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London Film Festival 2020: Siberia

The third film on my viewing list was auteur Abel Ferrara’s film Siberia based on a script co-written by Ferrara and Christ Zois. Marking Ferrara’s sixth collaboration with Willem Dafoe, the film follows bar owner, Clint (Dafoe) who lives in the wilderness of Siberia. Starting with a simple voice over over the opening credits with Clint recalling a memory with his father when he was younger, Siberia soons delves inwards with hallucinations, chance meetings and confrontation with his memories. He encounters his father, brother and ex-wife in a bid to find and understand himself. Ferrara’s direction is distinct and rich in his vision. His use of lighting and contrast is brilliant, particularly the scene in the cave where Clint encounters his brother. It’s a film that leaves a lot to interpretation and it seems that Ferrara is not making any judgement on Clint or his choices.

The best way to describe the script is on that spirals inwards. The opening act on the film focuses largely on the Siberian landscape and Clint’s existence in this vast space before entering into his own mind as he tries to puzzle out his life. The isolated wintery wonderland is soon replaced with various settings including deserts and woodlands, taking us on a geographical journey as well as an emotional and mental one. The script is motivated by the journey rather than the dialogue and in the first act, Clint doesn’t really speak and the writing is about how he occupies the space. As his customers in the bar speak to him in various languages, Clint briefly responds and nods as long as though he understands. Whether or not he does is up to viewer interpretation but he is a good reader of people. It then envelopes into him not being a good reader of himself.

Willem Dafoe can always be relied on to bring a great performance and Siberia is no exception. As Clint is faced with various faces from his past and present, we begin to paint a picture on why Clint has settled into his lifestyle. Clint isn’t a character that necessarily has to be liked nor is he particularly special or interesting. His hallucinations are a result of his choice to live alone and refusal to face his past. The memories are what shape Clint’s character and give a more rounded portrait. The scene in which is talk to his ex-wife, he refuses to take full responsibility for the failure of their marriage. His hardness seems unbreakable and is also elevated by the fact that he doesn’t interact with people as much anymore. Dafoe’s performance is quiet and subdued but powerful all the same. He is the perfect fit for this character.

The quick shift in locations give this film a dreamlike quality with its fluidity and exaggerates the visceral nature of the film. The film explores a whole spectrum of genre and music alike. In its genre, the film brings out drama, horror and satire whilst indulging in explicit sex scenes and gun violence. The music choices also shift from the beautiful score composed by Joe Delia to song choices that range from folk songs to heavy metal. Despite its inward approach to exploring a singular character, Ferrara contrasts this with widely vast technical and creative choices. It allows the different sides of Clint to emerge, peeling off the layers one by one.

Overall, Siberia is a film that demands complete audience attention otherwise it won’t make much sense. It is a film rich in visuals and settings and makes for an intriguing character insight. I’m not sure if it is a film for everyone as the film doesn’t follow any conventional structure or explain the shifts in scenes which can be off-putting but I think it is definitely a film worth watching, particularly for the direction and Dafoe’s performance. It’s a thought-provoking piece that explores a lot of ideas despite its short running time of 92 minutes and I am looking forward to seeing what Ferrara and Dafoe’s seventh collaboration will be already.

Siberia is showing at the London Film Festival on the 10th October. You can book your tickets on the BFI website.

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London Film Festival 2020: Herself

Clare Dunne and Molly McCann appear in Herself by Phyllida Lloyd, an official selection of the Premieres program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

Day 2 of London Film Festival proved to be a little busier than my first as I had not one but two films to watch back-to-back. The first of these was Herself, directed by Phyllida Lloyd, starring Claire Dunne and Harriet Walter with an original script written by Dunne and Malcolm Campbell. The film revolves around Sandra (Dunne), a victim of domestic abuse, who sets out to build her own house for herself and her girls. Working two jobs, dealing with the council and assessments, taking the girls to visit their dad and gathering a team for the house, Herself shows what can happen when you put your mind to something and never give up. It’s a brilliant film that looks at the treatment of domestic abuse in Ireland as well as the housing crisis.

The film opens with Sandra and her girls having lots of fun together, doing make-up and singing songs. This happiness is shattered when Sandra’s abusive ex, Gary (Ian Lloyd Anderson), turns up and attacks her brutally. It is a difficult scene to watch because of its realistic approach and refusal to hide the horrors. What follows is Sandra’s struggle to find a house to rent. As Gary goes to live at his parents house, Sandra and the girls are forced to live in a hotel while she waits on the housing list. The script is wonderfully written and really allows the audience to see Sandra’s struggle beneath the surface. What makes Herself a standout is its resonance and the erratic shift in tone. Just as could be expected, Sandra’s life could be stable one minute and collapse like a house of cards the next. The script does a good job of building up the struggle with the final act resulting in a culimation of emotion and hardwork.

