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The United States vs. Billie Holiday (2021)

The United States vs. Billie Holiday has produced one of the biggest surprises to come out of this year’s Golden Globes. Andra Day proved victorious in the Lead Actress in a Drama category as she beat out favourites Frances McDormand and Carey Mulligan to receive the prize for her turn as legendary jazz singer, Billie Holiday. Chronicling Billie’s life leading up to, during and after her controversial prison time, The United States vs. Billie Holiday does have its flaws but it features brilliant performances from Day and the rest of the cast. Directed by Lee Daniels from a script written by Pulitzer-prize winning playwright Suzan-Lori Parks, The United States vs. Billie Holiday has found a star in Andra Day.

The film does take a while to find its natural pace but once it does, it is enjoyable to watch. The first half of the film feels rushed, flitting quickly from one event to the other unexpectedly without really letting the characters breathe. I think that because Parks has a lot more experience in writing plays, this technique would work much better on stage than on screen but the second half brings some brilliant characterisation. Daniels’ direction also shines in the second half as we see Holiday’s rebellion and unapologetic attitude take hold and her descent into drug and alcohol abuse.

It goes without saying that Andra Day is heart and soul of the film. Without her fantastic performance this film would not have the power and attention it currently does have. What makes Day’s performance so captivating is that she doesn’t try to be Holiday through mimicking but really delves deep into Holiday’s layered personality. On the surface, she is a hugely successful singer who is loved all over the country but inside she is riddled with addiction combined with bouts of domestic violence and run-ins with the law. With biopics being a mainstay on the awards circuit in recent years, it is refreshing to see a performance that isn’t just an imitation and not much more. Although the film around her has its flaws, Day elevates the whole viewing experience and makes it both rewarding and positive overall.

In support, Trevante Rhodes is great as federal agent Jimmy Fletcher. Having previously had his own breakout role in the Oscar winning masterpiece Moonlight as adult Chiron, Rhodes sees a change of pace here as a conflicted federal agent who plays a huge part in Holiday’s imprisonment. Thinking that being an agent was going to make the world better for African-Americans, he soon realises the corruption that lies in the higher ranks ran by the white elite who are against the civil rights movement. Although Rhodes isn’t in the film a lot, he gives the audience that outsider perspective as he follows Holiday and her entourage on tour.

The film really hits its stride in the second half as Holiday embarks on her tour followed by Fletcher. One scene that is a highlight in particular is when Fletcher is high on heroin and Holiday tells him about her troubled upbringing. The way it is staged as Fletcher sits and views a young Holiday being kicked out by her mother. The structure of the scene prevents the film from simply being a linear scene by scene recreation of Billie’s life. In terms of the direction, the film feels like it is split into two films with the first half being less adventurous and following a move traditional and expected structure and the second half diving into a more experimental and unpredictable approach. This could coincide with Holiday’s descent into addiction and her life spiralling out of control but I think the film as a whole would have benefitted hugely if the approach was more consistent throughout. If Daniels had directed the first half of the film like the second, the discussion around the quality of the film overall would be hugely different.

Although The United States vs. Billie Holiday may not be the strongest film in contention this awards season, it is definitely worth the watch purely for its great final act and Andra Day’s breakthrough performance. I expect to see Day recognised further with an Academy Award nomination at least and it’s exciting what the future holds for her if she decides to pursue a career in film.

What did you think of The United States vs. Billie Holiday? Let us know in the comments below!

The United States vs. Billie Holiday is available on Sky Cinema now!

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Top 5 Carey Mulligan Performances

One of the best actresses working today, Oscar nominee Carey Mulligan is a brilliant talent who can excel in any genre of film. Her latest venture as unconventional vigilante Cassie in the fantastic Promising Young Woman has made waves and is very likely to bring her another slew of award wins and nominations. She can also be seen in the Netflix drama The Dig which further cements her place as Hollywood royalty (you can read my review for The Dig here). Having worked with a variety of auteur directors and mainstream directors, Mulligan is one of the most versatile actresses working today. Having played strong women for her whole career, Mulligan has an effortless flair where she is able to tap into her characters and really dig deep.

As Mulligan’s star has only proven to rise and rise, it’s clear that she is at the very top of her game and with that in mind, I wanted to celebrate her incredible career by looking back at my top 5 performances. Just these choice alone show her range and ability to adapt to both leading and supporting roles with ease.

