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The Father (2020)

Florian Zeller’s directorial feature debut The Father was undoubtedly subject to a lot of critical and commercial praise and emerged as a favourite among many critic’s Best Film lists going into the Oscars. Starring Anthony Hopkins as Anthony, a father who is suffering with dementia, the film follows his deterioration into memory loss and despair as other characters begin to change actors and the setting begins to change. It is a deeply harrowing film that weaves feelings of thriller into the dramatic elements of the film. With great performances all round, especially from Hopkins and Olivia Colman who plays his daughter, Anne, The Father was a regular mainstay on the awards circuit this year, receiving six Academy Award nominations and winning two with Zeller and Christopher Hampton winning Best Adapted Screenplay and Hopkins receiving the Best Actor gong in a shock win.

Zeller has been a prominent playwright winning many prestigious awards in France. The Father marks his directorial debut and its script is based on his play. What makes the film so effective is how well Zeller’s direction allows the flat to become a character in itself. As we become familiarised with every room and corridor in the flat, we begin to see the changes that Anthony notices to the point where the film plays as a thriller. Although The Father is not a horror in the traditional sense of the genre, there is something deeply horrific and disturbing about watching Anthony’s world and sense of self crumble as everything becomes more distorted and confused. The way that the script is paced and structured allows for this confusion and deterioration to be carried off successfully as scenes appear to overlap and the same dialogue occurs in different flats with different actors playing the same role. The only consistent aspect of the whole film is Hopkins playing Anthony. Everything else from the plot to the characters and the setting is subject to changes to highlight the spiral into confusion.

Hopkins’ win at the Academy Awards this year was one of the most shocking results as it had seemed that the late Chadwick Boseman was the favourite to win for his performance in Ma Rainey’s Black Bottom. However, the competition in the Best Actor race was incredibly strong and both Hopkins and Boseman gave fantastic performances. Although seeing Boseman win would have been a lovely tribute on what was a life cut tragically short, Hopkins’ achievement in The Father shouldn’t be dismissed or overlooked. There is a reason why Hopkins is often referred to as the best actor working today and it is his ability to truly become the character and his fearless approach. The character of Anthony is extremely confident in himself at the beginning but we see his many layers begin to peel away as his struggles come to light and his concept of time and self begin to dissipate. Hopkins’ ability to shift the mood with the slight change of voice or a minor physical action carries the film and lifts it from being a play performed onscreen to a cinematic experience. It’s testament to Hopkins’ career that his role in The Father is being deemed one of his best considering the calibre of his actor.

In support, we have the extremely lovable Olivia Colman playing Anthony’s daughter, Anne. Colman is always a welcome presence in any film and The Father is no exception. If you’re going to have an actor playing with someone like Anthony Hopkins, you need to make sure they can match his calibre and Colman is one of the best actresses working today and is perfect casting. Coming off her Oscar winning turn in The Favourite, Colman is phenomenal as Anne, the tortured second daughter who lives in the shadow of her deceased sister, Lucy (Imogen Poots) and having to listen to her father talk to people about how Lucy is his favourite daughter. Where Anthony is seemingly happy and content at the start of the film, Anne is the opposite. Having sacrificed the happiness of her life to look after her father, Anne’s partner, Paul receives a job offer in Paris and wants her to join him. This is the perfect opportunity for Anne to begin to live her life and step out of the shadow of her family. Colman received a slew of award nominations including an Academy Award for Best Supporting Actress nomination which was great to see because she really holds her own and proves to be a stellar screen partner against Hopkins.

Composer Ludovico Einaudi has had a brilliant year as he helped bring life to Chloe Zhao’s beautiful Best Picture winner, Nomadland as well as The Father. It’s incredible how different the scores are and yet are full of Einaudi signatures that help to bring his mark to the film. The score for The Father is gentle and intense at the same time and feels like a perfect mesh between drama and thriller without being over the top or overwhelming the scenes. It’s the subtly that makes the music a perfect undercurrent that propels the scenes forward and brings those confusions to light. The music in the final scene, particularly, is stunning and it is a real shame that Einaudi didn’t receive any nomination for his efforts for either film at the Academy Awards as that would have been well deserved.