Dunne’s performance as Sandra is flawless. She perfectly conveys the struggle Sandra is facing and the many factors and obstacles that threaten to stop her dreams. She is exhausted but resilient and this makes for a resonating character who isn’t perfect but she is trying her best. The courtroom scene is both heartbreaking and angering as the injustice Sandra faces shouldn’t have to be argued. Gary damages the nerves in Sandra’s hand at the beginning and she turns that pain in physically building her escape from him. The whole film becomes a metaphor for Sandra bettering the situation for her girls and finding sanctuary away from Gary. Whereas Gary is able to live with his parents and await the visits from his daughters, Sandra is constantly assessed by the council, struggling to find a suitable home while facing judgement from fellow mothers and working two jobs. Despite Sandra’s many roles in society, Dunne makes sure that she gives her character a distinct personality. Faced with many hardships, Sandra is fearless and unafraid to go ahead with her plan and builds the confidence to stick up for herself. The character arc she goes through is emotional and rough contributing to an unforgettable performance.

In supporting roles, there are a couple of familiar faces and plenty of newcomers, led by the wonderful Harriet Walter who plays Peggy, the doctor Sandra cleans and cares for part time. Peggy comes across as stubborn and hard initially but as the film progresses, she begins to let her guard down and allows herself to be vulnerable as she assists Sandra in building the house. Also in support is Conleth Hill as Aido, a local construction worker who eventually agrees to help Sandra build her house. Aido doesn’t understand Sandra’s plan until she mentions Gary and he agrees to help her. Hill isn’t onscreen a lot of time but is a welcome presence whenever he is. The supporting cast is rounded out by Molly McCann and Ruby Rose O’Hara who do fantastic performances as Sandra’s daughters, Molly and Emma, respectively.

Despite its heavy themes, Herself proved to explore the injustices of domestic violence victims by showing Sandra at her highs and lows. With the film shown from Sandra’s perspective her motivations and reasonings for her actions are fully understood by the audience. Even when it becomes too much for her to handle, she still keeps fighting. With its mix between newcomers and recognisable names, Herself has established itself already as a huge highlight from this festival and I hope it carries on its success.

Herself will be released in the UK on the 16th October.

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London Film Festival 2020: Mogul Mowgli

Having received press accreditation for my first ever film festival, the 2020 BFI London Film Festival I have been really excited to see a wide variety of films from all over the globe. The first film that I checked out was the debut feature, Mogul Mowgli by Pakistani-American director, Bassam Tariq who co-wrote the script with the film’s lead, Riz Ahmed. The film follows Zed (Ahmed), a British-Pakistani rapper who is on the cusp of fame when he is suddenly struck down by an unknown autoimmune disease. The film is an intricate look into identity and how becoming successful can cause conflict within oneself. The result is a mesh of culture intertwined with the fight to break out of the bodily harm Zed is faced with while discovering who he actually is. Zed’s Pakistani heritage is presented through dreams and hallucinations he has of a man whose face is shrouded by a veil of flowers.

Riz Ahmed’s performance is a fantastic standout and shows his ability to lead a film. A lot of Ahmed’s film roles in mainstream blockbusters have been supporting but hopefully he will be advanced to leading roles with the release of this phenomenal performance. From the opening scene in which we see Zed rap to himself which then turns out to be a successful gig performance to his eventual collapse and stay in hospital due to his autoimmune disease, Zed is put through a whole spectrum of emotions. We see the joy as he is booked to open for a famous rapper on his European tour followed by the disappointment as he learns that he is being replaced by a rapper who is known for his song “Pussy Fried Chicken”. It should also be noted that Ahmed’s rapping is impeccable and has that spontaneous feeling incorporating wordplay and build-ups in his raps, successfully telling Zed’s story. Zed’s journey is one of many layers from his physical deterioration to the clash between who he wants to be and his heritage. He raps about his heritage and his experience growing up as a Muslim in Britain but as pointed out by his girlfriend at the start, he hasn’t gone back to Britain in years. How can he talk about the importance of his family and heritage if he has become so detached from them? The film’s sole focus on Zed can be a put off for some but I love a character study and it works well in my opinion.

