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Annette (2021)

One of the big films to come out of this year’s Cannes Film Festival was Annette, the English language debut from French director Leos Carax. Following the relationship between controversial stand-up comedian, Henry McHenry (Adam Driver) and famous soprano, Ann Defrasnoux (Marion Cotillard), Annette is an epic in terms of the various themes it explores as well as the cinematic scope. Running at a staggering 140 minutes, Annette features music written by Ron and Russell Mael of Sparks who cowrote the script alongside Carax and the result is a mind-blowingly wonderful experience that is unlike any film you have ever seen.

Annette sees Carax return to film after 2012’s Holy Motors and is his first English language film. What is fantastic about Carax’s approach to the film is how ironic and aware it is from the opening number all the way to the end. We are informed that we are watching a performance through the medium of performance and it is this layering of dark comedy and contrast that saw Carax win the Best Director award at this year’s Cannes Film Festival. On the surface, Annette may seem like a lot in terms of its various genres and themes but Carax handles it with ease and allows the film to develop organically. The script by Carax and Sparks takes us through a variety of different themes with some taking more prominence than others. Arguably, the most important theme observed in the film is celebrity, how distorting fame can be and how a public persona can overwhelm a person’s psyche to the point where reality and fantasy collide. Just in the way Annette plays with different themes, it is Carax’s way of merging musical, drama, romance and dark comedy that makes it exciting and unpredictable to watch.

Adam Driver delivers a career-best performance as Henry McHenry. From the first set that we see, McHenry never allows the audience in to what he is thinking and what his motives are. Driver’s performance is extremely visceral and layered as he fully encompasses McHenry on a physical and emotional level. Immediately grabbing the audience’s attention, McHenry lives for controversy and aspires to have his name in lights while simultaneously denouncing fame in his act. As Ann’s star rises and his wains, we begin to see McHenry’s public persona and his real personality begin to clash as he struggles to regain control of his public life which then filters into his personal life.

Playing Ann Defrasnoux is Oscar winner Marion Cotillard who is breathtaking as the soprano on the rise. Compared to McHenry’s unpredictable and controversial comedian who improvises his set, Defrasnoux is poised and controlled which is shown through her repeated performances that are lauded among critics and the public. Ann is more reserved than Henry and this seems to go in her favour as Henry begins to implode in his career while her career goes from strength to strength. Cotillard brings her best performance in years and again showing what makes her one of the great living actresses. Her turn as Ann is one filled with sorrow and hope simultaneously as she strives to do what is best for Annette and her relationship with Henry but as it begins to fall apart, she realises that there isn’t much that she can do.

Simon Helberg provides a fantastic supporting turn as The Accompanist, Ann’s pianist and aspiring conductor. Helberg is in it briefly throughout the first half but really comes into the film’s main plot in the second half where he is able to bring a beautifully nuanced performance that is full of bittersweet melancholy. His love and affection for Annette is clear as he reluctantly agrees to take care of her while Henry spends all of the money on his party lifestyle. Helberg may not be in a lot of the film’s 140 minute running time but he makes the most of it.

As Annette is a musical then it is important to discuss the music and songs. Written by Ron and Russell Mael of Sparks, the music is a key component in the film in many different ways rather than simply telling the story through song. We learn more about the characters through their style of music and how they sing with the main contrast being Henry’s aggressive rock-fuelled anthems that incorporate his audience and Ann’s operatic performances in which she is observed by the audience as she sings by herself. In a way, the music serves to tell us more about the protagonists and acts as a way to foreshadow in both a literal and figurative sense.

Overall, Annette is a unique film that truly subverts every misconception that comes with the musical genre. As musicals are seeing a resurgence in recent years and many stage shows are being brought to the silver screen, Annette is a shining example of the musical’s place in modern cinema thanks to its originality and complexity. Musicals are often viewed as an accessible art form but it’s the film’s reluctance to let the audience in that makes it such a uniquely challenging and rewarding film to watch. Thoroughly deserving of the praise it is receiving, Annette may not be an easy film to digest but it gives the audience plenty to think about and discuss once the credits have finished rolling and that is the sign of truly great cinema.

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

Annette is available to watch in cinemas now!

