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Review

Malcolm X (1992)

Malcolm X is a revolutionary piece of cinema directed by one of the most prominent visionaries in film history. Often regarded as one of Spike Lee’s best outputs, the film follows the life of African American activist, Malcolm X (Denzel Washington) and chronicles his rise from turbulent childhood to one of the most prominent human rights activists in history. Malcolm X provides insight into both the personal and professional life of its subject, with director Spike Lee leaving no stone unturned.

It is clear that Malcolm X is a passion project for director Spike Lee. His admiration and determination to bring justice to Malcolm X’s story is evident from the very first shot as we see an American flag burn against a backdrop of historical and contemporary racial practices until the flag has formed an X shape. What makes Lee such a perfect visionary for this film is his fearlessness. Much like Malcolm X himself, Lee has always used his platform to talk about race relations and black empowerment. Through his films, he has given us decades of fully-fleshed characters, including those played by him (Mars Blackmon in She’s Gotta Have It for example). These characters are a stark contrast to the historical racism in cinema where African American characters are reduced to dangerous stereotypes. Lee also cowrote the screenplay with Arnold Perl basing the script on The Autobiography of Malcolm X by Malcolm X and Alex Haley. Incorporating Lee’s signature fast-paced dialogue and reluctance to rest, we are instantly thrust into Malcolm’s world.

In a career that has spanned decades and seen huge range, Denzel Washington hits his peak as the titular character. His portrayal of Malcolm X is vast and layered. Washington embodies the fight and struggle Malcolm X faces throughout his life. Biopics run the risk of becoming Oscar bait with insincere performances that exist solely to win awards. This is not the case with Malcolm X. There is clear passion and heart from the cast and crew which evokes in every minute. The film follows Malcolm X almost exclusively making it an intense and reflective performance. Washington proves himself to be among the greats with his excellent turn.

Angela Bassett is also excellent as Betty Shabazz, later known as Betty X. Bassett can always be relied on to bring a strong and subtle performance. As Malcolm’s public appearances are proving to be popular and controversial, Betty is there as an intellectual and emotional anchor. Commanding the screen, Bassett brings a performance that allows us to see Malcolm’s personal side.

The film has a stellar supporting cast which includes Spike Lee in a delightful turn playing Malcolm’s friend, Shorty. Among the highlights in support are Delroy Lindo and Giancarlo Esposito who are known for their collaborations with Lee. Playing West Indian Archie and Talmadge X Hayer, respectively, these performances are hugely significant to Malcolm’s lifestory. Lindo is fantastic as a gangster who mentors Malcolm as a young man while Esposito is chilling as one of the men who assassinated Malcolm.

With the 4K UHD release, it’s hugely important to discuss the cinematography by Ernest Dickerson. A testament to Dickerson’s work is how refined and elegant the use of lighting is, especially in the first half of the film. The audience is aware of a wider world beyond Malcolm and yet the camera seems intensely transfixed on him. This means the audience is truly seeing the world through Malcolm’s eyes.

Malcolm X marks the second collaboration with Terence Blanchard who provides an exceptional score. Much like the film itself, the music provides a constant backdrop filled with jazz-infused pieces. Blanchard’s use of trumpet echoes the yearning and struggle Malcolm X is faced with. Most of the pieces are tinged with sadness, as though Blanchard is foreshadowing the inevitable outcome. From the impactful “Opening Credits” to the tender choral “Black & White”, Blanchard’s soundtrack for Malcolm X matches the intensity of Lee’s direction.

Malcolm X could arguably be seen as Spike Lee’s magnum opus. Spanning 202 minutes, the film is a departure from Lee’s previous offerings such as Do the Right Thing. Boasting his largest budget to that point, Malcolm X showed that Lee was more than capable of handling an epic feature that allowed him to expand on his signature aesthetic and writing. What makes Spike Lee such an effective filmmaker is not only his distinct style and approach to directing, but the fearlessness in his artistry. Simply put, Lee has earned his place as one of the most important directors in cinema history.

Malcolm X 4KUHD is available to buy 29th July 2024.

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Review

The Holdovers (2023)

One of the most competitive films coming into awards season is The Holdovers. While a lot of awards talk has been surrounding Barbie and Oppenheimer, Alexander Payne’s modern fable is a Christmas classic in the making. The film follows disgruntled boarding school teacher, Paul Hunham (Paul Giamatti) who must stay at the school over the Christmas break. Stuck with a rebellious but brilliant student (Dominic Sessa) and a cook grieving her son who died in Vietnam (Da’Vine Joy Randolph), the film sees a friendship develop between these characters.

Directed by Alexander Payne from a script written by David Hemingson, The Holdovers is simple yet extraordinary. In true Payne style, we are immersed into the surroundings. The minimalism of snowy Boston and the regal halls of the boarding school give an immediate sense of space. Hemingson’s screenplay is a masterclass in writing. Providing plenty of characterisation for its three main characters, The Holdovers gives Giamatti in particular a lot to play with in a relatively short run time.