The supporting cast does a great job and helps the audience with gaining that rounded view of Zed. Every character has some link to Zed whether it be his family or his colleagues in the music industry. The standout support in my opinion is Alyy Khan who plays Zed’s father, Bashir. Seen as a voice of reason and a respected figure in his family, Bashir is a man who would do anything to secure the safety of his family. His story of travelling to Pakistan from India by hiding under clothes when he was younger is shown in parallel to the events of the film. Zed’s struggle with his identity has some similarities with Bashir leaving his home country. Khan’s performance is subtle and calming and yet can also be firm at times. The scene in which he helps Zed in the bathroom makes for an emotional father/son moment. The reactions of both characters is very authentic as Zed is reluctant to ask for help and Bashir also feels uncomfortable as they try to navigate their way in the tiny space.

The highlight of this film besides Ahmed’s performance is the script co-written by Tariq and Ahmed. It’s a tight script filling the 90 minute feature and there was plenty of space for more. Together, they managed to write a script that conveyed the chaos going on in Zed’s life showing the numerous conflicts he has on the surface as well as emotionally. As Zed flits in and out of consciousness through his fights and seizures, the script becomes a product of magic realism. The scenes featuring Toba Tek Singh become symbolic and haunting as he grows more aggressive with each appearance. Eventually, Zed acknowledges the meaning of Singh and what he represents in these dreams. One scene in which this is presented beautifully takes place in a mosque. Zed prays alongside other men but clearly feels out of place. When he turns around he sees Singh stood beside him and they stare at each other. It’s a scene of no words and yet speaks volumes.

Overall, the film is a poignant look into the search for identity and how one can stay anchored to the heritage and ancestry that came before them. I wouldn’t be surprised to see the film up for some major awards this season, particularly for Ahmed’s performance and the script. The film felt like the joining together of a jigsaw as Zed began to put himself back together as his father’s journey from India to Pakistan is played in parallel to Zed’s own struggles.

Film number one complete and even more reviews to come next week when London Film Festival 2020 continues so stay tuned! Mogul Mowgli will be released in the United Kingdom on 30th October by BFI Distribution. Be sure to check it out if you can!

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The Purge Ranking

Original horror films seem to be all the rage this century, pushing the boundaries of emotional trauma and gore. The 21st century has seen various franchises thrive such as the Final Destination series which is more geared towards a younger demographic to the Saw and Hostel series which kickstarted the “torture porn” subgenre of horror. By the 2010s, it felt as though audiences were exhausted by horror filmmakers attempting to make their films more and more unrelenting in gore and a desire for something more engaging and relevant was the way to revitalise the dwindling horror genre. Audiences were responding more to the Paranormal Activity series meaning jumpscares and found footage was proving to be more popular. Enter The Purge, written and directed by James DeMonaco, originally released in 2013 and bringing a new approach to the new outlook on horror. Set in an alternative universe where the malevolent New Founding Fathers of America (NFFA) enter office and pass a bill where crime including murder and torture is legal for 12 hours.

As one of the most divisive franchises this century, The Purge is unapologetic in incorporating current policitical issues more and more with each new film. Classicism is prominent in each film as it is abundantly clear that the rich purge on the homeless and those in more disadvantaged neighbourhoods. The rich also have access to high-tech security, ensuring that their homes won’t be damaged by anyone. Consisting of four films, a TV show and a fifth film due to be released next year, The Purge series is one that has remained popular with its audience with every release.

Here are my reviews and rankings for The Purge films:

The Purge (2013)

The original film starring Ethan Hawke and Lena Heady as the parents in a nuclear household became an understated classic on release. James Sandin (Hawke) runs a firm that designs security software that keeps the rich’s households safe during purge night. When a homeless man (Edwin Hodge) manages to sneak in thanks to their sympathetic son, Charlie, a gang of elite youths happen upon their house and demand that the Sandins give them the man. Brilliantly marketed with the creepy masks donned by the home invaders, The Purge proved to be one of the most interesting ideas in horror in quite some time. A lot of criticism for the film was a demand to see a wider scope rather than just the one suburban household. There are some pacing issues in the script and some characters weren’t as developed as I would like but I think this film was more about pushing the idea of the series than going all out in the first installment. It’s a solid start to a thriving series.

The Purge: Anarchy (2014)

This sequel was released only a year after its predecessor and gave the series a solid direction by being bigger and bolder in its discussion on the class war in America. Focusing on a struggling Latin-American family in LA, we see how those with power use the purge as a means to kidnap people against their will, knowing they don’t have the affluent resources to protect themselves. The household consist of waitress Eva (Carmen Ejogo), her daughter Cali (Zoe Soul) and her father Rico (John Beasley) who is terminally ill. There are a lot of topics just within this family that the film uses as a springboard for the rest of the franchise. From Rico sacrificing himself for money so his family are financially secure, Cali’s enthusiasm for the anti-purge resistance group led by Carmelo Johns. This film also sees the introduction of Sergeant Leo Barnes (Frank Grillo), a man set on revenge for the murder of his son who was killed at the hands of a drunk driver. Soon enough the separate groups join forces and have to work together to survive the purge whilst being stuck outside in the middle of the city.