Here are the top 5 Carey Mulligan performances in chronological order:

An Education (2009)

Mulligan’s breakthrough as a lead in Lone Scherfig’s stellar coming of age drama, An Education. Set in the 1960s with the script written by Nick Hornby, Mulligan plays Jenny, a 16 year old school girl with aspirations to go to Oxford University who is seduced by an older man (Peter Sarsgaard) and her life quickly veers off track. Mulligan quickly gathered global acclaim for her performance as intelligent and naive Jenny winning her the BAFTA for Leading Actress and receiving a slew of nominations at the major awards show including an Academy Award nomination. Personally, I think she should have won for her performance but hopefully we will see her victorious. Her performance is tremendously layered and contrasted as Jenny is clearly a strong and capable young woman but at the end of the day she is still a teenager and is misguided by the adults around her.

Never Let Me Go (2010)

A film often overlooked but has long been a favourite of mine, Never Let Me Go is a beautiful adaptation of Kazuo Ishiguro’s best selling novel. Directed by Mark Romanek and a script written by Ex Machina director Alex Garland, Mulligan shines as lead character Kathy H. Following a group of children who are raised to be “donors”, giving their vital organs for operations when grown, Never Let Me Go shows the human side to these characters whom society doesn’t deem worthy. Having loved her friend Tommy D (Andrew Garfield) since they were in school and watching him and her best friend, Ruth C (Keira Knightley) get in a relationship, we see how Kathy’s life seems to be shunned to the side by her friends as well as society. We see the world through Kathy H’s eyes and through Mullugan’s performance, we invest and see the film as a drama over a dystopian story.

Drive (2011)

2011 saw a double bill of phenomenal supporting performances by Mulligan with the first being her turn as Irene in Nicolas Winding Refn’s Drive. When it comes to this film, the mind immediately goes to Ryan Gosling as the lead character but among all of the absurdity and violence that occurs in this film, it’s Mulligan’s performance that grounds the film and exposes the emotional attachment that the lead character has in the film. Living next door to The Driver (Gosling), Irene lives with her young son and a relationship between her and The Driver quickly develops. However, when Irene’s husband is released from prison, problems unfold. Mullugan isn’t in the film a lot but she works with what she has to ensure that her presence is felt throughout the film, especially when her safety is at risk.

Shame (2011)

The next selection is the second supporting role that Mulligan had in 2011. If you are a regular reader then you know how I absolutely love Steve McQueen’s films (read my McQueen ranking here) and Mulligan is perfectly cast as Sissy, sister of protagonist Brandon (Michael Fassbender). The film revolves around sex addict Brandon who finds his addiction getting worse and out of control. His life is turned upside down when Sissy arrives unexpectedly at his apartment with nowhere else to go. Both siblings have their troubles as Sissy struggles with self harm and depression but she is hopeful that the two can help each other get over their problems. Shame is not an easy film to watch and it is extremely explicit with the issues discussed but the direction and performances showcase the range and talent. Mulligan is a supporting role but her performance is just as important to the film as Fassbender’s. It is thanks to Sissy’s character that we really see the conflict in Brandon laid bare for the audience to see.

Promising Young Woman (2020)

Probably the most fearless role Mulligan has done, Promising Young Woman deserves all of the acclaim that it has and more. I have written a full review which you can read here. Needless to say that Mulligan will no doubt receive an array of award nominations and hopefully win as well. Her performance as Cassie, a young woman who’s future was ripped away after her best friend was raped and committed suicide, is heart breaking and terrifying, showing how far one will go to right the wrongs.

There are even more performances I could have included in this list but the ones I have selected really showcase Mulligan’s range in terms of screen time and genre. The consistent thread with all of her performances is that she always makes the most whether she is the protagonist or has a smaller role. Mulligan is an actress who adapts an intellectual approach and clearly delves deep into her characters and with Promising Young Woman, it feels like she has cemented herself as a strong leading woman to the masses.

What is your favourite performance by Carey Mullugan? Let me know in the comments below!

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The Forty-Year-Old Version (2020)

Radha Blank appears in The 40-Year-Old Version by Radha Blank, an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Jeong Park. 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.

Another film on my awards season list is The Forty-Year-Old Version, released on Netflix, the film is a brilliant comedy film written, directed and starring Radha Blank. It first premiered at the 2020 Sundance Film Festival, with Blank walking away with the U.S. Dramatic Competition Directing Award which made it one of the hottest releases at Sundance. Although it is marketed as a comedy and really showcases Blank’s talent for humour, the film crosses into many genres, particularly drama and musical as we see every side of Radha’s life as she approaches her 40th birthday. Marking her feature film debut as a director, Blank has a distinct vision that allows the audience to see real women and the real New York. The decision to shoot the film in black and white made me think of Spike Lee’s films from the 1980s, especially since they are set in New York and feels like a fresh take for the 21st century just as Lee’s point of view was on his film’s release.