What The Father does so well in this cinematic adaptation is its ability to elevate itself from a stage production onscreen thanks to the use of the direction and performances. With a stellar script that bends all of the rules, The Father is not an easy watch by any means but it is by far one of the best films to come out of this awards season. Boasting fantastic performances by Hopkins and Colman, it may not have all of the bells and whistles that come with a lot of big blockbuster films but like Nomadland, The Father thrives in its simplicity and allows the script and characters to help bring the drama to life.

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

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Minari (2020)

One film that has received unanimous praise is Lee Isaac Chung’s beautiful drama, Minari. Starring Steven Yeun as Jacob, the patriarch of the Yi family who have immigrated to America from Korea. Having previously lived in California with wife, Monica (Han Ye-ri), daughter, Anne (Noel Kate Cho) and son, David (Alan Kim), the family moves to rural Arkansas where Jacob hopes to build a farm full of Korean fruit and vegetables for vendors in Dallas. Having to balance his dream to be a successful farmer with the dramas of family life, especially the arrival of his mother-in-law, Soon-ja (Youn Yuh-jung) and the family’s identity as Koreans living in America. Nominated for six Academy Awards and winning one for Best Supporting Actress for Youn Yuh-jung’s stunning performance, Minari landed on many critic’s best film list and it’s easy to see why. 

What Minari does so well is capture that struggle of the American Dream. The Yi family literally and figuratively want to own their small slice of paradise and Steven’s relentless pursuit and determination allows us to see the ups and downs of the struggle. Coinciding with the additional subject of the family being Korean immigrants, there are undertones of racism in the exchanges that they have with their local, predominantly white, church, especially where the children who don’t fully understand are concerned. We see the film through both adult and children’s eyes and are able to get a fully rounded view of the experience. Chung’s screenplay feels deeply personal and it is clear in his direction that this is a subject that he is extremely passionate about. The merging of American and Korean culture is mixed together to create this wonderful film that shows appreciation for the little things in life rather than aiming for the stars. 

Since leaving TV’s The Walking Dead, it’s been great to see Yeun starring in lots of interesting films, including Sorry to Both You. However, his performance in Minari has cemented him as a truly Hollywood leading man. Jacob is a deeply flawed character, often putting his American dream before his wife and children’s needs but he does have his family’s interests at heart. Yeun is perfectly cast as Jacob in what is his most dramatic and challenging role to date. Feeling the weight of the family on his shoulders, Jacob works tirelessly to provide for his family as well as securing their future prospects as well. What Yeun does so well is show the resilience of the character as well as that quick change as he shares precious moments with his children, especially David. Well deserving of his Oscar nomination, Yeun has already shown us his ability to act in a variety of genres and mediums showcasing a huge emotional range and it feels as though his performance in Minari is a fine combination of him performing at his very best.

In support, Youn Yuh-jung brings an Oscar winning performance as Soon-ja, the family grandma in what can only be described as a wonderful turn. Youn has been an established name in Korea where she has pulled off decades of phenomenal performances after the other. It’s great to see that success thrust into the global spotlight and even better that the film industry has bestowed her with a slew of major awards. Soon-ja is a character who soon glues the family together, causing friction initially, especially with David as he doesn’t want to embrace his Korean heritage. However, the two soon share an inseparable bond and it is an absolute delight to watch. Soon-ja comes into the film a little while in so we are able to see how her arrival completely shifts the family dynamic. 

One aspect of the film that has been getting a lot of attention is the score, composed by Emile Mosseri which was well deserving of the praise and award nominations it received. Bringing a calmness to the film, the score is delicate and classical in sound whilst also managing not to deter from the action happening on screen. Mosseri’s piano based music feels melancholy at times, especially during scenes in which it seems that Jacob’s dream is out of his hands but there are also moments when it feels like the catalyst for bonding such as the moment when Soon-ja shows David where to grow the minari. 

Overall, Minari is one of the most fulfilling films to come out of this awards season. Whether you’re admiring Chung’s impeccable screenplay and direction or blown away by the stellar performances from the cast, Minari is guaranteed to exceed your expectations. It may not have the bells and whistles that other films have but its humility and minimalism allows the characterisation to take centre stage and is sure to leave you stunned and captivated long after the credits roll. A truly stunning achievement and hopefully marks even more incredible films in the pipeline for Chung. 