The Purge: Election Year (2016)

The third installment in this series works its way higher up the ranks as a rising star in the political world, Senator Charlie Roan (Elizabeth Mitchell) stands a chance to win the Presidential election and end the purge once and for all. The New Founding Fathers are aware of this and eliminate the rule that government officials are immune from the purge and send a group of mercenaries to kidnap the Senator. Leading the Senator’s security detail is Leo Barnes (Grillo) who is a brilliant character. Barnes proves his resourceful abilities and intellect to protect the Senator from harm. The Senator and Sergeant soon meet a group who are trying to protect a deli from troublesome teenagers. One of the best performances to come out of this franchise is the fantastic Mykelti Williamson as deli owner, Bob. Williamson delves into his character and is able to make his supporting turn a three-dimensional experience with motivations and realism.

The First Purge (2018)

The latest installment to be released comes in the form of this prequel into the first ever purge. Originating as an experiment on Staten Island, residents are offered a financial incentive if they stay and more if they partake and survive. Following two warring drug dealers, a mysterious purger called Skeletor who wants to kill and a group of young people struggling to survive, it becomes clear that the NFFA will do anything to make sure the murder count is high, even if it means sending in mercenaries to kill citizens. The corruption in the purge is evident as it is a plan to cut costs of social programs and housing expenses for those who are poor. When they discover that there are more parties than killings, the NFFA see this as a failure and manipulate the night to ensure that it is a success in their eyes.

Well that’s it for my reviews. As a big fan of the series, there are aspects of each film that I appreciate making it a challenge to rank but here we go!

Here’s my final ranking:

1) The Purge: Anarchy (2014)

2) The Purge: Election Year (2016)

3) The First Purge (2018)

4) The Purge (2013)

Which installment of The Purge is your favourite? Let me know in the comments below!

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The Farewell (2019)

Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.

Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.

In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.

There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.

Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.

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

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The Peanut Butter Falcon (2019)

One of the films I was dying to watch last year but not got round to watching was the stellar The Peanut Butter Falcon. A first time directorial effort by Tyler Nilson and Michael Schwartz and featuring their close friend and aspiring actor Zack Gottsagen who dominates in his first performance as Zak, a young man with Down Syndrome who wants nothing more than to be a wrestler. Escaping the retirement home he has been forced to live at for the past two and a half years, Zak encounters local troublemaker Tyler (Shia LaBeouf) and the two embark on a journey to find a prestigious wrestling school so Zak can start his training. Also featuring Dakota Johnson as Zak’s carer and friend and Bruce Dern in a welcome cameo as Zak’s roommate Carl, The Peanut Butter Falcon is an outstanding debut that will make you laugh and cry as it explores the development of friendship and kinship between its characters.

The screenplay is also written by Nilson and Schwartz and it’s clear they took their time with it to make sure the tone was just right. The pacing is quick and constantly moving as all good road movies do and every minute adds more layers to the relationships between the characters. We learn about Tyler’s background through short flashbacks which are then paralleled with his new friendship with Zak and it’s enough to create that extra dimension for his character. Zak’s character on the other hand is the physical driving force of the movie as the literal journey is to visit the wrestling school that he wants to train at. The dialogue is tight and even the supporting characters are fleshed out enough despite the film’s short running time. It’s the type of screenplay that many spend years trying to craft but can never quite get the tone right.Shia LaBeouf and Zack Gottsagen are nothing short of spectacular and it is clear that their friendship goes beyond the silver screen. The rapport they have makes for one of the best duos I have seen in a film in quite some time. The contrast between the two is also important to consider when looking at this film. Gottsagen holds his own with ease against LaBeouf who has been acting since he was a child and has been showing real development in his film choices over recent years. I have always been a fan of LaBeouf’s acting since his early acting days in Holes (2003) and Even Stevens (2000-2003) to his more recent roles in Nymphomaniac (2013) and Fury (2014) showing his full transition from family films to more mature films. Compared to Gottasgen who is a complete newcomer, the casting could have caused serious unbalance but the two bounce off each other brilliantly. It’s obvious they are having fun with their roles and it makes it wonderful to watch from the audience perspective. Not to mention the groundbreaking inclusion of Gottsagen being an actor with Down Syndrome who is playing the lead in a film that celebrates talents and shows that dreams can come true without being overly sentimental. It’s a film that will be remembered and should be remembered thanks to its heart.