Paul Giamatti leads the film as miserable teacher, Paul Hunham. The role was written with Giamatti in mind and it’s easy to see why. Hunham’s arc from cynical disciplinarian to vulnerable rule-breaker is not a role that just anyone can play. Having previously been snubbed for his leading performance in Sideways (another Alexander Payne film no less), Giamatti has managed to craft an incredible career playing predominantly supporting characters. This even includes an Oscar nomination for his supporting turn in Cinderella Man. However, it is undoubtedly his magnificent turn in The Holdovers that will be his crowning glory in a truly stunning career.

The most exciting breakout this award season Da’Vine Joy Randolph as Mary Lamb. Her performance is quiet, subtle, and completely heartbreaking. Her presence can be felt in each scene like a raincloud looming that is waiting to burst. The party scene in which we see Mary breakdown over the loss of her son packs an emotional punch. If Giamatti is the soul of the film, then Randolph’s is definitely the heart. It’s incredible to see such a wonderful performance sweeping various major and critic awards.

Providing an exceptional film debut is Dominic Sessa as student, Angus Tully. It’s difficult to believe that this is Sessa’s first ever role. He fits into the role of Angus fantastically, working excellently against Giamatti. It’s evident that he is having fun in the role and the bickering scenes between him and Giamatti are hysterical to watch.

One of the most striking and underrated parts of The Holdovers is the cinematography by Eigil Bryld. Bryld’s understated approach allows the natural beauty of each location to shine through. The dimly lit corridors of the boarding school allow the antiquity and traditional mindset to come to life while the snowy weather is framed in a bleak way due to the baroness of the town.

The music by Mark Orton provides a tranquil backdrop to the film. Never faltering, the music blends with the snowy scenery and exacerbates the heartwarming emotions at the core of the film. Filled with 1970s sounds, Orton does a phenomenal job of capturing the characters’ essence in each track.

Overall, The Holdovers is a Christmas classic in the making. While it may not be family-friendly, this is a feel-good film that is filled with heart-warming characters and backed with an excellent script. This marks Giamatti’s career-best performance, a stunning breakthrough for Randolph and Sessa, and outstanding direction from Payne.

What did you think of The Holdovers? Let me know in the comments!

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Review

Parallel Mothers (2021)

One of the best films to come out of this year’s awards season is Pedro Almodóvar’s latest feature, Parallel Mothers which sees him reunite with Penélope Cruz for the seventh time. The film follows photographer, Janis (Cruz) and her parallel experiences of motherhood with teenage mother, Ana (Milena Smit). What follows is a series of event that are unpredictable as the main characters lives start out the same, but veer off into different directions. Receiving two Oscar nominations for Cruz’s lead performance and Alberto Iglesias’ magnetic score, Parallel Mothers is a film that sees Almodóvar at his best. The film opened the Venice Film Festival where Cruz was awarded the Volpi Cup for Best Actress.

The film is written and directed by Pedro Almodóvar, who showcases yet again how fearless he is as a filmmaker. What Almodóvar does so well is his ability to merge various genres, while also bringing in various layers that make his films so rewarding to watch. In Parallel Mothers, there is an ongoing plot as Janis campaigns for a local mass grave to be excavated as it contains the remains of her great-grandfather and other men who are unlawfully killed during the Spanish Civil War. This fight for freedom and local identity parallels her own struggles to find herself and her place in the world, while also serving as a plot point that drives the film forward.

Undoubtedly the beating heart in the film, Penélope Cruz provides one of 2021’s best performances as Janis. Janis is a successful photographer who lives in a beautiful apartment in the heart of Madrid. When she unexpectedly falls pregnant, her life begins to change and after encountering a teenage mother, Ana, in the hospital, she begins to see that they share more in common than she originally thought. Cruz is absolutely excellent in the film and deservedly won the Volpi Cup for Best Actress at Venice Film Festival for her troubles, as well as receiving an Oscar nomination for Best Leading Actress. Cruz and Almodóvar have proven yet again how well they work together as Cruz is able to bring forth Janis’ complexities and strength.

The role of Ana is equally important as Janis because she serves as Janis’ parallel and counterpart throughout the film. Playing Ana is Milena Smit, a relative newcomer, who does a fantastic job in the role of complex Ana, a teenage mother who struggles in her new role as caregiver. Smit works brilliantly with Cruz as the two share a natural chemistry that makes the characters’ relationship authentic and believable from beginning to end. Throughout the film, we learn more about Ana and the more tragic it becomes in terms of her background. Smit’s performance therefore becomes more rewarding as we can see that sadness and struggle that Ana has been faced with and begin to understand why she makes the decisions that she does.

When it comes to the cinematography, Almodóvar relies on his regular collaborator José Luis Alcaine. What Alcaine does so well is allowing the audience to see the world from the character’s eyes. Janis’ perspective serves as a microcosm for the experiences of motherhood, while also remaining beautiful to look at. One poignant location used throughout the film is Janis’ kitchen. The kitchen is often referred to as the “heart of the home”, and in this instance, it is the “heart of the film” as Janis has many meaningful encounters there. Alcaine makes use of the space by shooting the kitchen from various angles to make it feel claustrophobic in scenes of tension and confrontation, while using wider shots to make it feel more spacious and free when used in scenes of joy and bonding.