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

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Another Round (2020)

Another Round has steadily become the favourite to win the Best International Feature Film Award at tonight’s Oscars thanks to its brilliant mix of comedy and drama. Directed by Thomas Vinterberg, the film follows four uninspired teachers who decide to start an experiment where they retain a certain amount of alcohol in their blood throughout the day and note the effects. With a cast led by Mads Mikkelson, Another Round is bonkers and disorientating as we follow the downwards spiral of the men as their lives descend into chaos as they constantly increase the alcohol intake. The film has garnered a lot of attention thanks to the film’s originality as well as Mikkelson’s perfect leading performance as history teacher, Martin.

Based on a script written by Vinterberg and Tobias Lindholm, Another Round has the perfect balance of comedy and drama. The film is filled with physical comedy as well as an extremely sharp script that gives each of the teachers a clear story and motivations for taking part in the experiment. Combined with Vinterberg’s sharp direction, the film can be disorienting and chaotic to reflect the drunken displays occurring onscreen while at the same time portraying the happiness that the characters are feeling. The final scene in which Martin performs an incredible improvised dance that acts as a release for all of the emotions and events that have happened in the film and is perfectly choreographed and directed. Vinterberg’s inclusion on the Best Director nomination list was an incredibly welcome surprise in what has been a fantastic awards season.

Mads Mikkelson is on top form as history teacher, Martin. His life seems uneventful and unexciting as he goes to work, comes home, goes to sleep and repeats the process. He has clearly broken down as he is distant from his wife and kids and his students are dissatisfied with his teaching. When he partakes in the experiment, it is as though Martin is a completely different man and starts to come out of his shell before the drinking overtakes everything and has a gigantic fall from grace. Mikkelson is on top form from beginning to end. We feel the disorientation that goes with the loss of control as well as the highs that come with his initial success in work and family. With such a complex character in a role that is physically and mentally demanding, it was great to see Mikkelson recognised with a Best Leading Actor nomination at this year’s BAFTAs and it would have been even better to see him among the nominations at the Academy Awards as well but being able to demonstrate his ability to play any genre with ease, this film serves as another great addition to a fantastic filmography.

The supporting cast does a brilliant job of portraying the chaos that surrounds Martin with Thomas Bo Larsen bringing a performance that will have you crying by the end. Larsen plays Tommy, the PE teacher who works with the younger children in the school. When the experiment is underway, it is Tommy whose life begins to spiral out of control almost immediately and it gets to the point where he loses that control and cannot retain it. Hiding numerous bottles of alcohol in the gymnasium equipment room is only the start of the bottle. After the men agree that their alcohol consumption is getting to a point where they are concerned about alcoholism, they stop the experiment but Tommy continues to drink. The scene in which he turns up to a staff meeting inebriated beyond belief is heartbreaking as he has lost all sense of self. The final encounter we see between Tommy and Martin is upsetting and it’s thanks to Larsen’s incredible performance that we really feel the despair for the character.

Another Round is a film that is bold and daring while also remaining a celebration of life. The four men work in the same school and yet lead entirely different lives and the experiment brings forth a common denominator between them as everything is put into perspective. Vinterberg has created a film that feels revolutionary in its fearlessness and the highly charged emotional scenes juxtaposed with literal song and dance in a way that feels real and grounded. Mikkelson proves again that he is capable of performing any role in any genre as he excels and carries off what is easily a career best in a career that is filled to the brim with impeccable performances.

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

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Sound of Metal (2019)

Sound of Metal has been on the minds of many film fans for years now. With images first released a couple of years, it was definitely worth the wait. Darius Marder’s directorial debut is a fantastic study into deafness. Following heavy metal drummer, Ruben Stone (Riz Ahmed), whose life is turned upside down as he loses his hearing and his struggle to adapt to his new life. From a script written by Marder and his brother, Abraham Marder, Sound of Metal will have you feeling the distress and frustration that Ruben experiences as we begin to see and hear the world through his eyes and ears.