The Forty-Year-Old Version follows Radha, a fictionalised version of Blank as a struggling playwright and teacher who is trying to get her play, Harlem Ave. off the ground. Attempting to revive a failed rap career under the name RadhaMUSprime, we go through Radha’s artistic process and how it overlaps through different mediums of expression such as musical, plays, performances. As she balances her teaching career, trying to get her play produced and emerging as a rapper, Radha’s life becomes hectic and out of control as she struggles to maintain a balance. Soon enough, Harlem Ave. gets a renowned producer on board but that soon changes when the producer aims to market the play to middle class white people who know nothing of the struggles of the gentrification that Radha’s play explores. From exploring a young black couple who own a small store affected by gentrification to the addition of a white protagonist whose qualms in life is not having a place to buy soya milk. The play actually explores gentrification in an ironic way that brings those issues to light. It is Blank’s incredible script that talks about gentrification and the African-American struggle in modern day New York where the film really shines.

Playing a fictionalised version of herself, Radha Blank pulls off a great and relatable performance that perfectly highlights the struggle of being an artist. Radha is real, unfiltered and flawed whilst trying to express herself through her art. As she tries to write her.play, she finds herself rapping the words. Through music, she is able to find the words that she wants to say. Her point of view as a black woman who is nearing 40 in a society that is obsessed with youth and gaining success at a young age is something that confuses and shocks the audience. However, Radha’s voice comes in the climactic final scene of the film. As her play reaches its opening night, Radha is embarrassed and is appalled at being associated with such a result. Her rap speech at the end of the play is an exhale of all the words she wanted to say but couldn’t initially find them.

In support, the highlight for me is Peter Kim as Radha’s agent, Archie. Desperately trying to book Radha a gig, Archie provides comic relief and the scenes and rapport the two share makes for great dialogue. Whereas Radha is a creative, Archie is completely logical and aiming to achieve the American Dream by making money. Staying loyal to Radha as they have been longtime friends, it’s easy for Radha to forget Archie’s own struggles as an Asian-American because his aims are different to hers. The scene in which Archie breaks down to Radha hits hard, especially given that he is seen as light comic relief up to this point. Just like Radha, Archie also makes sacrifices to make way for opportunities and keep the door open for Radha to have her play produced after she lashes out at the producer.

Overall, The Forty-Year-Old Version is one of the most original comedies to come into the 2021 awards season. As it is one of the smaller indie films, it’s not likely to rack up lots and lots of nominations sadly but I think it stands a very good chance in the Original Screenplay category. As mentioned previously, the final scene is an absolute masterclass in acting and writing. Through all the humour that the film conveyed throughout, that serious tone in the rap/speech grounds the film and also allows Radha to cut through all the noise. Blank’s writing is fearless, unflinching and unapologetic and the result is a fantastic film that perfectly exemplifies the struggles of African-Americans when it comes to creating art and how their output has to be approved by a white audience. Blank subverts this rule by firmly putting a middle finger up to an establishment that is trying to rewrite the history of gentrification.

What did you think of The Forty-Year-Old Version? Let me know in the comments below!

The Forty-Year-Old Version is available to watch on Netflix now!

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Soul (2020)

One of the most hyped film of 2020, especially after it was delayed a couple of times after the pandemic took hold. Pixar’s Soul has been the subject of much conversation when Disney announced that it would be uploaded onto Disney+ on Christmas Day. I had actively avoided watching any trailers but knew that it involved jazz somehow. Watching the film provided to be both captivating and enlightening, providing one of the most emotional scenes I have ever seen in a Pixar film (yes, you read that correctly!).

Soul is directed by Pete Docter who is responsible for some of the best Pixar films including my favourite of all time, Up. What Docter does so well is include more mature themes that children may not understand initially but can grow to appreciate whilst maintaining that feeling of hopefulness and light. The film follows aspiring jazz musician, Joe (voiced by Jamie Foxx) who is struggling to find purpose as he works as a middle school teacher to make ends meet. Juggling the pressure from the school and his mother, Joe finally is given an opportunity to play with professional musician, Dorothea (voiced by Angela Bassett) but an unfortunate incident leads to his untimely death. What follows is an abstract and bizarre journey that explores what happens after life. When he finds himself mentoring an unborn soul called 22 (Tina Fey) to help find their spark and purpose to live, Joe begins to understand that there may be more to life than just jazz.

The film has garnered a lot of controversy among parents who feel as though the subject of life and death is too macabre to explain to children but death is a part of life and if your child is too young to understand then they are not likely to be affected by that aspect of the plot. Pixar’s earlier films Coco and Onward are among the many films that have incorporated life and death into their narrative yet generated no controversy for doing so. Soul has more to offer than simply suggesting what may lay ahead and there is enough music and liveliness to keep the overall tone lifted. Films can often be seen as a form of escapism but there is no harm in including some challenging questions and ideas into the storyline.