Dakota Johnson is also brilliant as retirement home nurse, Eleanor. Eleanor is naive and thinks she knows what is best for Zak but slowly comes to realise that he is capable of thinking for himself. I think Johnson really came into her own as the lead in Luca Guadagnino’s 2018 film Suspiria, a remake of the iconic 1977 Dario Argento film of the same name. She looks to be continuing her streak of good role choices as Eleanor presents a new challenge. Unlike her performance as ballet student Susie, Eleanor works tirelessly taking care of others while also dealing with her own loss having lost her husband. She refuses to be swayed by the consistent flirting by the men she encounters when finding Zak and has no problem putting them in their place.

Another aspect I enjoyed in the film is its soundtrack. The film takes place in North Carolina and this is reflected in the bluegrass tracks that provide the backing in the film. The music adds to the authenticity and rawness that Nilson and Schwartz were going for. The selection of songs are not too heavy and feel relaxed and stripped back, much like Zak and Tyler’s attitudes when they find comfort in their friendship.The Peanut Butter Falcon is a great film to watch with friends and family as well as being a film that can resonate with its audience really well. I am looking forward to seeing where Gottsagen career will go after this and see this film as a huge welcome to his career. I also hope that the studios act on the discussions of being more inclusive when casting.

What did you think of The Peanut Butter Falcon? Let me know in the comments below!
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The Tales of Hoffmann (1951)

Ludmilla Tchérina in Michael Powell and Emeric Pressburger’s THE TALES OF HOFFMANN (1951). Courtesy: Rialto Pictures/Studiocanal

This classic from the directors Michael Powell and Emeric Pressburger (collectively known as ‘The Archers’) has had somewhat of a resurgence in years of late. Based on the 1881 Jacques Offenbach opera of the same name which in turn is inspired by stories from E.T.A Hoffmann, The Tales of Hoffmann is a performative experience that combines opera, dance and cinema creating a final product that is more than just a film. Expectedly stunning in its visuals, flawless soundtrack and larger than life cast, The Tales of Hoffmann follows the titular character (played by Robert Rounseville) who reminisces on three love affairs that ended sadly when reflecting on a new love that he has for the ballet dancer, Stella (Moira Shearer). The opera is sung in English rather than its original French with the soundtrack composed by Sir Thomas Beecham. If The Red Shoes showed the dark side of ballet in its subtleties through the psychological breakdown of its protagonist, The Tales of Hoffmann does so in a way that is more light-hearted and comical.

With the exception of a few minor changes, the film is relatively faithful to the opera and as such is sung throughout. Only Rounseville and Ann Ayars (who plays Hoffmann’s third lover, Antonia) sing as well as act their roles. Having other people dub for actors is not uncommon during this period in filmmaking with Powell and Pressburger even adding the singers onscreen for the curtain call credits at the end of the film. The Archers’ appreciation for the arts shines through as ever in their meticulous attention to detail. It is clear that everything is well thought out and that each movement is dictated by the music whilst still remaining true to their style.

The set-up of the three stories sees its characters discussing their plots against Hoffmann in a bid to ruin him of his pride, money and career as we see him grow from a perspective student to affluent poet in the film’s duration. Robert Rounseville is superb as the titular Hoffmann and draws the audience in even when he isn’t singing. He is brilliantly reactive and attentive to what the other characters are singing. Hoffmann thinks on his feet but is incredibly stubborn at the same time with his companion Nicklaus (Pamela Brown) trying to warn him of sinister plots that befall him. The villain in the main story, Lindorf, is played by Robert Helpmann who also plays the antagonists in the three segments: Coppelius, Dapertutto and Doctor Miracle. This decision to reflect the opera was a brave choice because if done wrong it could look too forced and too stagey but Helpmann’s performance is fantastic and he manages to bring different personalities and mannerisms to each character. Lindorf is much more controlled and quiet in comparison to Coppelius who is loud and erratic.