One of the best elements of the film is the score composed by Alberto Iglesias. Iglesias was nominated for an Oscar for his work, and it’s easy to see why. Some tracks such as “El visillo volante” feel reminiscent of classic thrillers as the fast strings feel like a quickened heartbeat. What makes the score so effective is that Iglesias knows when to keep the music quiet and subtle in the background and when to allow the music to be loud and drawn out.

What makes Almodóvar one of the best filmmakers working today is his ability to craft beautiful characters, while also bringing in a wider view of the world. In Parallel Mothers, we follow Janis and her struggle to find her own identity, while simultaneously trying to fight for a local mass grave to be dug up that is believed to contain her great-grandfather and others who were killed during the Spanish Civil War. Almodóvar always makes films that are thoughtful and gripping and Parallel Mothers is no exception. It’s a film that doesn’t need all the bells and whistles as Almodóvar allows his actors to bring forth the tension in the script with Cruz providing her best performance in years, and one that I believe she should have won the Oscar for.

What did you think of Parallel Mothers? Let me know in the comments below!

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The Tragedy of Macbeth (2021)

Shakespeare film adaptations are nothing new, as there have been an abundance of adaptations throughout the years. One of the most popular Shakespeare plays that has been adapted to film is Macbeth, which has had many film adaptations starting with the 1908 silent film. The newest addition to the Macbeth adaptation pile is Joel Coen’s The Tragedy of Macbeth. For those unfamiliar with Macbeth, the play (and this film), follows the titular character (Denzel Washington) and his ascent to the throne with the help of his Lady (Frances McDormand) of Scotland. Once he is King, Macbeth descends into madness and becomes a tyrant, causing a huge mutiny and attack from both England and Scotland, resulting in his downfall and eventual death.

The film is directed and written by Joel Coen and is arguably one of the best Macbeth cinematic adaptations that has ever been made thanks to Coen’s minimalist approach. The film is shot in black and white, but not only does this serve as a stylistic decision, it also ensures that the focus is on the text rather than the opulence. Coen’s adaptation is faithful to the play and his direction has clear focus on the characters. His respect for the source material is abundantly clear and the decision to have the actors speak in their original accents was a great choice as it means that more focus can be put on the words.

Denzel Washington leads as the titular character and completely embodies Macbeth through his rise and fall. What makes Washington such an effective Macbeth is that he provides the intensity and command required in such a role. Washington’s performance has been grossly overlooked this awards season with most award bodies only focusing on Will Smith in King Richard and Benedict Cumberbatch in The Power of the Dog. What Washington manages to achieve in this film is a deeply gravitating performance that draws you in from the moment he appears until the character’s eventual demise. The scene in which Macbeth ponders whether to go through with the murder of the King is among the highlights in the film.

You can’t have an effective adaptation of Macbeth without choosing a brilliant actress to portray Lady Macbeth. Who else was Joel Coen going to select except the incomparable Frances McDormand? McDormand is no stranger to Shakespeare, having played Lady Macbeth in 2016. Due to the dynamic shifts between Macbeth and Lady Macbeth, it is essential to have two actors who are able to carry off commanding and controlled performances. McDormand proves to be a perfect pairing for Washington’s Macbeth as she has an all-knowing presence about her. She perfectly encapsulates Lady Macbeth’s story arc from her manipulative methods in order to gain power through her husband through to her descent into madness. The scene in which she is sleepwalking around the castle and discussing the murder is eerie and ventures into horror territory thanks to the unpredictability of McDormand’s performance.

In one of the most captivating performances is Kathryn Hunter, who plays all three Witches and the Old Man. Hunter is a phenomenal actress who embodies the weirdness and otherness in the characters. Macbeth contains some of the most well-known Shakespeare quotes and a lot of them are delivered by Hunter. The scene in which the Witches visit Macbeth for the second time perfectly encapsulates the subtly and brilliance of Hunter’s performance, not relying on the bells and whistles that come with a lot of cinematic Shakespeare adaptations. Hunter’s acting ability comes through without any extra help, and it’s such a shame that her performance was overlooked during the mainstream awards.

The cinematography by Bruno Delbonnel is stunning and makes use of the various locations in the film. Despite the minimalism in the production design, Delbonnel manages to capture the world perfectly. Despite the use of numerous locations, there are many scenes in which there is a pinpoint focus on the characters themselves rather than their surroundings in order to draw in that focus. However, this doesn’t mean that Delbonnel isn’t able to incorporate innovative shots that make the film beautiful to watch. The scene in which Lady Macbeth is reciting a letter that Macbeth has sent her before setting fire to it is brilliantly shot, ending with the letter in flames as it floats away in the sky. The scenes in which the Witches visit Macbeth are both among the best scenes in the film thanks to their eeriness and simplicity, especially the second visit.

One of the best aspects of the film is the production design by Stefan Dechant, who has been nominated for an Oscar for his beautiful work on the film. The production design is innovative and works beautifully in the film, making use of the space and light in the film. Macbeth’s castle is large and empty, showing off the affluence and regality of the character’s station, while emphasising the emptiness and lack of fulfilment in the character’s life. Dechant’s production design is striking and clearly inspired by the stage, without feeling too “stage-like”. The scene in which Macbeth is visited by the Witches the second time has phenomenal production design as the Witches sit on beams above Macbeth as the character sits beside a pool of water and awaits to hear his fate. What makes the production design so effective is how simple it looks, but actually conveys the vastness of the land that Macbeth wishes to rule over.