As expected, the cast is glittered with stars, bursting at the seams with huge A list names. I have previously mentioned some of them above and everyone does a fantastic job. I would, however, like to draw attention to the casting of Richard Ayoade and Rachel House as some of the monitors based in the “Great Before”, the place one enters before venturing to the “Great Beyond”. Ayoade and House mainly provide comic relief and their distinctive voices are always a nice inclusion in any film.

In terms of the score, it’s quite clear that Trent Reznor and Atticus Ross are having a stellar year after their recent collaboration for David Fincher’s Mank. The score for Soul is unlike any sound they have experimented with before. Combining jazz inspired music with dramatic ballads to show the clash between worlds from Joe’s perspective, the score is more subdued than what I thought it would be, particularly considering that jazz and music in general plays an integral role in the film. However, it feels as though that decision was made to show that music doesn’t necessarily have to be everything in Joe’s life. The tender moments we see him (or 22 as him) share with the people around him get him to realise this.

Soul really was worth the wait and more, particularly a scene near the end in which Joe journies as far as he can with 22 to Earth made for one of the huge emotional moments in Pixar history. The animation feels like it has been turned up a notch in terms of how much detail and scope the artists go. The scenes in which Joe ventures through the Great Before are the reason why audiences became captivated with Pixar in the first place. That unhindered imagination where nothing is impossible is hard to ignore and easy to appreciate. I do feel as though the ending could have done with an extra scene just to tie everything up neatly but that is proper nitpicking. Missing out on Soul is missing out on one of the best cinematic experiences of the year. It is just such a shame that it wasn’t to be appreciated on the big screen.

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

Soul is now showing on Disney+ so watch it as soon as you can!

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The Life Ahead (2020)

After a short break to celebrate Christmas, I am back with the awards season viewings. I hope everyone had a lovely time and got to spend it with the ones you love. My next review is all about a film that had much hype thanks to the comeback of the legendary Sophia Loren in this wonderful drama directed by her son, Edoardo Ponti. The Life Ahead stars Loren as Madame Rosa, an ex-prostitute and Holocaust survivor who takes in Momo (Ibrahima Gueye), a young Senegalese boy after he robs her in the street. With polar opposite backgrounds and an inability to see eye to eye initially, The Life Ahead explores the developing relationship and kinship between Rosa and Momo as they begin to find common ground.

The film itself is only 95 minutes with the screenplay written by Ponti and Ugo Chiti and is based on the novel, The Life Before Us by Romain Gary. Making the most of every second, we are immediately thrust into the robbery scene by way of a flashback after being introduced to Momo who has run and hidden from Madame Rosa’s friend, Lola (Abril Zamora) with no explanation. Rather than spoon feed the audience on who is who, we are naturally introduced to characters as the story develops. We are not given all the answers in terms of background but Ponti has brought a natural approach to his writing and directing.

Seeing Sophia Loren back on the silver screen is always a welcome presence. Having made her name during the Golden Age of Hollywood, Loren won her competitive Oscar in 1961 for her leading performance in Vittorio De Sica’s Two Women which is my all time favourite Lead Actress Oscar winning performance. If you haven’t seen Two Women then make sure you do as soon as you can. As the years have gone by, Loren has taken on fewer projects and The Life Ahead is her first big leading role since the early 2000s. Madame Rosa is a stern and hard woman who has survived the toughest of trials and tribulations. Living in a society where she has been ostracised and outcast, she has made herself an important staple of the community and it’s easy to see the positive impact she has, especially among those who struggle the most. Taking care of the children of prostitutes, Madame Rosa provides the support for others that she never had. Loren is revolutionary in the role and proves yet again why she is one of the best actresses of all time. Her range and ability is astonishing that completely dismisses any claim that she is nothing more than a sex symbol.

Newcomer Ibrahima Gueye is fantastic as troubled child, Momo. Struggling to find his own identity and inspiration, Momo is reluctant to move in with Madame Rosa as he fails to follow the rules initially. As he gets to know Rosa and her backstory, he begins to respect her and grows concerned when she begins to zone out and walk off. It’s not easy to act opposite a huge actress, especially one so renowned as Loren, especially if you are a newcomer but Gueye and Loren match perfectly and the friendship between them is nice to see. Gueye really holds his own as Momo is faced with his own demons, tangled in the world of drugs and learning to understand how the real world works. It is the character’s innocence mixed with Rosa’s life where the two are able to find that common ground and grow a friendship. The same could be said from the acting perspective as Gueye is a newcomer combined with Loren and it is the performances and the scenes between them that elevate the film overall.