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The Suicide Squad (2021)

As cinemas have gradually been getting back to normal, a lot has been riding on the release of James Gunn’s The Suicide Squad. The sequel to the much maligned 2016 film, Suicide Squad, The Suicide Squad may not have a title that clearly distinguishes it from its predecessor but the standard in overall quality couldn’t be further apart. Following some familiar faces led by Harley Quinn (Margot Robbie) and Rick Flag (Joel Kinnaman) as well as some new villains such as Bloodsport (Idris Elba) and Peacemaker (John Cena), the Squad must infiltrate the South American country of Corto Maltese to prevent an experiment that threatens the US. What follows is a film full of twists and turns that brings the best of comic movies by incorporating a gripping storyline combined with imaginative characters and great special effects. The Suicide Squad lives up to the hype and shows that there is more to these characters then we were led to believe in the 2016 film.

Written and directed by James Gunn, The Suicide Squad combines a cartoonish style with extreme violence resulting in a film that is fun to watch. Gunn proves himself the perfect match for this franchise and has helped propel it back to where it can be and in turn, giving it a future for more Suicide Squad films. If Birds of Prey displayed just how well the Harley Quinn character can lead a film, The Suicide Squad shows that there is even more that can be done with the character. Gunn has clearly thought back to the 2016 film and written a film that incorporates what works and what doesn’t. The script is much tighter and concise while giving the characters the development they need and ensuring that there are plenty of action scenes. One big improvement for this film was the soundtrack which is more controlled and doesn’t flit from one song to the next which is what happened with the 2016 film. All in all, James Gunn is what this franchise needed and it will be interesting to see if he is involved in any of the sequels.

Margot Robbie brings another memorable performance as Harley Quinn. Showing why she is one of the most in demand actresses working today, Robbie is highly charismatic and charming as Quinn, who has moved on from the tragedies regarding her ex once and for all. What is refreshing about The Suicise Squad is that it is an action film that relies heavily on Quinn and with the success of Birds of Prey, was a brilliant decision. Many of the highlights in the film are attributed to Robbie’s performance and that frantic energy she brings to the role. The best scene I the film is one that sees her break out of her captivity with the combination of her many confrontations with military personnel and fluid cinematography creating a sequence that is captivating and violent to watch.

When it comes to the supporting cast, there are a slew of strong performances. With a few returning faces such as Rick Flagg (Joel Kinnamin) and plenty of new characters such as Bloodsport (Idris Elba) and Peacemaker (John Cena) but the highlight by far is Sylvestor Stallone’s incredible voice work as King Shark. Stallone is one of the most iconic action stars and has a strong filmography to boot but it’s easy to forget just how funny he can be. His villainous turn in Robert Rodriguez’s 2003 spy comedy Spy Kids 3-D: Game Over as The Toymaker is brilliantly funny and incorporates plenty of charisma. He channels a similar energy in his performance as King Shark which, despite being a character with limited communicative skills, is just as lovable and developed as the rest of the Squad.

Overall, The Suicide Squad was what Suicide Squad could and should have been. Combining the fun of the comics with flourishing colours and action that flies off the screen, James Gunn appears to have shown us how great this franchise is and the potential it has in the future. Hopefully Gunn has even more ideas up his sleeve for the next installment and it will expand more into the DC Universe.

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

The Suicide Squad is available to watch in cinemas now!

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Guns Akimbo (2019)

Jason Lei Howden’s 2019 action film Guns Akimbo had a massive amount of hype in the lead up to its release thanks to various amounts of images shared of the film’s lead Daniel Radcliffe walking around New York in a frenzy in his dressing gown while sporting guns. People thought Radcliffe was having a breakdown but rest assured he was just filming. The film explores a criminal organisation known as Skizm which has gained massive popularity online thanks to their competitions which sees criminals go head to head to the death which is live streamed. When app designer Miles (Daniel Radcliffe) becomes comfortable telling viewers in the forum how pathetic they are, he is tracked down by Skizm and forced to face off with their leading figure, Nix (Samara Weaving). What follows is a film filled with lots of chaos, blood violence which makes it unsuitable for the faint of heart but it is always undoubtedly one of the most original films you’ll come across.