Playing the women we have Moira Shearer who plays both Stella and Hoffmann’s first live, the robotic, Olympia, Ludmilla Tcherina plays the Venetian courtesan Giulietta who seduces Hoffmann for his shadow and Ann Ayars as Antonia who is slowly succumbing to consumption. The role of Olympia particularly is hugely sought thanks to her aria which is a standout in both the opera and the film, therefore it makes sense that The Archers picked Shearer who had recently played the lead in their previous film, 1948’s hugely successful The Red Shoes. A big decision Powell and Pressburger made was to prioritise dance and so Shearer is able to focus on her strength while Liverpudlian coloratura soprano, Dorothy Bond provides the singing. It is a beautifully delicate rendition. Tcherina on the other hand is miles away from her previous support role in The Red Shoes where she played lovestruck dancer, Irina. Her performance of Giulietta is seductive and manipulative. She is guided by the light of the glittering gems that adorn her neck and does not fear the consequences for those around her. The final segment which sees Ann Ayers as the ill-fated Antonia who lives with her disapproving father, Crespel. Antonia longs to see Hoffmann again and it seems as though Hoffmann has finally found the love of his life but it isn’t to be. The scene in which Antonia is poisoned by the evil Doctor Miracle is fantastically shot as she runs across her bedroom, opens one door and ends up at the other side of the same room. It makes for a surreal and terrifying scene that escalates quickly in its tension.

The costume design and production design by Hein Heckroth earned well-deserved Oscar nominations and it’s easy to see why. The brilliant thing about Powell and Pressburger films is that they seem contained in their own universes and this is largely thanks in part to the crew who do an amazing job at creating the lavish sets. The Tales of Hoffmann is a film that screams opulence and requires multiple watches to appreciate every scene. Heckroth had won an Oscar for Best Art Direction for The Red Shoes and he does not falter here. From the delicacy of Olympia’s dress to the offlandish and dishevelled suit that Coppelius are among the costume highlights and the Venetian set is remarkably detailed and exquisite.

The Tales of Hoffmann demands the audience attention and makes for a fantastic viewing experience. It feels as though Powell and Pressburger had worked to get to this point where they act as both director and composers. Their passion is felt through the film and it is wonderfully characteristic and deserves the attention it has been receiving as of late.

Have you seen The Tales of Hoffmann? Let me know in the comments below!

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I’m Thinking of Ending Things (2020)

One of the most anticipated films of 2020 comes in the form of this psychological horror from the genius that is Charlie Kaufman. I’m Thinking of Ending Things is based on the 2016 novel of the same name by Iain Reid with Kaufman adapting the screenplay and directing. Oscar-winning writer enlists Jessie Buckley and Jesse Plemons as the film’s leads following Buckley as a Young Woman who is hesitant with her new boyfriend, Jake (Plemons). In true Kaufman fashion, the dialogue is complex and layered as the Young Woman’s open voice over is interwoven into the discussions that she partakes in as though the other characters can hear her thoughts. The film takes place during a visit the Young Woman and Jake take to the latter’s parents and the impending mental breakdown that ensues when they are all trapped due to a snowstorm.

Jessie Buckley is brilliant as expected. Proving herself to be a true rising star in the acting game thanks to her turns in Beast (2017), Wild Rose (2018) and the TV drama Chernobyl (2019), Buckley shows off a flawless American accent as the Young Woman who descends into madness as she loses her grip on what she wants and what she should do with her life. Opposite Buckley is Jesse Plemons who has rapidly risen in the acting ranks in recent years. Known to most for his turn on the final season of Breaking Bad (2008-2013), Plemons has built a fantastic portfolio starring in films like The Master (2012) and Vice (2018). It’s refreshing to see both actors lead in a film that is reliant on their performances. The rapport between them is credit to the perfect casting and their ability to bounce off each other naturally despite the complexity of the writing.

In the supporting roles we have Toni Collette and David Thewlis as Jake’s parents who unsurprisingly bring phenomenal performances. Jake’s Mother is aloof and eccentric contrasted with his Father who is opinionated and direct. The casting again is top notch as it is great to see two relative newcomers and two acting veterans bouncing off one another and building onto the tension up to breaking point. Collette is flying high on a streak of brilliant roles she has taken in recent years including her lead performance in Ari Aster’s 2018 hit Hereditary and it’s nice to see Thewlis working with Kaufman again after playing the lead in the 2015 animated masterpiece, Anomalisa.

The dinner scene in which the new couple and the parents break the ice and get to know each other. What Kaufman has always been brilliant at is fleshing out his characters to a point where you know them but at the same time you don’t know everything about them. The characters cannot be fully trusted but because Kaufman writes it this way. These extra dimensions and layers allow the plot to naturally unravel. The film is directed from the Young Woman’s perspective so as she begins to doubt everything that happens, so does the audience. Its depiction of mental and emotional breakdown starts subtle but soon enough, the audience is thrust into a confusing narrative where stories change, the ages of characters change and even the protagonist’s name changes. The audience doesn’t truly know who the Young Woman is and so she could be any of these woman; a scholar, a waitress or an artist but her inner conflict in who she is and what she wants means that the uncertainties that unfold in Jake’s parents’ household are not as peculiar as it may seem.

