BIKINI MOON (2018)

October 11, 2018

 Greetings again from the darkness. HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE was released in 1991. It was an incredible documentary that explored the struggles of Frances Ford Coppola in making his classic film APOCALYPSE NOW (1979). Although it’s totally unrelated to either of those films, this latest from director Milcho Manchevski kept reminding me that we rarely get a peek at just how challenging it is to complete a film, and HEARTS OF DARKNESS is likely the cream of the behind-the-scenes crop.

Director Manchevski directed the Oscar nominated BEFORE THE RAIN (1995), and he, along with co-writer W.P. Rosenthal, deliver an indie-film societal commentary with some not so complimentary observations on certain segments of our populace.  Producer Kate (Sarah Goldberg) and director Trevor (Will Janowitz) are in a relationship and are trying desperately to make their name with a documentary that can play film festivals. While filming in a homeless shelter, they stumble upon a woman who calls herself Bikini … a homeless African-American Army veteran who is desperate to get her daughter out of the social services system. Bikini (Condola Rashad) is a striking, volatile woman with a story – the perfect subject for Trevor and Kate’s documentary.

It takes a while for us viewers to get the rhythm of the film. We are watching as a documentary crew attempts to make a film about a woman who may be delusional or bipolar, and at a minimum is a bit unstable. Bikini admits to a nervous breakdown while in Iraq, and is inconsistent remembering to take her medication. However, in her moments of clarity, we recognize her exceptional intelligence and charisma. At other times, we worry about the safety of her and those around her. We even question whether she actually has a daughter and how much of her story we can believe.

While coming to grips with the presentation and what to make of Bikini, we also have to adjust to Trevor, an obnoxious jerk who only cares about making his film – and is willing to exploit Bikini (or anyone else) to get it done. At the opposite end of the spectrum is Kate, who has a heart of gold, even at the expense of reality at times … she’s the stereotypical modern day liberal extremist who wants to save everyone and everything. It’s the only way she knows to rid herself of white guilt syndrome.

Cinematographer Joshua Z Weinstein (director of MENASHE) works wonders with the tight residential quarters as well as the numerous urban settings from the streets of New York. Ms. Rashad, whom many will recognize from “Billions”, delivers a powerhouse performance as Bikini, though it’s a bit of stretch to see someone with movie star looks pulling off the role of someone living on the streets. Cynicism is present throughout, and director Manchevski really wants us to question what is ‘truth’ … what happens when the media crosses the line and influences the story … what is the real story?

watch the trailer (NSFW):

 

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Posted by David Ferguson

MENASHE (2017)

August 31, 2017

 Greetings again from the darkness. If the synopsis were phrased, “Based on the real life story of a figure within a secret society”, we would likely be prepared for either a spy movie or yet another undercover look at a cult. Instead director Joshua Z Weinstein provides a rare glimpse into a community we outsiders rarely see: the ultra-Orthodox Hasidic Jews of Brooklyn. He does so with a deft touch and due respect, while bringing to light traditions that have existed for generations.

Supposedly shot in secret and featuring non-actors, the dialogue is almost entirely Yiddish (with subtitles), and the sets are mostly small apartments, back rooms, and the streets and stores of the community. There is no sound stage in sight. The story centers on Menashe, a sweaty schlub of a man. Menashe is neither matinee idol nor hero of the silver screen. He’s a regular guy whose wife passed away, and who wants little more from life than to raise his son Rieven (Ruben Niborski). Unfortunately, tradition calls for every child to be raised in a home with a mother, so Menashe’s former brother-in-law Eizik (Yoel Weisshaus) has taken on the parenting role.

As the memorial for the one year anniversary of his wife’s death approaches, we initially believe Menashe’s actions may be related to his mourning. But we soon discover, he didn’t really have things together when she was alive either, and his borderline incompetence at work, and failings as a father, simply define who he is. Menashe Lustwig plays the lead in the movie based on his life events, and his approach leaves us wondering if we are witnessing his worst days or merely his every day.

Menashe is hard-headed, but not ambitious. He is anxious to show his Rabbi The Ruv (Meyer Schwartz) that he is independent enough to organize the memorial and raise his son. The Rabbi is understanding and reminds him The Torah states what makes a good life: a nice wife, a nice house, and nice dishes. Menashe falls short on all three, and his actions on dates set by The Matchmaker prove that he has little interest in a new wife, despite that being one of the conditions to his regaining his son.

The tight camera shots throughout play up the closeness of the community and the claustrophobic feel of Menashe’s life. The writers Alex Lipschultz, Musa Syeed, and Joshua Z Weinstein (director) detail the traditions that seem foreign to us in a way that evokes authenticity and realism, rather than compromise for a wide audience. There is an odd intensity to the film, and it’s more naturalistic than sentimental. The violin pieces written by Aaron Martin and Dag Rosenqvist complement the perspective that even in a close-knit community, every one of us goes through “stuff” in life that deserves a touch of empathy and understanding. Is it a happy ending? It’s certainly not a Hollywood ending, but it does stay true to the vaguely hopeful tone.

watch the trailer:

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Posted by David Ferguson