Primarily an action film, Guns Akimbo dabbles in an array of different genres including comedy and horror. Written and directed by Howden, the film starts off by setting up Miles’ character and the lead up the situation that results in his involvement with Skizm. Once this happens, the film appears to take a complete 180 and becomes relentless in its pace and keeps you gripped for the duration of the film as the dynamic between Miles and Nix shifts as they try to kill the other without dying themselves. Howden’s direction is extremely loud and chaotic which helps to highlight the tight script that has lots of character development, especially that of the film’s leading characters. Howden has certainly made an impression with this stunning film.

Daniel Radcliffe continues to show off his acting range and does a terrific job as Miles. Miles is not the typical everyman figure. After all, he ends up involved in Skizm and has guns attached to his hands for the majority of the film. Since his decade long tenure as the titular character in the Harry Potter film series, Radcliffe has opted to act in films that challenge him as an actor. His performance as Miles shows how charismatic he can be as well as highlighting that he is more than capable of leading a film outside of the Harry Potter franchise. The character growth that Miles goes through from an everyman who doesn’t know anything about the criminal world to a trigger happy hero who aims to take down the organisation. Radcliffe’s performance is fun, energetic and highly entertaining, keeping us engrossed for the whole film.

The supporting performance comes from modern scream queen, Samara Weaving who pulls of a fantastic performance as Nix, the magnetic killer who wants to be freed from her criminal lifestyle and start a clean slate. Weaving can always been trusted to provide stellar turns no matter what she is in and her performance as Nix is no exception. Unpredictable and completely wild, Nix is a fantastic character who brings most of the violence and the chemistry that Weaving and Radcliffe have is part of what really works in this film. What makes Nix such an interesting character is how we learn bits and pieces about her as the film progresses as though she is a jigsaw puzzle to put together. If you’ve seen Ready or Not or The Babysitter and are wanting to view another Weaving flick then this is a great gem to watch.

Overall, Guns Akimbo is a film that brings the style and substance which makes it such an effective look as to how social media can feed into violence and vice versa. Howden’s film isn’t afraid to ask questions about culpability and ask whether watching such violence actually perpetrates it or if the viewer is blameless. Using the character of Miles as a physical representation of this, Guns Akimbo is a great film that should definitely be viewed at least once.

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

Guns Akimbo is available to watch on Amazon Prime in the UK now!

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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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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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BFI Flare Festival 2021: Boy Meets Boy

One film that I have seen receive a lot of praise at this year’s BFI Flare Festival is Daniel Sanchez Lopez’s directorial feature debut Boy Meets Boy. With the script written by Sanchez Lopez and Hannah Renton, the film follows British junior doctor, Harry (Matthew James Morrison) who is on a weekend trip in Berlin and has a chance encounter in a nightclub with local guy, Johannes (Alexis Koutsoulis) where the two kiss and then spend the following day exploring the city before Harry goes home. The film takes place over the course of this day and we learn about the protagonists through their many conversations. It’s a film rich in characterisation while also touching on the LGBT+ experience in the modern.

Despite the limited locations, Sanchez Lopez manages to make the protagonists’ journey feel longer and wider thanks to the beautiful direction. Making the most of the Berlin city setting, we follow the characters through the city as Johannes shows Harry around without going to any touristy places. The glorious summery weather adds that extra excitement and adventure as Harry laments his future when he goes back home to the UK. As the film is character led, it’s important that the script is tight and engaging to ensure that audience attention doesn’t slip. What Sanchez Lopez and Renton do really well is keep an ongoing dialogue between the two that shifts and changes in topic and tone. Whether they are engaged in conversations on religion, their experiences as gay men or what they want for their future, we really see how their own outlook and perspective mesh and clash as dynamics can quickly shift. This constant shifting of dynamics make the conversations flow naturally while also reminding the audience that they are complete strangers with differing backgrounds.

Matthew James Morrison does a great job at showcasing junior doctor Harry’s inner conflict as he struggles figuring out what he wants to do with his life. Wanting to dedicate his life to helping others, Harry is an individual who at first seems assertive and confident in who he is but his journey through the film is all about self exploration into his career and lifestyle. The scene in which the characters are conversing with Mormons, Harry seems genuinely interested to learn about why they would choose to openly follow a religion in an age where young people are not engaging with religions as much. Whether he has his own inner religious conflict is unknown, but he is a character who is unsure about his future and his place in the world. His intelligence stems from his scientific background and he approaches all conversations with a logical frame of mind.