Some reviewers have commented on the formulaic quality of the film but I actually like the simplicity of the structure and layout. When working with someone as legendary as Loren, it allows the performance to breathe and grow without becoming overwhelmed by a complex narrative. The Life Ahead is one of my highlights of the year because it feels timeless and integral at the same time. The interweaving issues of religion and identity are discussed at length without being brought forth in a clunky manner seen in a lot of films. Loren lets us feel Madame Rosa’s pain through her acting rather than through words and it is this that makes it one of the most subtle and beautiful performances of the year.

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

The Life Ahead is available to watch on Netflix now!

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Ma Rainey’s Black Bottom (2020)

Continuing my awards season viewing with this fantastic stage to screen adaptation of August Wilson’s play of the same name. Ma Rainey’s Black Bottom follows the titular Ma Rainey (Viola Davis), a blues singer and her band as they spend the day recording a new song in a studio in Chicago. Directed by George C. Wolfe and adapted by Ruben Santiago-Hudson, Ma Rainey’s Black Bottom is a masterclass in acting performance, particularly by Viola Davis as the vivacious Ma and Chadwick Boseman is astonishing as band trumpeter, Levee.

The film is produced by Daniel Washington as part of a 10 film deal and follows 2016’s Fences. Washington directed Fences and decided to keep the original play script by Wilson as the film shooting script. This caused some restrictions as film and stage are naturally so different that the transition between the two is not always seamless. Sometimes the dialogue between characters can carry too much exposition onscreen which can make a film feel clunky. What Ma Rainey’s Black Bottom successful is Santiago-Hudson’s adaptation of the script to lift it from stage to screen. What Santiago-Hudson does is elevate the dialogue so it has more flow and rhythm for the film’s fast pace without compromising the integrity of Wilson’s original script. He also keeps it as restricted as possible in terms of location meaning that it is an extremely loyal adaptation. This is how plays are meant to be adapted from stage to screen.

To say Viola Davis’ performance is transformative would be a huge understatement. She becomes Ma in such a way that you really forget that it is Davis beneath the character. I have written on Davis’ top performances in the past (which you can read here) and her performance as Ma would easily sit among them. From the moment she commands the screen belting out numbers to large crowds, it’s clear that Ma is a force of nature. A character who knows her worth and knows what she wants and isn’t afraid to express this. It’s easy to see what drew Davis to the role and she fits it so perfectly. As a black woman, so many people, particularly her white manager, try to dictate the creative choices and tell her what sells but Ma knows her fans the most and will know what they want.

Also being campaigned for lead is the late Chadwick Boseman as rebellious trumpeter Levee. Sadly losing his fight against cancer earlier this year, Boseman leaves behind a legacy that has resonated with so many fans around the globe. Rounding off his professional career posthumously have been Spike Lee’s Da 5 Bloods (you can read my review here) and Ma Rainey’s Black Bottom. Whereas the former will likely see him nominated for a Supporting Actor gong, it is this lead performance in Ma Rainey’s Black Bottom that could secure him a well-deserved win. Levee is a dreamer who wants nothing more than to write songs and perform his own way. His strong personality clashes greatly with Ma who constantly puts him down. Like his character, Boseman never misses a beat and remains upbeat and charismatic throughout. Captivating the screen with his strength, this performance is definitely among the best of the year. This performance is definitely one to beat in the Oscars race next year for sure and it’s heartbreaking that Boseman isn’t here to see the legacy that he has left behind. A true icon who was showcasing a huge range.

Overall, Ma Rainey’s Black Bottom did not disappoint and will undoubtedly provide a slew of Oscar nominations and hopefully wins, particularly for Boseman. A beautiful swansong to sing out his legacy in a performance that is so captivating and demands to be watched and then watched again to really get under the layers. Where Ma Rainey’s Black Bottom really succeeds is showing the struggle of black women in a society that dictates how they should be. Ma is constantly told how she should act and what she should sing. Not only does this show degradation of her as a character but also the African-American culture as a whole. The final scene in which an all white band perform one of Levee’s songs only supports this.

What did you think of Ma Rainey’s Black Bottom? Let me know in the comments below!

Ma Rainey’s Black Bottom is available to watch now on Netflix.

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Hillbilly Elegy (2020)

Hillbilly Elegy is based on the memoir of the same name by J. D. Vance (Gabriel Basso) and follows his story as a Yale law student who faces issues when he is called back to his childhood home in Ohio after his mother, Bev (Amy Adams) overdoses on heroin. Directed by Oscar-winning filmmaker, Ron Howard with the screenplay written by Vanessa Taylor (who has received an Oscar nomination for co-writing The Shape of Water). The film flits between the present day J.D. who is having to travel to Ohio to help get Bev back on track and flashbacks showing J.D. as a child growing up in a broken home as Bev’s lack of stability leads to him being put in the care of his grandmother, Mamaw (Glenn Close). Hillbilly Elegy has been the subject of much controversy from the release of the book and even more so with the release of the film.