Another unspoken aspect that is worth mentioning is the brilliant decision made to cut out music from the majority of it so the natural soundscapes provide the background noise. The opening piece composed by Jay Wadley is wonderfully intense underlying the horror aspects of the film as the Young Woman talks about her relationship and her outlook on life as a whole. The ballet sequence later in the film is driven by the musical narrative that Wadley composes and complimented the dancing perfectly.

Kaufman has knocked it out of the park again with his strong direction and distinctive writing and insight into the human condition. I’m Thinking of Ending Things is available on Netflix and I would definitely recommend giving it a watch. The ups and downs of the relationship is reminiscent of Kaufman’s screenplay for the 2004 film Enternal Sunshine of the Spotless Mind while still remaining original and developing its own DNA. I wouldn’t be surprised to see I’m Thinking of Ending Things in discussion when it comes to awards season. Thrilling and indulgent, it is a film that demands to be watched more than once.
Have you seen I’m Thinking of Ending Things yet? Let me know what you think in the comments below!
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A Ghost Story (2017)

One of the most beautiful and somber films to come out of the 2010s is A Ghost Story written and directed by David Lowery. Premiering at Sunday’s Fil. Festival and distributed by the much-loved A24, A Ghost Story follows a young married couple C (Casey Affleck) and M (Rooney Mara) and the aftermath of the former’s untimely death at the start of the film. What makes this film such a standout is its simplicity and minimalist approach with limited locations and characters. The film is primarily filmed in their family home and showcases the figurative and literal destruction of the home as M’s life falls apart without her husband. The home is not a home. The screenplay is written by Lowery and his connection and intricacy in bringing his two protagonists to life with minimal interaction is no easy feat but he achieves this. It is a film that moved me and has provided much inspirational imagery and directorial approach that I feel sad that the film has almost been swept under the carpet.

Affleck and Mara both bring their A game to this film and give performances that are among the best in their careers. When C passes away he is reincarnated as a ghost donning a simple white sheet with holes cut out for eyes. We never see his eyes nor what is under the sheet yet Affleck’s presence and character is felt despite not speaking or providing much action. C is a musician and we hear glimpses of his song throughout bringing an unexpected electro and modern sound to the film. The music is what brings the film to its respective time period as the minimalism evokes a timeless quality. Mara is absolutely gut-wrenching in her turn as the grieving wife, M. We see a strong woman who is eventually broken down mentally and physically by the absence around her. We see a few encounters from friends and even a prospective date but the absence of C is too much for her to bear. There is only one scene when M is actually outside of the house and that is when she is identifying her husband’s body. In some respects, she is defined by her relationship to her husband but it could be argued that her struggle is actually a want and inability to move on and continue with her life. She slowly begins to recognise that C isn’t coming back no matter how much she longs for it.

It goes without saying that the highlight scene is the pie scene. This scene is infamous among film fans alike thanks to its raw one take approach to seeing a grieving wife literally eating a chocolate pie for five minutes until she makes herself sick. The scene itself is so simple yet so complex. Mara’s emotional spectrum is on display here as she eats and eats, delving into more and more despair as she longs to feel better following the funeral. The feeling of hopelessness and depression really shoot through as well as upset and loneliness. There are no words in this scene yet it says so much. It’s as if M is hoping her husband will return and stop her from eating herself to sickness but he doesn’t. In fact, no one comes and she is left alone to grieve and process what has happened. I think this scene alone warranted awards recognition but I think the rawness of the characters was probably too alien to the mainstream audience as it does make for uncomfortable and upsetting viewing.

Another scene that causes debates among its viewers is the monologue provided by a party goer, credited as the Prognosticator (Will Oldham) in the house next door. C observes as the Prognosticator talks endlessly about classical music and the Big Crunch which is a theory that claims that the universe is constantly expanding and eventually it will snap like a rubber band and collapse in on itself into a speck as if nothing existed at all. C’s frustration and anger throughout the scene causes him to make the lights flicker as he searches for meaning beyond the life he lived. The speech itself is a bit longwinded, lasting five and a half minutes. Its uneasiness and pretentious nature makes it seem longer because there is no one debating with him. It very much feels as if the Prognosticator is talking out to the audience or even the universe. It is important to note that the film has minimal dialogue so this speech is the true verbal standout the audience is provided with and I think it’s a skillful tip of the scale by Lowery who wants to create that feeling of uncertainty.