In contrast to Harry’s scientific and more traditional background, Johannes is an aspiring dancer who is inspired by all kinds of movements. Alexis Koutsoulis brings a thoughtful performance as Johannes, who has a developed sense of the world and his place in it. However, his conflict comes in his approach to relationships. Having found himself in a relationship in which his partner wants to see other people, Johannes finds it difficult to connect with people on an emotional level because he is unable to live up to what he thinks is expected on him. On the surface, Johannes is carefree and expressive but that pain and inability to connect makes him quite lonely. Koutsoulis’ performance is beautifully layered and his part in the film acting as a guide allows the audience to see into this world as it is Berlin through his eyes.

Overall, Boy Meets Boy is a poignant film that follows the day in the life of a chance encounter. The developing relationship between the characters is one that a lot of people will relate to as they discuss an array of issues. A fantastic debut from Daniel Sanchez Lopez who has done well in creating two established characters in a very short running time. Although the encounter between the characters is brief, it feels like a lifetime of conversations thanks to the script which allows us to really gain the protagonists’ perspective on life both positive and negative.

Boy Meets Boy is streaming at this year’s BFI Flare Festival

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BFI Flare Festival 2021: Enfant Terrible

Another biopic that I wanted to catch at BFI Flare was Enfant Terrible. Following filmmaker Rainer Werner Fassbinder’s rise as an auteur and his struggle with addiction was never going to be the most comfortable watch. Directed by Oskar Roehler from a script written by Klaus Richter, Enfant Terrible stars Oliver Masucci as Fassbinder in a biopic that follows the usual linear structure as expected from the genre whilst also adding in techniques inspired by the film’s subjects. Fassbinder has garnered a reputation for his abrupt approach to filmmaking, often breaking the rules and ignoring the advice of those who prefer traditional filmmaking. Trained in theatre directing before films, we see how this theatrical backstory feeds into his creative process and the end result is a film that wouldn’t look out of place in Fassbinder’s own filmography.

Roehler’s directorial approach seems to be inspired by Fassbinder’s theatre background. Since it is a biopic, it is character driven and therefore the stage like direction works really well. Just as Fassbinder was known for his highly intense filmmaking techniques, Roehler applies this. Although Fassbinder is a highly celebrated filmmaker in terms of his output, it was no secret that he had a fair share of problems and was known for his turbulent relationships and unpredictable behaviour. This unpredictability is what drives the film, even though it is a biopic and you can research what happens in his life previously. Roehler allows us to see the many sides to Fassbinder from his moments of inspiration to the darker moments of abuse and addiction. We are not expected to like Fassbinder at the end of it but to see how his creative process worked and the positive and negative impacts it had on the people around him.

Klaus Richter’s script follows the usual biopic formula and spans Fassbinder as an aspiring filmmaker all the way through to his death from a drug overdose at the age of 36. Although there are segments of the film that explore Fassbinder on set as he is making his films, the main focus is around the man himself and how he acts away from the character. Showing his volatile side, we are introduced to his stubborn and abusive nature from the outset as his unorthodox methods make everyone around him uncomfortable. Whereas a lot of biopics like to showcase the positive achievements of their subject, Enfant Terrible shines a more critical view of Fassbinder, especially as the success begins to feed his ego. It does seem a bit unbalanced at times as you question why his friends and entourage stay with him when there are very few moments of vulnerability or kindness.

Masucci’s performance as Fassbinder is insanely good. When playing a person like Fassbinder, you have to push the boundaries and Masucci does this with ease. He is no stranger to playing controversial characters as he is best known for playing Adolf Hitler in the 2015 satire Look Who’s Back so becoming such a large character like Fassbinder is the perfect challenge for him. His performance is heavily layered as we don’t fully understand why Fassbinder makes the choices he makes initially but as the film unfolds and the director begins to find fame and success, we begin to see his emotions rise to the surface. It is almost as if Fassbinder becomes aware of his own mortality and his limitations. Initially set on becoming a successful film director, his personal life soon overrides his career and it’s difficult for the world to differentiate the artist from the art.