The first thing to notice is the brilliance of the script. Starting off at a concert, Ruben plays the drum in a band while his girlfriend, Lou (Olivia Cooke) sings. It’s an overwhelming experience filled with loud music which is then contrasted with the gradual loss of hearing through the subsequent scenes. As Ruben has to accept that his music career is over, he must also adjust to the new situation. As a recovering alcoholic, his sponsor is concerned that he will relapse and sends him to a shelter ran by Joe (Paul Raci) where he can meet fellow people within the deaf community as well as finding a job that can suit him. The screenplay is fantastically paced and doesn’t leave a moment of relaxation as we explore Ruben’s relationships with his new community as well as trying to salvage his relationship with partner, Lou.

Riz Ahmed pulls off a career best performance as Ruben and has received an array of award wins and nominations, including a very well deserved nomination for the Best Leading Actor Award at this year’s Oscars. The film acts as a brilliant character study into Ruben’s life as we begin to learn more about him and his life story as the film develops. At the shelter, Ruben takes on a job as a children’s drum instructor and becomes an inspiration to those around him as well as inspired by the community who has welcomed him with open arms. Despite this, he still feels as though something is missing. With Lou having gone back to France, Ruben cannot feel cometary satisfied or whole without his hearing and he becomes determined to get implants put in that can bring back his hearing. This conflict between retrieving his hearing and learning to accept his deafness is one that resonates throughout the whole film and the results are heartbreaking.

In support, Paul Raci is fantastic as Joe, the owner of the shelter that Ruben is taken to. Having also lost his hearing later in life, Joe is able to lip read and interpret and is the key that Ruben needs to accept his situation. Raci has long worked as an interpreter and his deep knowledge on the subject makes him the perfect choice for this role. His final scene in the film when Ruben tells him about his implants is absolutely heartbreaking as it seems that his work was for nothing. His presence in the film is scattered throughout and he seems to be the missing puzzle piece as Ruben needs to find a consistency that his old life couldn’t afford him. Joe gives him the opportunity to settle down and make a decent living inspiring children to become musicians. Raci’s Supporting Actor nominations this awards season are completely deserved and it’s fantastic to see him receive such recognition for a brilliant performance that will stay with you long after the film finishes.

The sound editing and mixing in this film is second to none. Brilliantly conveying the struggles of Ruben’s deafness through the use of muffled sounds, moments of complete silence which is later juxtaposed by a whirlwind of chaotic noises after Ruben receives his implant. The sound team have done a brilliant job of keeping the audience on edge and capturing their attention by making the film just as important to listen to as it is to watch.

Sound of Metal is an exhilarating watch that will have you feeling the frustration and limitation as the protagonist as he struggles to deal with his new life. With extremely strong and impactful performances from the cast and a stellar script to boot, this a film that commands your attention from the first frame and will hold it until the credits start to roll.

What did you think about Sound of Metal? Let me know in the comments below!

Sound of Metal is available to watch on Amazon Prime!

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Nomadland (2020)

Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.

Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.

Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.

It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.

Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.

What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.

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

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Judas and the Black Messiah (2021)

Judas and the Black Messiah has proven to be a strong competitor this awards season. Following the true story about an FBI informant, William O’Neal (Lakeith Stanfield) who infiltrates the Black Panthers and gets close to Chairman Fred Hampton (Daniel Kaluuya), the film tells a point of view that is often missing from the narrative. Directed by Shaka King and based on a script written by King and Will Berson, Judas and the Black Messiah doesn’t try to spoonfeed the audience and immediately throws us into the situation. As we see William delve deeper into the Black Panthers, we begin to see the conflict in his position as a black man who is working for the predominantly white government that the Panthers are protesting against.

The directorial decisions when it comes to the structure and editing of the film has proven to be a hit or miss when it comes to the critics and audience. I appreciated King’s decision to throw us into the situation and remain neutral on William’s political stance. As reflected in the interview footage we see at the end of the film, William leaves it for the individual to decide whether he was in the right or wrong in his actions as he has been forced into his situation.