Ron Howard is a director who has a clear passion and love for filmmaking. His strongest deliveries are when he focuses on biopics with Apollo 13 (1995), A Beautiful Mind (2001) and Frost/Nixon (2008) proving to be his most successful. What makes these films so strong is the connection Howard brings with the source material. On paper, Hillbilly Elegy should have proved to be a success for Howard and bring him his most critically successful film since Frost/Nixon. The memoir contains a lot of political subtext as it delves into his own Republican tendencies and attacks on Democrats, particularly under the Obama administration. This is where much of the controversy lies and with Howard being hugely Democratic himself, he decided to take any political context out of the film altogether. I think this is a huge mistake and a reason why the film doesn’t reach its full potential. Of course Vance and Howard clearly have different political values which is absolutely fine, but taking away Vance’s own political point of view in a story that is hugely ruled by its politics is taking away a big part of his own identity and characterisation. Howard needn’t direct the film in a light that “favours” the political party he opposes but I think the context should have been included even in the background.

Now to discuss the acting performances. Amy Adams has been touted as the lead in this film and I have to say that in my opinion, that is purely a tactic to win more awards. Do not be fooled, Amy Adams is in a supporting role in this film and it should be categorised as such. This isn’t anything against Adams or her performance but it is a very misleading top billing. The true lead performances in this film come from Owen Asztalos and Gabriel Basso as young and adult J.D, respectively. Both do a really decent job capturing J.D’s struggle to fit in and his determination to do well in school and work towards a career in law. Asztalos, in particular, does a great job with the conflict scenes in which he sees his family life breaking apart without fully understanding what is going on.

In support, we have Amy Adams as Bev and Glenn Close as Mamaw. Clearly the stars of the show, both give it their all and do their best with the script. However, I do think Adams was miscast (a statement I never thought I would ever say). Adams is clearly trying so hard to convey Bev’s drug addiction and inability to lead a sober and stable life but the writing doesn’t do much for the character. We don’t feel any sympathy for Bev as she succumbs to her addiction and her behaviour seems to come across as erratic without reason or explanation. In the end, she is dropped off at a motel by J.D who has to leave to attend an interview. There doesn’t seem to be any closure to her issues in a way that feels substantial enough. Close, on the other hand, pulls off a more convincing performance that is subtle and captivates when she is onscreen. She isn’t onscreen a lot but I do think out of the two, she does give the better performance. Gaining a lot of favour for the Best Supporting Actress Oscar, my personal support for now is actually going toward Amanda Seyfried in Mank. Close is going to get her Oscar but I really hope it is for an even better performance.

Overall, Hillbilly Elegy is a film that does fall into the Oscar bait category. With Adams and Close being the living actresses with the most Academy Award nominations without winning one, the film is clearly driving the agenda to add that Oscar to their collections. However, I am a firm believer in giving awards to the performances that deserve it and both women have carried off performances that should have won in my opinion (Amy Adams for Best Supporting Actress in The Master and Glenn Close for Best Leading Actress in Fatal Attraction). I think giving either one an Oscar for their performances in Hillbilly Elegy would be a huge disservice to the phenomenal careers the two of them have had. They do the best with the material and direction they have been given but neither performance is in the top 5 (even top 10) for either actress. When summarising Adams or Close’s careers, it’s highly doubtful that Hillbilly Elegy is going to be discussed among their greatest films.

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

Hillbilly Elegy is available to view on Netflix.

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The Queen’s Gambit

The show that everyone has been talking about at the minute is a series that revolves around chess. The Queen’s Gambit follows female chess player, Beth Harmon, and her quest to become the world’s best chess player period. The show was created by Scott Frank and Allan Scott and based on the 1983 novel of the same name by Walter Tevis. A lot of people have commented that the show has made a boring subject amazing but I beg to differ. I think it’s a brilliant show enhanced by an interesting and unexpected topic. As someone who used to play chess when they were little, it is an understatement to say that the competitions were very much male-dominated and there was more anticipation for the male categories than the females. Beth is subject to much belittlement and astonishment from her male peers. Even when at the top of her game, she is looked down upon by the grandmasters and champions.

To assume that the show is just about chess is to undermine it completely. Beneath the surface, we encounter themes of gender inequality, gender roles, alcoholism, drug addiction and loss among many more. In a way, all of these issues are brought to the light through chess and specifically Beth’s journey in the game. From the very beginning, Beth is an outsider as she doesn’t enjoy the same activities to her counterparts. The moment she sees the orphanage custodian, Mr Shaibel (Bill Camp), playing chess in the basement, she is curious and eager to learn. This curiosity then turns into an obsession fueled by tranquilliser drugs the orphanage controversially gives its pupils. Beth becomes a product of a traumatic childhood and her inability to lose gracefully and overanalyse hinders her at important moments in her career. Because of her reluctance to conform to societal ideals, she is often reclusive and isolated but all the more determined to climb her way to the top. The shows structure does a great job at presenting her challenges and obstacles.