The production design by director Oskar Roehler is clearly inspired by stage plays in construction. Considering the subject and the dark topics explored, it makes for a brilliant contrast and makes the film beautiful to look at. The expressionist colouring sets the atmosphere and can make the scenes even more intense. Roehler makes the most of the space involved in his scenes and the production design feeds into this as the scenes can run for longer periods of time.

Overall, Enfant Terrible is a film that focuses on the artist rather than the art. Fassbinder’s controversial behaviour probably isn’t surprising to most film fans who are aware of the background but Masucci’s strong performance is hard to ignore. Chronicling Fassbinder’s rise to fame and ultimate death, we get a glimpse into how success can afflict someone positively and negatively. As the filmmaker becomes more successful, his films are widely acclaimed but his demons get the best of him. Avid Fassbinder fans may not learn anything new from this biopic but it is a great film to watch for its interesting direction and strong leading performance.

Enfant Terrible is showing at BFI Flare Festival.

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BFI Flare Festival 2021: The Greenhouse

The second film on my itinerary for this year’s festival was Thomas Wilson-White’s drama The Greenhouse. Set in an idyllic Australian suburb, the film follows Beth (Jane Watt) who is grieving the loss of her mother, Lillian (Rhondda Findleton). The eldest of four siblings who have gone on to achieve amazing things in their lives, Beth feels anchored to her life at home with her other mum, Ruth (Camilla Ah Kin). When her siblings arrive for a family celebration, Beth gets a lot more than she bargained for as she comes across an old flame, Lauren (Harriet Gordon-Anderson) and discovers a portal to the past in the family greenhouse. Being able to relive her past and see her family during the good times and the bad as well as her own exploration and inner conflict with her own sexuality allows Beth to accept all that has happened and decide what to do in the next chapter of her life.

Wilson-White’s direction is beautiful, often feeling otherworldly while remaining grounded in its reality. The suburban setting allows the household to feel disconnected from society and places the family front and centre of the events that take place. The screenplay is simple and has a slower pace to allow the plot to naturally unfold. When time travel is involved in a film, it can be easy to burden the audience with exposition and too much information but Wilson-White does not fall into this trap. How and why the portal is there is not important and this allows Beth’s character to be the main focus of the film. The way that these scenes are shot are really well done and allows Beth to come face to face with her past self and her actions. We begin to understand her decisions and choices that has led her to remain at home.

Jess Watt’s performance as Beth is the beating heart of this film. Beth is clearly a strong woman but she is holding herself back because she is afraid of going out in the world and living with complete freedom. Having seen the discrimination aimed against her mums, she is afraid when she begins to realise she has feelings for her best friend, Lauren. Where her siblings have been getting on with their lives, it feels that Beth has become stunted and unable to move on, which is also accompanied by the grief she feels over the loss of her mother. Watt’s performance is perfectly controlled and we feel that wide spectrum of emotion that Beth goes through as she is faced with the heartbreak of losing her mum and the jealousy that she has against her siblings for leaving. When among her siblings, Beth still revels in her loneliness as she doesn’t want to face the truth about her sexual orientation. The reintroduction of Lauren into her life is the perfect second chance given to Beth to start anew and we feel that conflict though Watt’s performance.

The music by Freya Berkhout is astounding and elevates the film into magic realism territory. Bringing in elements of otherworldly tones, Berkhout’s use of choral pieces is both haunting and beautiful, creating an atmosphere that helps to separate the house from the rest of the world. Having the music set the fantastical tone allows the film itself to remain a drama and not become distracted with a variety of special effects. Working brilliantly with Wilson-White’s vision, the music is subdued and subtle yet still makes its impact.

Overall, The Greenhouse is a beautiful and poignant film that quietly packs a punch. Wilson-White’s mixing of genres and tones reflects the protagonist’s inner conflict. This film tackles a range of heavy subjects but it does so in a way that isn’t overwhelming for the audience. Bringing in elements of time travel could have resulted in disaster but the way it works in this film allows us to understand Beth’s character more and learn about her background and how they have affected her in the present whilst also affecting her future choices.

The Greenhouse is playing 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.