The Tragedy of Macbeth may mark Joel Coen’s first solo project, but hopefully it won’t be his last. Coen’s minimalist approach allows the performances to shine, while also boasting innovative production design, wonderful cinematography, and a striking score. What makes the film so effective is how stripped back it is in its approach, meaning that the focus is on the text. It may not have the same level of flourish as other Oscar contenders, but it’s definitely worth the watch and marks one of Washington’s career-best performances.

What did you think of The Tragedy of Macbeth? Let me know in the comments below!

The Tragedy of Macbeth is available to watch on Apple TV!

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Belfast (2021)

When it comes to award season, there are a few films that make their way into the majority of nomination fields and acquire a high number of Oscar nominations. Kenneth Branagh’s autobiographical drama, Belfast is one of those films this year and follows Branagh’s experience as a child in the titular city during the late 1960s when The Troubles began. The film focuses on protagonist, Buddy (Jude Hill), based on Branagh himself, and the period in his life when Protestant loyalists begin to target the homes and businesses of the Catholics on Buddy’s street. We see Buddy in all aspects of his life, but mostly the time that he spends with his Ma (Caitríona Balfe), Pa (Jamie Dornan), Granny (Judi Dench), and Pop (Ciarán Hinds) as the political turmoil in Ireland begins to grow increasingly dangerous and resulting in a potential move to England to escape. It’s a unique look at a tragic period of time through the eyes of a child, so we see The Troubles in glimpses and glances.

The film is both written and directed by Kenneth Branagh, and it is clear from the offset that this is his most personal project to date as we are introduced to a montage of present-day Belfast before we are transported to the same area in the past in black and white. The film is undoubtedly autobiographical, but Branagh chose to change names and even calls the protagonist, Buddy, who is based on himself. The screenplay is written from Buddy’s perspective as a young boy, meaning that the audience is provided with snippets of the real life chaos that was taking place. This serves to hinder and serve the film as on one hand, it provides a unique perspective on the topic while also meaning that we are not introduced to the full threats that were drawing closer and closer if the film had a more generalised viewpoint.

Despite the long list of stars in Belfast’s line-up, the cast is actually led by newcomer Jude Hill who plays protagonist, Buddy. It could be understandable for a newcomer, even more so a nine-year-old, to be intimidated by a slew of stars as well as Branagh, but Hill takes it all in his stride. From the moment he appears onscreen, it’s clear that the film is in safe hands as he is deeply entertaining while maintaining the innocence to the political conflict that is happening around him. The opening scene in which we see the Protestant militants attacking the Catholic homes on his street perfectly demonstrates the end of innocence as Buddy has to deal with the real-life problems that he and his family face, especially as his Pa is increasingly pressured to join the Protestants in their fight. Despite the problems going on around him, Buddy is just like any other child and has his interests, mainly his love for films and there are scenes dotted through the film of his trips to the cinema, which is clearly drawn from Branagh’s own love for cinema and Belfast is clearly a love letter to his childhood and the place that helped him to develop this passion.

There is an abundance of supporting characters in the film and one of the best performances goes to Caitríona Balfe who is magnificent as Buddy’s mother. There is a lot of unspoken characterisation to “Ma” and Balfe brings this forth perfectly. Buddy idolizes his father who works away for long periods of time while his mother has to run the household and raise Buddy and his brother, while simultaneously dealing with the political conflicts going on. There are glimpses of her struggles as Buddy listens in on her desperate calls to her husband while he is working, and we see her facade begin to crack as she has to remain strong for her boys. What makes Balfe’s performance so brilliant is how resonant and relatable it is and the fact that she has been snubbed in the Best Supporting Actress category at the Oscars is one of the biggest snubs, especially since Judi Dench’s performance doesn’t have the same level of impact.

When it comes to the supporting male actors, the best performance easily goes to Ciarán Hinds who portrays Buddy’s grandfather, “Pop”. His performance is the perfect example of a small role that has huge influence over the film and its storyline. From his first scene through to his health deterioration, Pop is the foundation of Buddy’s family and acts as Buddy’s father-in-lieu when his father is working away in England. Hinds is charming and lovable as Pop, serving as Buddy’s life coach when the latter is unsure how to approach a girl he likes in class while also providing plenty of wisdom during the turbulent times by helping Buddy to understand what is going on around him. Hinds’ final scene is by far the highlight of the film as this is when the story is brought to its emotional climax and the family foundation is broken and begins to fall apart, reflecting the surrounding society.

Belfast is sure to be a crowd-pleaser and shows a different side to Branagh’s creative output that we haven’t really seen from him before, while also giving him the chance to be vulnerable as a filmmaker. It may not always pack the punch that it wants to, but there are some really beautiful scenes and with Balfe and Hinds’ exceptional performances, Belfast is a film that definitely deserves a watch.

What did you think of Belfast? Let me know in the comments below!