Anya Taylor-Joy’s performance as Beth is nothing short of revolutionary. She is so captivating that every expression and word leaves the audience waiting with anticipation. Beth is one of the most complex female characters that TV has seen in a while. Academically brilliant and naturally talented at chess, she also struggles with drug and drink addiction as well as an unhealthy obsession with the game. Chronicling her life from her time in an orphanage after her mother’s tragic suicide to her adulthood in which she travels the world playing grandmasters in a bid to become one herself, The Queen’s Gambit is the most exciting and riveting TV show to air this year. From a curious novice to a strategic professional, Beth’s story is one of aspiration and tragedy as her career’s incline also results in an inner downwards spiral. Despite her flaws, the audience still roots for Beth and that’s mainly due to Taylor-Joy’s ability to really dig deep in her characterisation.

In support, Marielle Heller does a stunning performance as Beth’s adoptive mother, Alma Wheatley. Alma is a sickly woman who quickly gages onto Beth’s potential as a chess prodigy and assists her in her first bout of tournaments. I am very familiar with Heller’s work as a director (you can read my previous post on her films here) but haven’t encountered her in an acting role before. An important character in the first half of the series, Alma is just as flawed as her daughter. Leaving Beth to her own devices most of the time as she succumbs to frequent sickness and alcoholism, Alma is both a friend and mother, although the latter comes later as Beth begins to succeed in professional chess. Watching the intense moments between Beth and Alma makes for some of the highlights in the show as well as Alma’s ability to bring out the more human side of Beth.

In a year full of unfortunate events piled on more unfortunate events, The Queen’s Gambit is the show we all need for a good dose of quality television. I predict that Taylor-Joy will be the one to beat at the Golden Globes and hopefully will even receive Emma recognition as well. The fact that it has received overwhelming praise from female chess players, including grandmaster Jennifer Shahade, is only proof of the impeccable details and emotion that has been poured into every second. Without a doubt, The Queen’s Gambit is my favourite new show of the year and I don’t think it will be beaten.

The Queen’s Gambit is available to watch on Netflix and I strongly recommend you catch it if you haven’t seen it yet.

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The Love Witch (2016)

Anna Biller’s second feature, The Love Witch is a film I have been eager to watch for a while now. Since its release in 2016, The Love Witch has gained a cult following and become a firm favourite of modern horror thanks to its modern interpretation of 60s horror. The film follows witch, Elaine Parks (Samantha Robinson) who moves to a small town after suffering a breakdown due to the death of her ex-husband. The films acts as an ode to 1960s horror films as well as a technicolour fantasy and is definitely a passion project for Biller who serves as director, writer, producer, editor and composer. If that alone doesn’t impress then the final result is sure to please. Much like the film’s protagonist, The Love Witch is impossible to put into a box. It stands on its own two feet as a brilliant feminist piece that subverts the rules in the filmmaking book to create one of the most original films this century.

Biller’s vision is fully realised thanks to her impeccable direction and writing. The choice to make the actors perform in a presentational style plays in perfectly with the nostalgic side of the film. Also, Biller’s genius use of natural colouring to give the film a technicolour aesthetic is innovative and unique. The dedication Biller put into this film is phenomenal and she is definitely a filmmaker to watch. Her script is among the best original scripts of this century hands down and I am shocked it wasn’t up for some major awards. It’s a shame that this film didn’t receive a wide release because it’s a wonderful representation of women in film. This is very much Biller’s film and its empowering to see a woman take the helm at so many roles in the filmmaking process.

To say Samantha Robinson is hypnotic as Elaine is an understatement. From the first shot when we see Elaine driving to her new home we hear her story in the voice over, it’s clear that the weight of the film lies on Robinson’s shoulders and she carries with ease. Elaine is a tragic character, desperate to find love and will do anything to get it but faces drastic consequences. To write her off as a weak character would be a huge mistake as there is a strength to Elaine that becomes evident as the film unfolds. Unafraid and aware of her sexuality, Elaine tries to find her place in a patriarchal world that has never cared for her. This is a fantastic breakout role for Robinson and proves that she has a promising career as a leading actress. Even when she isn’t onscreen, her presence can be felt because she is so affectice in her role. As Elaine begins to succeed in her quest for love, the mask begins to slip as her self-absorbed nature and lack of empathy leads to her downfall. It soon emerges that maybe Elaine isn’t as naive as we are led to believe. This is thanks to the presentational acting which Robinson pulls off flawlessly.