Lakeith Stanfield is perfectly cast as William O’Neal and does a great job at conveying the inner conflict that O’Neal faces as he is torn between his job as an FBI informant and as a rising presence in the Black Panthers. Stanfield excels during the scenes in which O’Neal’s life is at stake when there is violent conflict between the police and the Panthers as we see how he doesn’t know what is the right or wrong point of view. As his friendship with Fred grows, his inner conflict grows more and there is more at stake. The chemistry Stanfield has with Jesse Plemons who plays the FBI agent is fantastic and the scenes of negotiation between the two are greatly intense as O’Neal is forced to carry out his time with the Panthers whilst reiterating confidential information to the FBI. One of the biggest surprises at this year’s Oscars is Stanfield’s nomination in the Best Supporting Actor category alongside Kaluuya. It’s great to see Stanfield getting the recognition he deserves but he is definitely the film’s lead and should have been considered as such.

With most of the acting awards being up for debate this year, one consistency has been Daniel Kaluuya’s clean sweep of the Best Supporting Actor gongs from the major awarding bodies. Having received his film breakout in the excellent Get Out which saw him receive his first Academy Award nomination. His performance as Fred Hampton only shows signs of growth and is absolutely breathtaking. If it wasn’t clear before that Kaluuya is one of the best actors working today then it definitely is now. The scenes in which Fred is addressing his congregation commands the room and is so gripping to watch as we cannot predict what decision he’ll make next. There is always that looming danger around Fred as informants are compromised and police action becomes more violent. Some people have a problem with Kaluuya playing Hampton because he is British but his accent is pitch perfect and his mannerisms reflect Fred brilliantly so much so that he becomes the character.

One thing about the film that really stood out to me was the score which was composed by Mark Isham and Craig Harris. The sharp jazz tones make the film feel like a thriller in places and takes away from the reality of the situation. Heavily inspired by the upbeat music of the 1970s also, the score is captivating and helps to elevate the viewing experience.

Overall, Judas and the Black Messiah is filled with fantastic performances from all of its cast. The decision to keep O’Neal’s stance neutral throughout may not work for everyone but I appreciate King for trying something different by allowing O’Neal to act as an observer to Hampton and the FBI and seeing how the two sides make their plans. Kaluuya in particular is worth the watch alone as he does Fred Hampton justice thanks to his passionate and fearless performance.

What did you think of Judas and the Black Messiah? Let me know in the comments below!

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Song of the Sea (2014)

Cartoon Saloon’s second feature and the middle installment of Tomm Moore’s “Irish Folklore Trilogy” is a beautiful story that explores a plethora of Irish mythology including selkies, faeries and Celtic goddess, Macha. Song of the Sea follows human child, Ben who lives in a lighthouse on an isolated island with his father, Conor and younger sister, Saoirse. Still feeling the pain from his mother’s death six years prior when she died giving birth to Saoirse, Ben blames his younger sister for the tragedy and treats her badly because of it.

Marking Moore’s second directorial feature and based of a script written by Will Collins, Song of the Sea delves even further into Irish mythology than The Secret of Kells as Saoirse deals with her new identity as a selkie. As well as this, the film also explores the story of goddess Macha who has been turning faeries to stone. With Saoirse being the last of her kind, it is up to her and Ben to find her magic coat so she can sing releasing the faeries to they can travel to Tír na nÓg. There is a lot going on but not so much that elements are lost. The script does a fantastic job of tying the different plot points together.

As protagonist, Ben, David Rawle does a fantastic job of bringing the character’s conflicting feelings of pain and adventure. Ben fills his life with the stories he mother told him but he is terrified of the water and still feels the pain from his mother’s death. Only a young boy, he has a very black and white view on the world and this leads him to become stubborn in his ways. As the film unfolds, Ben begins to grow and develop a positive relationship with Saoirse. Despite being mute, Saoirse’s big vocal moment comes in the film’s beautifully climatic scene when she sings her song. Lucy O’Connell does a wonderful job thanks to her lovely singing which feels magical. Singing in both Irish and English and helping the spirits go to Tír na nÓg. Saoirse is such a lovable character throughout and when she finds her voice it is both emotional and exciting as this is where the magic comes to life.