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Spencer (2021)

One of the most anticipated biopics to be released this year was Pablo Larraín’s Spencer which is a new take on the biopic genre. Inspired by Diana, Princess of Wales and her life in the Royal Family before her divorce, Spencer is a fictional account of Diana’s time at Sandringham during Christmas where she spends time with the Firm, including the Queen. Starring Kristen Stewart as Diana as well as a slew of stars in supporting roles such as Timothy Spall as the fictional Equerry Major Alistair Gregory and Sally Hawkins as Maggie, a fictional Dresser, Spencer may not follow the conventions of biopics but the events are not what Larraín wants us to focus on and rather the emotions as well as physical and mental trauma that comes from Diana’s rare circumstance. Just like Larraín’s previous film, Jackie which explores Jackie Kennedy’s life a week following the assassination of her husband, President Kennedy, Spencer takes place over a short period of time and allows us to view the subject when thrown in uncomfortable situations as well as what she is like behind the scenes.

It is no secret that Spencer has generated a lot of controversy due to its approach as well as the accuracy of the events. The first words that appear on the screen is “A fable from a true tragedy” immediately striking a subtle, darker undertone that seeks to foreshadow Diana’s life and tragic death. Directed by Larraín and based on a script written by Steven Knight, Spencer is happy to venture into its otherworldly elements as it incorporates visions of Anne Boleyn, one of Diana’s ancestors as well as an astonishing dream sequence that runs through some of Diana’s most iconic outfits. Although it may not be an accurate account, we get a sense of Diana’s past and present as well as the glooming undertones of the future that awaits her.

Kristen Stewart is nothing short of spectacular as Diana and this performance will most likely see Stewart gain her first Oscar nomination. Stewart’s performance feels much more than a basic impression. Even when Diana thinks she is alone, there is always a sense that there is someone listening to her and watching her at all times. The performance is a reaction to the claustrophobia that Diana feels as every move she makes is closely observed even down to the clothes she wears and the way she walks when in public. Stewart encapsulates the hopelessness and claustrophobia that Diana feels when among the Firm as well as showing that hopeful side when she is with her children and dreaming of a life away from the Royals. Diana’s story has become a hugely popular source of inspiration as of late as she has been incorporated into the hit Netflix series The Crown and a newly released Broadway musical looks into her life as the “People’s Princess”. Spencer provides us with glimpses of Diana’s personal and private struggles including her experiences with bulimia as well as the mental and physical toll that being a Royal has. Stewart’s Diana aims to find an escape as she reflects on who she was before her marriage and looks ahead to the future where she can forge her own identity.

In support we see Timothy Spall as Equerry Major Alistair Gregory who is loosely based on David Walker. Having been tasked with keeping a close eye on Diana due to the amount of publicity and attention she has been receiving from the media, Alistair grows fond of her and tries to steer her down the right path without compromising himself. Initially it seems that Alistair is just a tool for the Firm but he sees Diana for the human she is and goes out of his way to try and stop her from going down the same path as her ancestor, Anne Boleyn. Spall’s performance is gripping and unpredictable and the scenes he shares with Stewart are full of tension as he keeps her in line against her wishes.

Sally Hawkins is endearing as Diana’s Dresser, Maggie, and it’s such a shame that she isn’t in the film more. Maggie seems to be the only person that Diana can trust and express herself with. Even in such a small role, Hawkins has such a presence that clearly impacts the main character in such a way that her sudden absence brings out fear in Diana. The scene in which Maggie and Diana sit on the beach and reflect on whether the former spoke ill of the latter is a clear display of how claustrophobic life in the Firm can be, even for those who simply work for them.

When it comes to cinematography, Claire Mathon has knocked it out of the park this year providing the camera work for Spencer as well as Céline Sciamma’s 2020 beautiful coming of age film, Petite Maman (you can read the review here). Despite these films being completely different in tone and topic, Mathon adapts accordingly while still providing a dreamlike quality in both that elevates the film from its reality-driven roots. Mathon’s approach feels as though the camera is moving naturally and doesn’t feel forced while also allowing the audience to really see these different sides to Diana in such a short space of time. It is thanks to Mathon’s ability to blend reality and fiction that Diana’s own reality and fiction become blended into one as she begins to feel the pressure and claustrophobia. The contrasts between the dark and trapped settings of the house with the natural light and openness of the outdoors further displays Diana’s inner conflict.

The score is another brilliant aspect of the film and is composed by no other than the incredible Jonny Greenwood. Greenwood’s score provides an underlayer of horror and tension to the film that highlights the darker undertones of the film’s subject. The piece that plays during dinner as Diana imagines herself eating the pearls from a necklace that Charles bought for both her and Camilla speaks volumes to the trauma that she is facing and the hopelessness that Diana feels as there is no solution to the problem that would benefit her.

Spencer is not a film that should be taken as a literal account but as a “fable” that perfectly displays the emotional turmoil and physical and mental struggle that Diana faced. Larraín and Stewart are a match made in heaven as their Diana is one that sees a silver lining amongst the hopelessness. It is sure to receive a fair amount of attention this awards season, especially for Stewart’s performance and Mathon’s cinematography. Visually stunning and filled with captivating performances and direction, Spencer is much more than a standard biopic and dares to look deeper into the subject’s psyche with great results.

What did you think of Spencer? Let me know in the comments below!