Biller’s score is inspired by Medieval and Renaissance music injected with synthesised sounds to give it a modern feel. Much like the rest of the film, the score is unpredictable and deeply original. There are so many standout pieces throughout the film but the track playing when Elaine and interior designer, Trish go for tea is a particular highlight. The music numbers really enhance the film and create blur in genres as it flits from horror to musical to comedy in the score alone. There are also pieces that feature childlike singing which I think exemplifies the naivety of the film’s characters and is played at pivotal moments and the transition of naivety to realisation. I really hope that Biller continues to score her films because she perfectly encapsulates the originality of her film.

Overall, The Love Witch is one of the most original films I have seen in a while. Its unique take on nostalgia mixed with the strong female gaze makes it a strong win in my book. Biller’s talent as a filmmaker and visionary is evident from the opening shot and it’s clear that she is a force to be reckoned with. This has quickly become a firm favourite of mine and I can see myself rewatching this many times as it’s a film rich in subtext. I am really looking forward to seeing her next film Bluebeard.

What do you think of The Love Witch? Let me know in the comments below!

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Raindance Film Festival 2020: The Eagle’s Nest

My festival coverage for Raindance has begun and I can’t believe I was accepted for another festival. I wanted to make sure that, like London Film Festival, I pick a variety of films that are all different. The first film on my watch list is the French-language film The Eagle’s Nest. Made on a £5,000 budget, The Eagle’s Nest is the directorial debut by Cameroonian filmmaker Olivier Assoua. When sexworkers Paris (Claude S Mbida Nkou) and Samantha (Felicity Asseh) stumble upon a lot of money, their lives are turned upside down as Paris’ mother and sister are brutally murdered. Both protagonists hold so much strength and resilience but are different in many ways. A poignant portrayal of loss and betrayal, The Eagle’s Nest is a harrowing look at the lengths one would go to to achieve their dream.

Assoua’s writing is particularly strong. I think that the development and character arc for both protagonists is done really well. They both have the same end goal but take different paths to get there. The first half of the film follows how the women find the money and the second half follows the aftermath with an attempt to figure out who organised the murder. Primarily a drama, the film is like a puzzle that slowly comes together as the plot unfolds. Showing the darkness that creeps through when dreams are in sight, Assoua’s script works as a drama about one woman’s struggle to find a place to belong and also a revenge piece as she is enraged by the injustice done to her and her family.

Claude S Mbida Nkou’s performance as Paris is a brilliant debut as she dons a hard exterior but has a softness within that makes her vulnerable in her quest to leave for Europe. She feels trapped in her currently situation and is convinced that her home is elsewhere. Her style is considerable different than everyone else in the film. Donning long blonde hair, nose and lip rings and black lacy clothes, Paris’ blackness is questioned by Samantha but she hits back claiming this is how she wishes to express herself as a gothic doll. There is also religious conflict in Paris that is subtly woven throughout the film. In the beginning, she refuses to say grace but when she awakes after the invasion, she is seen with a crucifix around her neck. One could question whether it was divine intervention that prevented her from dying or whether it is fate wanting her to continue on her journey.

Felicity Asseh’s performance as Paris’ best friend Samantha also has an equally dark storyline throughout the film. Finding herself pregnant and in a relationship with a heroin addict, Samantha is conflicted as to where her loyalty lies. On the one hand, she is wanting to leave with Paris but she is also deeply in love with Africa. Her love for Africa is expressed in her clothing, wearing outfits that have an African map print on them as well as traditional bright colours and prints. When her partner almost overdoses, Samantha refuses to be undone by this and tells him what she expects of him. Samantha is also more aggressive and assertive than Paris which makes her a fearless figure scarred by a tragic past. Even during times of great distress, her ability to remain calm and in control and her desperation to keep that control is deadly.

Assoua’s film feels deeply personal and resonant as he highlights a very real problem that exists today. Paris’ journey begins and ends alone but the growth between and allowing herself to be vulnerable is extremely empowering. Her dream to leave affects so many people around her without meaning to and shows the power that money has and the consequences that ripple from that. The ups and downs reflect the uncertainty Paris is experiencing as obstacles appear to stop her leaving from happening. Whether this too is divine intervention is also to be debated. Her longing to go to a place she has never been makes her blind to the world that is in front of her. In the end, The Eagle’s Nest becomes more about Paris’ development as a character than a simple plot of whether she makes it to Europe or not.

Overall, The Eagle’s Nest is an impressive gem and considering it was made on such a miniscule budget makes it even more captivating. By using the natural landscape and town as the set really captures the feel and authenticity of the film. The surrounding greenery is also extremely beautiful. With wonderful performances all round, Assoua manages to capture the struggle of identity and home. I am very happy to say that my first film of Raindance was an overwhelming success.

The Eagle’s Nest is showing at Raindance Film Festival.