In supporting roles, we see some of the cast take on two roles. Brendan Gleeson returns to Cartoon Saloon’s productions as father, Conor and mythological Mac Lir. As expected, he does a flawless job as the grieving father who struggles to bring up his children alone. His performance as Mac Lir is only small as we see flashbacks of him crying an ocean of tears as folklore dictates before being turned to stone. Using Gleeson for both voices is a clever choice as it allows the story to draw parallels between the magical world and reality as both characters experience grief through losing the one they loved. Fionnula Flanagan also performs dual roles as Granny and Macha. Again, there are similarities between these characters ad they are matriarchs trying to make life better for their children and grandchildren but don’t think through the consequences fully which creates the conflict in both the magical world and reality.

As expected with Cartoon Saloon films, the music plays an integral part. None more so than in this film where the plot is all about Saoirse reciting the song that will save the magical creatures. With a title like Song of the Sea, it was expected that the film was going to be full of wonderful music. Regular Cartoon Saloon collaborators Bruno Coulais and Kíla bring a world of excitement through their music, particularly with flute sounds and other woodwind instruments to reflect the sounds that would be heard through the shell. “The Song” track is among the best in any Cartoon Saloon film as it combines that magic and whimsy as Saoirse sings the song of the sea.

Overall, Song of the Sea is a film that will leave you wanting to know even more about Irish folklore and mythology. From the stunning animation to breathtaking music and the emotional storyline, this is a film that is sadly overlooked but is a major player in modern 2D animation. If The Secret of Kells helped to put Cartoon Saloon on the map then Song of the Sea ensured that it will be staying there for a long time.

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

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Eurovision Song Contest: The Story of Fire Saga (2020)

One of Netflix’s big releases last year was Eurovision Song Contest: The Story of Fire Saga. Starring Will Ferrell and Rachel McAdams as Icelandic duo, Fire Saga, this film has been a hit with audiences around the world thanks to its sweet homage to the titular event that is loved around the globe. Directed by David Dobkin from a script written by Ferrell and Andrew Steele, Eurovision Song Contest is a charming film sprinkled with lots of humour. We follow Fire Saga’s journey from local performers to the Eurovision final which is set in the UK. With the first act of the film set in the small Icelandic town of Húsavík and the latter acts set in Edinburgh.

Will Ferrell’s performance as Lars is definitely the comic relief of the film. Lars is over the top and extremely eccentric, letting nothing stop him in his quest to win Eurovision. Ferrell brings his best performance in years as he gives space for the relationship between Lars and Sigrit to take centre stage. Of course, Ferrell provides us with his signature humour full of double entendres and physicality but it seems toned down and more controlled compared to past roles. What is clear in Ferrell’s performance is that he obviously has respect for Eurovision and doesn’t want to make fun but use the film as a tribute. Extremely funny and with a hilarious script, Ferrell displays what has made him one of the best comedic actors in mainstream cinema today.

Rachel McAdams’ as Sigrit is the highlight of the film. I was a bit disappointed to learn that she didn’t do her own singing but her performance aside this is still brilliant. What makes Sigrit such a great character is her love for Iceland and its traditions. She asks elves for help, often bringing them gifts in exchange for good fortune at Eurovision. Her affection for Lars is evident and she is unafraid to follow her own path despite what her family and friends say. Where Lars is dead set in his exaggerated vision in a bid to please a larger audience, often not telling Sigrit of any changes, it is down to Sigrit to provide that sense of home to the film. Inspired by her unrequited love for Lars, she writes “Húsavík” in which she incorporates the Icelandic language whilst also showing the image of how it feels to live in such a small town. It’s nice to see McAdams in a comedic role after a slew of successful dramatic roles which includes her Oscar nominated performance in 2015’s Spotlight.

As the film is a musical it’s important to talk about the songs. Starting off with the brilliant “Volcano Man” as the band practice in Lars’ basement to the Eurovision contender “Double Trouble” and the gloriously climatic “Húsavík”, Eurovision Song Contest is full of catchy, brilliant songs. With an eclectic mix of original songs and covers, this film has a soundtrack that is entertaining and memorable. I think that the original songs in particular have a perfect blend of fun Euro pop and softer ballads while also bringing in past Eurovision winners and contestants for an iconic mashup event. Admittedly, I have been playing “Volcano Man” and “Húsavík” because I think they’re so brilliant.

