed.

A questionnaire administered at the Planned Parenthood clinic provides the film’s title, as well as one of its most powerful scenes. Ms. Flanigan is exceptional as this simple form requires her to face her situation and her life as she answers questions regarding her sexual and personal history. Ms. Ryder is also tremendous in making Skylar such a strong young woman and friend. This film and these actresses show more than they tell. The minimal dialogue contrasts to the many movies who portray gabby teens. Writer-director Hittman seems to make movies more appreciated by critics than mainstream audiences, but it seems her time is coming. She makes her political belief quite clear, but does so by focusing on the real world that teenage girls face. It’s a dramatic work of art with extraordinary camera work by Helene Louvart (the excellent INVISIBLE LIFE, 2019).

watch the trailer:

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Posted by David Ferguson

INVISIBLE LIFE (Brazil, 2019)

January 15, 2020

 Greetings again from the darkness. Masterful storytelling when combined with expert filmmaking is a treasure to be appreciated and enjoyed, even if the story is not so pleasant. Such is the case with this gem from writer-director Karim Ainouz, who adapted the screenplay with Murilo Hauser and Ines Bortagaray from the novel “The Invisible Life of Euridice Gusmao” by Martha Bathala. Based in Rio de Janiero, the film blends the vibrant colors of the area with the traditional and restrictive Latin American family expectations of the 1950’s.

The story spans 5 or 6 decades, and when we first meet sisters Euridice and Guida, it’s clear they share a tight emotional bond that goes deeper than blood. Though their personalities differ greatly, they are both ahead of their time and out of step with the conventions of the era. Euridice (a strong performance by Carol Duarte) longs for independence and aspires to be a concert pianist after a hoped-for Conservatory in Vienna, while Guida (a powerhouse Julia Stockler) is a dreamer seeking true love, and whose party girl ways must be kept hidden from their conservative father. Both young ladies are spirited, yet respectful.

Their lives are forever altered when Guida runs off to Greece with her sailor lover. As is too often the case with young dreamers, she returns home once her spontaneous choices prove to be poor judgment. Her father rejects his pregnant daughter since, in his eyes, she has disgraced the family. The parents mislead Guida about her sister’s whereabouts, so Guida assumes Euridice is off at conservatory fulfilling her dreams. This sets Guida off on her own solitary path.

In actuality, Euridice has married and experienced one of the worst ever wedding nights, featuring what is likely cinema’s most unsexy bathroom lovemaking scene. There is an element of horror films to this segment of the film, as the sisters are living their worst nightmares, while being separated from each other … unable to communicate. The male-dominated Latin culture and family traditions prevent their mother from ‘disobeying’ the father’s order, so the cruel lie continues as the sisters unknowingly live their lives within the same town. There is even one excruciatingly painful-to-watch scene that finds them in the same restaurant at the same time, yet oblivious to the presence of the other.

Each woman’s inner-strength pushes them forward. Guida (now Gisele) befriends a wise former prostitute Filomena (an excellent Barbara Santos) who becomes her mentor in poverty. Euridice tries to make the best of her situation while keeping her dream alive. Mostly what we have is a tragic story without one specific tragedy – other than the daughter spurned by her father. There are so many moments of pain and frustration, with undelivered mail being among the worst. The film is beautifully shot by cinematographer Helene Louvart, and it reminds us that ‘life happens’, and it’s not all love and Bach. This is an emotional and heart-breaking story, and devotees of The Lifetime Channel will likely be disappointed in the ending. For me, I have no qualms about the emotional wringer the film puts viewers through – even after the opening scene foreshadowing.

watch the trailer:

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Posted by David Ferguson