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London Film Festival 2021: Titane

There is always a film every year that pushes the boundaries of violence and taste beyond question. While these films generate a lot of publicity thanks to polarising reviews from critics and cinemagoers alike, these films never seem to win a lot of major awards. This year is different. Julia Ducournau’s sophomore feature, Titane, took critics’ breath away at Cannes Film Festival where Ducournau won the top prize, the Palme d’Or with a film that follows serial killer, Alexia (Agathe Rousselle), who has sex with (and is subsequently impregnated by) a car. If this isn’t complicated enough, Alexia disguises herself as a teenage boy, Adrien, who has been missing for ten years and is taken in by his fire captain father, Vincent (Vincent Lindon) who has developed an addiction for steroids in a bid to become the man he once was. Both characters then explore differing issues with the body as they are individually manipulated by their desire to be someone else.

Directed and written by Julia Ducournau, Titane is a film that holds no punches in its plot as well as the filmmaking approach. What Ducournau does so well is allow the camera to linger as though it is an observer which serves into the horror aspect well as it makes the film completely unpredictable. As with her debut feature, Raw, Ducournau isn’t afraid to push boundaries and incorporate universal issues in her film, specifically exploring gender through the female gaze in a way that feels distinguishable among a genre that is dominated by the male perspective. There is no “final girl” in Ducournau’s films as she completely subverts the traditional horror template and instead uses body horror as a way to instigate discussions on the human body.

Newcomer Agathe Rousselle makes her mark as Alexia in a role that requires a lot of physical and emotional range. The daughter of doctors, Alexia spends her free time modelling in car shows and murdering people. When her murderous ways begin to catch up with her, she has to physically manipulate her body to disguise herself as a teenage boy, all while pregnant from a sexual encounter with a car. Rousselle is absolutely relentless in her performance and pushes herself to ensure that Alexia’s physical and mental struggle is perfectly pur across to audiences. We see the character in her prime scantily clad as she dances on the classic cars with plenty of admiring spectators waiting for her autograph. This contrasts greatly as she covers herself in bulky clothing whilst taping down her breasts and stomach to hide her pregnancy in a bid to eliminate any trace of the feminine body. Alexia is a character of little words but she doesn’t need speeches to convey how or what she is feeling and Rousselle pulls this off brilliantly in what feels the breakout performance of the year.

In support is acting veteran Vincent Lindon as Adrien’s father, Vincent, who works as a fire captain. Vincent is a man who has spent the last ten years of his life plagued by grief due to the loss of his son and dedicated his life to work, injecting himself daily with steroids in a bid to maintain a traditionally masculine body. Acting as Alexia’s pilar opposite, Lindon is vocal and emotionally vulnerable, wearing his heart on his sleeve in a bid to get his son to open up to him. His protection over Adrien threatens to be his downfall as he begins to lose respect of the fellow firefighters, even venturing down violent avenues to stop them from speculating about Alexia. Where Alexia has to disguise as the opposite gender in a bid to stay hidden, Vincent hides behind the illusion of toxic masculinity, believing that the steroids will allow him to eventually become the man he once was before his son went missing.

One of the most striking elements in Titane is the cinematography which is handled by Ruben Impens. Having worked on the cinematography for Raw, Impens was the perfect choice for Ducournau’s follow-up and the results are fantastic. Impens’ approach seems effortless while also relentless as he allows the camera to sit and show us everything where most horrors would cut away. One sequence that is particularly brilliant is when we see Alexia walk through the car showroom and observe her fellow dancers, the spectators, and the cars as she makes her way to the dressing room only for the camera to pan to a car where she is already on top doing her dance. It is this kind of seamless unpredictability that makes the film such a thrill to watch.

Another highlight in the film is the music which is composed by one of the most exciting composers working today, Jim Williams. Having previously worked on a variety of different horrors such as Ben Wheatley’s Kill List and A Field In England as well as Brandon Cronenberg’s Possessor and Ducournau’s debut film, Raw, Williams proves that he is the right person for the job and uses elements of the machinery and industrialist sounds to create a score that sounds like a new form of horror music. The music never feels like it overwhelms at any point while also timing itself perfectly so it beats in conjunction with the film. One such highlight is the explicitly named “Car Fuck” track which plays through the scene in which Alexia has her sexual encounter with the car. The score intensifies subtly building like a traditional horror track while never feeling melodramatic or parodying the genre or subject.

Titane has become one of the most discussed films of the year and with good reason. Although proving to be too overwhelming for some, Ducournau has shown that she is a filmmaker to pay attention to thanks to her modern take on body horror and how it can play into gender roles and identity. Titane is a complex film that goes much deeper than its controversial subject and is definitely a film that you won’t soon forget.

Titane is released in the UK on 31st December 2021!

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London Film Festival 2021: Lamb

One film that was an intriguing watch was Valdimar Jóhannsson’s Icelandic horror Lamb. The film follows married couple María (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason) who run a small farm where one of the sheep gives birth to a sheep/human hybrid that they affectionately name Ada after a child that they had previously lost and treat her as though she is a human child. What follows is a sequence of unexpected events that explores themes of identity and family whilst also incorporating elements from various genres including horror, thriller and sci-fi. The result is a film that can be unsettling and unconventional while distinguishing Jóhannsson as a director with a unique point of view.