The structure of the film is unconventional following a repeat of the time that C and M lived in the house while C observes under his sheet and follows the next family to move in and the subsequent destruction of the home. It feels as though C and M’s memories together are trapped in that endless loop as the universe expands. Just as the Prognosticator claims the works of Beethoven will forever live in human memory, so will the time C and M spent in their house. When C finally reads a note M left and disappears it is sad but also brings closure to that loop and gives him a chance to leave the house just as M did before.

A Ghost Story is not your typical film exploring loss and grief but its impact and power comes from Lowery’s raw approach. Despite its seemingly effortless aesthetic, the films screenplay and character observation pushes through a complexity that transcends its simple storyline. It’s a film that will stay with you long after you watch it.

What did you think of A Ghost Story? Let me know what you think in the comments below!

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Marielle Heller: Film Ranking

Marielle Heller is one of the most exciting filmmakers working in the industry. Although she is not a household name in the mainstream yet, she has proven her talent and range in the three feature films she has directed so far. All three are adaptations of different mediums which also shows Heller’s skill as a writer. Starting with The Diary of a Teenage Girl in 2015 thrust Heller as an emerging writer/director thanks to its controversial and unflinching portrayal of its subject matter of underage sex. Following this, Heller made a dramatic star out of comedienne Melissa McCarthy in biopic Can You Ever Forgive Me? in 2018 followed by 2019’s A Beautiful Day in the Neighborhood which follows a journalist writing a piece on American icon, Mister Rogers. Her absence from major award nominations has been subject to controversy with stars such as fellow director Greta Gerwig and Natalie Portman using their platform to promote her work.

Here are my mini reviews and rankings for the films by Marielle Heller:

The Diary of a Teenage Girl (2015)

Heller’s debut is the perfect scene stealer opening up with 15 year old Minnie (Bel Powley) walking in the park with her confident voice over stating “I had sex today. Holy shit!” Heller’s script and direction follows Minnie from a distance allowing her life to play out with the complicated relationships she has with her mum, Charlotte (Kristen Wiig) and Charlotte’s boyfriend, Monroe (Alexander Skarsgård). Powley’s breakout performance is nothing short of perfection. She comes across as confident and all-knowing, even recording audio diaries. Based on a hybrid novel combining novel and graphic novel by Phoebe Gloeckner. Minnie winds up in a sexual relationship with Monroe and believes she is in love blind to the realities of the situation. As the affair goes on, Monroe is dismissive of Minnie’s satisfaction and is aware what he is doing is wrong. The film is a unique look into the sexual mistreatment of women and girls and how society expects them to act in order to satisfy the patriarchy. It is a film about personal and emotional growth with Minnie eventually learning to become independent and satisfied in herself and her talents as an artist. Despite her flaws and mistakes, she thrives above what society thinks of her and does what makes her happy.

Can You Ever Forgive Me? (2018)

Heller’s follow-up Can You Ever Forgive Me? is based on the 2008 memoir of the same name by writer Lee Israel. Following Israel (Melissa McCarthy) as she forges letters written by famous writers and sells them off to earn extra money, Can You Ever Forgive Me? is a film about the writer and artist desperation. At the beginning of the film, Israel is experiencing a career slump, unable to secure an advance for her book and is forced to sell her possessions to pay her bills. What starts from selling a personal letter from Katharine Hepburn spirals into forging letters from celebrities with scandalous details. Enlisting the help of her friend, Jack (Richard E. Grant), the two begin stealing letters from libraries and archives as well as forging other letters. McCarthy and Grant bring career best performances and earned them Oscar nominations for Best Actress in a Leading Role and Best Actor in a Supporting Role (Grant’s first and, to date, only Oscar nomination!).

A Beautiful Day in the Neighborhood (2019)

One of my favourite films from last year, this underrated gem stars Tom Hanks as American treasure, Mister Rogers and features Matthew Rhys as a skeptical reporter who is asigned to write on Rogers. I have written a longer review for A Beautiful Day in the Neighborhood here which you can read. Bringing Tom Hanks his first Oscar nomination in years, A Beautiful Day in the Neighborhood utilises wonderful puppetry in a film that is heartwarming with a deep message. Among a film landscape that is full of fear and dread, it’s nice to see a film about kindness and love being made.

Each film has its strengths and they are all so different which makes it difficult to rank them even though there are only three. Here is my ranking for Heller’s films:

1) The Diary of a Teenage Girl

2) A Beautiful Day in the Neighborhood

3) Can You Ever Forgive Me?

I really recommend giving each of these films a viewing at least once. Heller has a knack for drawing out brilliant and unexpected performances in films thay serve as flawless examinations of its characters.

Have you seen any Marielle Heller films? Which ones are your favourites? Let me know in the comments below!