Overall, Eurovision Song Contest is an entertaining thrill. The reason I didn’t watch this film on release was because I was unsure whether it was worth the watch and I didn’t think I would enjoy it, however, I regret not seeing it sooner. From the brilliant soundtrack to Rachel McAdams’ fantastic performance (even if it isn’t her singing voice), this film is deserving of the praise it has received and is a lot of fun to watch. Ferrell and McAdams make a great onscreen duo and work really well together as the chemistry between them works perfectly.

What did you think of Eurovision Song Contest? Let me know in the comments below!

Eurovision Song Contest: The Story of Fire Saga is available to stream on Netflix!

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BFI Flare Festival 2021: Tove

Another film that I was especially keen to watch at this year’s BFI Flare Festival was Tove, a biopic about Tove Jansson who is known as the creator, author and illustrator of the Moomin book series. Directed by Zaida Bergroth from a screenplay, written by Eeva Putro, the film follows Tove (Alma Pöysti) and her life before and during her success as an artist. Her turbulent career as a traditional artist and her reluctance to follow in her father’s footsteps brings in a lot of initial problems. A chance encounter with aristocratic theatre director Vivica Bandler (Krista Kosonen) at a gallery opening sparked a love affair between the two women and a friendship that would last through their lifetime. Tove was entered by Finland for the Best International Film Award at the upcoming Academy Awards but sadly did not make the shortlist. This is such a shame as it is a very strong film that deserves to have a wide audience.

Zaida Bergroth’s direction is brilliantly as we become immersed into Jansson’s world at the end of the Second World War. With sole focus on Jansson, there are no scenes in which she doesn’t grace the screen ensuring that the audience really is seeing the world through her eyes. The screenplay by Putro is beautifully paced and gives an in depth glance into one of Finland’s famous figures. Tove is a film that doesn’t force the events to happen to its protagonist but simply let them happen naturally as the film unfolds. Feeling natural and authentic, the minimalistic approach has sprinkles of absurd moments such as the first moment of the film where we see Tove dancing to jazz music by herself. This film paints the perfect picture of an author who has inspired and captivated many throughout the world.

Alma Pöysti’s performance as Jansson is fantastic and reminded me a lot of Marion Cotillard’s performance as Edith Piaf in La Vie en Rose in that she drives the film and elevates the whole experience. Pöysti is captivating from the very first second you see her onscreen to the last thanks to her layered characterisation that showcases her inner conflicts with both her art and personal life. There is no doubt that Jansson was most comfortable when able to express herself how she wants and so she surrounds herself with the people and art that are going to allow her to do this. Blasting jazz music and working tirelessly on her Moomin universe, Jansson seemed to be an otherworldly creature and Pöysti pulls this off. Pöysti doesn’t overplay the character nor does she force the emotions to come to the surface. What makes her performance so special and unique to watch

Krista Kosonen is great in support as Vivica Bandler, the woman who stole Jansson’s heart. Initially paying for Tove’s services to design a party invitation, the relationship between the two women quickly evolves to a romance that becomes turbulent over the years. Kosonen is a great onscreen partner for Pöysti and the scenes between them are filled with tension and chemistry. Whereas Tove is more introverted and working endlessly on being accepted by the City as a certified artist, Vivica is extroverted and confident in herself. Initiating the relationship with Jansson, Bandler’s portrayal is one of manipulation and mixed signals as Jansson doesn’t know what to expect when she next sees her. Kosonen portrays Bandler as hard to read and unpredictable and the status of their relationship propels the film’s events forward as they work together on adapting the Moomins for the stage.

One thing that stood out to me in this film was the score and soundtrack. The original score composed by Matti Bye is beautiful and unpredictable and reminded me a lot of Jonny Greenwood’s score for Phantom Thread. Bye’s score works so well as it reflects the turbulence and conflict Tove is feeling and rises it to the surface. The classical sound contrasts with the soundtrack choices which contains a lot of jazz music. This chaotic mix of classical and jazz only serves to highlight Jansson’s own position as a child of prominent, traditional artists whilst also remaining progressive in her style and refusing to conform who live to the expectations set out for her.