Directed by Valdimar Jóhannsson in his directorial feature debut and based on a script he cowrote with Sjón, Lamb is unlike any other horror film. Subverting the folklore trends so commonly seen in horror today, Lamb is a film that feels as though it may be misunderstood by some and gradually gain popularity as time goes on. Jóhannsson’s vision manipulates you into thinking that the film will take a certain direction and then completely subverting this and throwing in many unpredictable twists and turns. The writing never allows itself to get too close to the protagonists which means that the audience is never spoon-fed and provides a desire to learn more.

Noomi Rapace is great as María, a woman who is completely besotted by Ada following a life plagued by loss and grief. Rapace can always be relied upon to provide a fearless performance and María seems like a character that was written for her. María isn’t always likeable and her motivations aren’t always understood but we still feel sympathy for her despite her flaws. The scene in which Rapace locks Ingvar’s brother, Pétur (Björn Hlynur Haraldsson) in a closet and then plays the piano loudly to drown out his screaming draws her suffering and pain to the surface as we see her attempt to glaze over the negativity with music, a metaphor for her willingness to overlook Ada’s physical differences and accept her as her own.

In support, we see Hilmir Snær Guðnason play María’s husband, Ingvar in a performance that builds as the film unfolds. The decision-making between the couple usually lies in María’s hands in a role that would traditionally fall under a man’s control but Ingvar doesn’t complain or feel emasculated at any point. Content with his life, Ingvar embraces Ada as his own and does his best to provide for his family. Guðnason is a great onscreen partner for Rapace as they compliment each other’s approaches perfectly. Where Rapace’s performance is full of physical emotion, Guðnason has a quieter performance that is full of nuance and subtly, working well against the horror element of the film.

One thing that the film makes use of is the beautiful cinematography by Eli Arenson. Arenson manages to capture a world that is set in an open space whilst contrasting this with a claustrophobic setting as we feel trapped within the home. This isolated feeling makes the characters seem locked and unable to travel beyond their immediate surroundings, feeding into the horror elements of the film. Arenson utilises the natural surroundings to create a realistic approach against a topic that is full of fantasy, driving it away from being a traditional horror. It is this grounded approach that makes Lamb such an unpredictable watch and such a beautiful looking film to behold.

Lamb isn’t a film for everyone but those who enjoy it will be able to appreciate the beautiful scenery, intense writing and raw performances with characters that we never fully understand but keep us gripped from start to finish. It’s a film that will undoubtedly grow in popularity and requires multiple watches due to the various layers, textures and themes that it explores. The unconventional approach this film has is why it has been selected as Iceland’s submission for Best International Feature Film at the Academy Awards which will hopefully bring Lamb to an even larger audience.

Lamb is released in the UK on 10th December 2021!

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The Green Knight (2021)

Another film to suffer a delayed release date due to the pandemic, The Green Knight brings a new retelling of the Arthurian legend, David Lowery’s epic sees Oscar nominee Dev Patel lead the cast as Gawain, a man who aspires to be knighted and among the company of King Arthur (Sean Harris) and his knights. Whilst celebrating Christmas with the King, the mysterious Green Knight appears and poses a challenge which Gawain accepts. Garwain than must travel a year later to find the Green Knight and allow the latter to strike a blow against him. Based on the legend by Anonymous, Lowery immerses the viewer into the world through striking imagery and innovative sound mixing to create a film that was well worth the wait and more.

David Lowery directs and writes this stunning epic and has proven yet again that he is a force to be reckoned with. Not only is The Green Knight one of his most anticipated projects to date, it sees him collaborate with A24 yet again after the success of his previous film A Ghost Story. The result of which is a phenomenal film that shows Lowery’s mastery as a storyteller whilst also highlighting his growth as a filmmaker.

Dev Patel gives an exceptional performance as Gawain and shows just how far he has come as an actor. Following an extremely varied career which includes an Oscar nomination for 2016’s Lion, Gawain seems like the kind of role Patel was born to play. Due to the nature of the film following Gawain’s journey, a huge portion of the quality of the film relies heavily on Patel’s shoulders and it is his performance that elevates it to a level where you really feel as though you are with the character throughout. Patel’s Gawain is ambitious to a fault and most importantly inexperienced which becomes more apparent the closer he gets to his final destination. The scenes in which Patel encounters the Green Knight are captivating and leave you on the edge of your seat.

Taking on two roles in the film, Alicia Vikander delivers one of the best performances of her career as Gawain’s lover, Essel, a common woman who lives in a brothel and the Lady who Gawain meets on his journey to his encounter with Green Knight. These performances are so different that you could be forgiven for mistaking the roles for two different actresses, however, Vikander has already proven herself as one of the finest actors working. Her performances in 2014’s Ex Machina and 2015’s The Danish Girl are masterclasses in stunning performances with the latter winning Vikander the Academy Award for Best Supporting Actress. Her performance as Essel is sweet and innocent as she is happy where she is and her place in the world but longs for Gawain to publicly declare her as his lady. This flows in beautifully to her performance as the Lady who is more sinister and corrupt in her encounters with Gawain. Where Essel desires Gawain’s live and affection, the Lady seems to be driven by lust and sex. Despite their mutual fixation on Gawain, both characters have agency and individual motives that allow them to be strong and rounded in their development.