Overall, Tove is an exceptional film that does a great job of showing Tove’s struggle to be seen in an industry that is dominated by men that also rely on the traditional aesthetics. Tove is often known for her work on the Moomins and while this aspect is shown in the film, the central focus relies on Tove as a person first. Pöysti’s performance is fantastic and should be discussed widely as it is a true tour de force. She becomes Jansson and pulls it off with ease that we forget we are even watching a biopic.

Tove is showing at this year’s BFI Flare Festival.

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BFI Flare Festival 2021: Jump, Darling

BFI Flare Festival is all about showcasing the newest films that explore LGBT+ issues and the variety this year follows all paths of life from all corners of the globe. Opening the festival this year is Phil Connell’s Jump, Darling. The film follows Russell (Thomas Duplessie), a drag queen who moves back in with his grandmother, Margaret (Oscar winner Cloris Leachman) after his breakup. As Russell tries to decide what he wants to do with his life, he also finds himself taking care of Margaret who is reluctant to go into a care home despite her ailing health. The film was one of the last films Leachman starred in before she passed away earlier this year.

Connell’s screenplay and direction is nicely paced and he manages to get fully realised characters in its short 90 minute run. Despite the difference in lifestyles between Russell and Margaret, their similarities begin to show as both are trapped in their particular situations. Where Maragret is physically trapped as she is unable to leave the house, Russell is finding himself unable to fulfil his potential as a successful actor and feels the pressure of failure from family and friends. The scenes where Connell’s direction really shines is when Russell performs lip syncs as his drag alter ego, Fishy Falters. These scenes allow Connell to shift to a more experimental style of filmmaking as he mixes in differing camera angles and lighting that takes Russell out of his reality when he becomes Fishy Falters.

Duplessie is fantastic in the leading role as Russell and stands his own against Oscar winner Leachman. We first see Russell in a successful nightclub prepping for his drag debut as Fishy Falters. After stumbling on his way to the stage and leaving the club, he breaks up with his partner who thinks he is should pursue acting as he doesn’t think drag is a worthy career. When he moves in with his grandmother, we begin to see the clash between the two worlds that he seems to inhabit. Where Duplessie really shines is showing the difference between Russell’s life as a man who is trying to find his way versus his performances as the super confident drag queen, Fishy Falters. Duplessie’s stellar lip syncing is on par with the performances we see from professional drag Queens throughout the film.

As expected, Leachman is brilliantly cast as Margaret, the family matriarch who simply refuses to be put in a care home despite pressure from her daughter. Unable to drive or properly care for herself, Russell’s arrival brings a certain amount of freedom as Maragret begins to encounter old friends and start to find the joy in her life again. With Leachman having a stellar career playing strong women, Jump, Darling is no exception as we see Margaret grasping at the little control she has left. Wanting to cater to her grandson and encourage him to push out of his comfort zones, Margaret is quite a confrontational character but she also has a softer side when it comes to Russell. The scenes between Leachman and Duplessie are great to watch and even in her twilight years, Leachman shows that her star quality never went away.

One thing that I thought was particularly great in this film was the editing. Lev Lewis edits perfectly by utilising a more traditional cut in the scenes with the domestic troubles but then changing to a more exciting cut during the musical scenes. This helps to shift the genre of the film from drama to musical and keeps the film unpredictable and attentive. Lewis’ editing works perfectly to show the two worlds that Russell lives in and perfectly chronicles the emotional journey he takes.

Overall, Jump, Darling marks a great start to this year’s BFI Flare Festival and marks the start to a wonderful career for Duplessie whilst also being a lovely swansong for Hollywood icon, Leachman. Connell uses the minimalist surroundings and limited characters allows the two protagonists to shine and puts their acting at the centre. The chemistry between Duplessie and Leachman feels natural and the screenplay allows the relationship to develop naturally without resorting to any exposition. Jump, Darling is a film that will leave you laughing, crying and every other emotion in between.

Jump, Darling is opening the BFI Flare Festival.