This film smashes every element but for me, the music composed by Daniel Hart is definitely a highlight. Mixing Medieval sounds with fantasy elements makes this score memorable and hauntingly atmospheric. From the use of Medieval instruments to the lingering choral chants, Hart creates music that utilises the time period and the environment that the world inhabits. Tracks such as “The Giant’s Call” are beautifully fitting as they seem to merge natural sounds within the environment with a perfectly crafted score. It’s as though the score goes hand-in-hand with the scenes, managing to accompany the image and stand out without actually overwhelming the film at any point. Perfectly nuanced yet wide in its range of tone, Hart’s score is one of the best of the year by far.

Overall, The Green Knight is spectacular film that deserves to be seen on the big screen. Definitely worth the wait, Lowery manages to tell an Arthurian legend in a way that hasn’t been done before and mixes this with high fantasy imagery. It’s a film that packs both a visual and emotional impact as we feel Gawain’s struggle to complete his journey physically and mentally.

What did you think of The Green Knight? Let me know in the comments below!

The Green Knight is available to watch on Amazon Prime now!

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Luca (2021)

Pixar’s latest film, Luca, takes us all the way to the Italy and follows the life of the titular character, a sea monster, who longs to have adventures on the surface after being introduced to the land by his new friend, Alberto, who is also a sea monster. The two escape to the nearby town of Portorosso in a bid to purchase a Vespa so they can go on many adventures. There have been comparisons made with other films such as Call Me By Your Name and Disney’s own The Little Mermaid but Luca is a distinctly unique film of its own and blends wonderful animation style with an unexpected storyline. Directed by Enrico Casarosa and based on a script by Mike Jones and Jesse Andrews, Luca will leave you breathless thanks to the beautiful animation, engaging characters and heart warming message.

Casarosa’s direction is wonderful and Luca marks his feature directorial debut for Pixar following his beautiful Oscar nominated short, La Luna. What made La Luna such a standout short among the Pixar shorts is how vivid it is in its use of colours as well as how emotional the storytelling is. Casarosa certainly knows how to convey the emotion of storytelling through the differing landscapes. The script also does well in serving this desire for freedom as we are thrust into Luca’s world with very little set up so we become introduced to everything as Luca is. Taking inspiration from the films of Studio Ghibli in terms of the rich scenery, coming of age journeys as well as naming the town Portorosso after Ghibli’s beloved film Porco Rosso which also takes place in Italy. Jones and Andrew have written a film that dives deeper than what’s on the surface.

Leading the cast as the titular character is Jacob Tremblay, who has had a brilliant career for someone so young. Having his breakthrough aged 9 in the Oscar winning Room, Tremblay has quickly established himself as an actor capable of bringing a variety of strong performances that many adults could only hope to achieve. This makes him perfectly cast as the titular character, Luca, who wants to explore the world against his parents’ wishes. There are a lot of similarities between Luca’s character and Miguel from Coco in that they are both young boys who want to venture away from what is expected from them and express themselves. Where Miguel wishes to create music, Luca wants to travel and learn about the world. At the start of the film, we see how Luca’s life is micromanaged and despite living in the ocean, is confined to a particular amount of space and is not allowed to venture outside of it before his eyes are opened by Alberto who shows him that there is an entire world out there. Tremblay embodies Luca’s adventurous side and enthusiasm for learning really well and makes the film even more enjoyable to watch.

The rest of the cast is full of newer faces as well as established names which provides a freshness and balance which is needed. Sometimes, animated films can be filled to the brim with starry names but this can take away from the magic of the film. Jack Dylan Grazer does a fantastic job as Alberto, the confident know-it-all who introduces Luca to the surface. As he grows closer to Luca, we begin to see Alberto’s deeper layers and his vulnerability begins to show. Grazer portrays this perfectly and, like Tremblay, has demonstrated his ability to act in a wide range of roles. Newcomer Emma Berman brings a wonderfully energetic performance as outgoing Giulia, who is determined to win the local triathlon while acting staples Maya Rudolph and Sacha Baron Cohen are absolutely wonderful in their small roles as Luca’s mother and uncle respectfully.

With the film being set in Italy and showing this big adventure and friendship between Luca, Alberto and eventually Giulia, the music had to be spectacular to match the film’s brilliance. When it comes to superb film composers, there are few that have achieved the emotion and spectacle in their music as Dan Romer. Romer’s score for the phenomenal Beasts of the Southern Wild is one of the best scores this century thanks to his strong control using brass and strings specifically to convey the fine line between emotions. It is no different with Luca. Bringing in signature brass statements when the boys escape to Portorosso and mixing it with softer pieces, Romer adds another successful installment in a filmography that is bursting with so much talent.

Luca does have an abrupt start but once it finds it flow, the film begins to unfold and develop beautifully. Combining lovable characters, a great script and fantastic direction that has become a staple of Pixar creations, Luca brings an important message of accepting one another’s differences and pursuing your passions in a world that is full of sunshine and colour. A brilliant summer blockbuster, it definitely would have been great to see this on the big screen and hopefully Pixar will be coming back to cinemas with their next release.

What did you think of Luca? Let me know in the comments below!

Luca is available to watch on Disney+ now!