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The French Dispatch (2021)

2021 saw a slew of star-studded films and one of these was Wes Anderson’s newest feature, The French Dispatch. The film follows the team at the titular magazine and the fictional French town of Ennui-sur-Blasé where the team is located. The cast is led by Bill Murray who plays the magazine’s editor, Arthur Howitzer Jr, based on The New Yorker’s founder Harold Ross with a starry cast including regular Anderson collaborators such as Owen Wilson, Jason Schwartzman, Tilda Swinton, Adrien Brody, Frances McDormand, and Anjelica Huston, among many others. Unlike his other films, The French Dispatch is an anthology film and consists of a tour around Ennui-sur-Blasé followed by three stories from the magazine’s final issue and an obituary for Howitzer, who has passed away.

The film is written and directed by Wes Anderson and features all the weirdness and wackiness that you would expect from one of his films. The town of Ennui-sur-Blasé sits perfectly in Anderson’s cinematic universe, while Anderson plays with the structure of the film itself, structuring it like a visual magazine with a content’s page that gives an overall summary, some stories, and a final conclusion in its obituary. The French Dispatch may not have as strong a story like The Grand Budapest Hotel or as many memorable characters such as those in The Royal Tenenbaums, and this seems to have divided hardcore Anderson fans, but to see Anderson experiment with film structure and the way in which the magazine influences the actual film and vice versa makes it intriguing to watch.

The first segment of the film is called “The Concrete Masterpiece” and stars Benicio del Toro as incarcerated artist Moses Rosenthaler who delves into abstract art inspired by his muse, Simone (Léa Seydoux). When fellow prisoner and art dealer, Julien Cadazio (Adrien Brody) spots one of Rosenthaler’s works in the prison, he makes it his mission to ensure that the latter is the most famous artist in the world even though he remains in prison. This segment features the strongest characterisation as there are fewer leading characters meaning that there is more room for them to be explored. Seydoux is spectacular as Simone. When we first see her, she is completely naked as she poses for Rosenthaler, but the way in which she is portrayed is full of empowerment as her role as prison guard means that she has ultimate control over the situation. Leading this segment is del Toro, who has never worked with Anderson before but proves to be a natural fit within his vision, while Brody can always be relied upon to bring a strong performance.

The second chapter is titled “Revisions to a Manifesto”, which follows reporter Lucinda Krementz (Frances McDormand) as she records a student revolution in which the male students, led by Zeffirelli (Timothée Chalamet) demand access to the female dormitory. This segment is probably the weakest of the three in that the other two have stories that are more compelling. This isn’t to say that it is a bad portion, but when compared to the other two, it’s clear that it doesn’t have the same level of magic. McDormand is perfect as always as the cynical Krementz, who is dead set in her ways and refuses to conform despite efforts from those around her, while Chalamet is absolutely charming as the young Zeffirelli.

The third segment, “The Private Dining Room of the Police Commissioner”, is the best of the three sections and features the most captivating performance in the entire film thanks to Jeffrey Wright’s incredible performance as reporter Roebuck Wright, who is inspired by James Baldwin and A. J. Liebling. Roebuck is a character whose reporting incorporates food and this specific story recalls his private meal with the Commissaire (Mathieu Amalric) where the food is prepared by renowned chef/police officer, Nescaffier (Stephen Park). There are a lot of moving parts in this segment, so the other characters aren’t as well-developed, but Roebuck’s character and his own experiences as a homosexual in a foreign country are particularly poignant and provides a nuance to the film that grounds the wackiness going on.

The music is provided by none other than Oscar-winning composer, Alexandre Desplat, who won his first Oscar for his amazing work on Anderson’s The Grand Budapest Hotel. Desplat was originally slated to work on Guillermo del Toro’s latest film Nightmare Alley but chose to work on The French Dispatch in his fifth collaboration with Anderson and the score is incredible. The score is filled with classical French inspiration while the tracks alter in terms of tone and style to suit the stories that are being told. The track that plays while the shoot-out is taking place in the third segment is a particular highlight. On one hand, the score for The French Dispatch demonstrates Desplat’s affinity for capturing the world, and Anderson’s vision perfectly, but it is a shame that we didn’t get to hear his score for Nightmare Alley as it would have been incredible to see Desplat work with del Toro again and work with the noir and carnival aspects of the film.

The French Dispatch may not have the same level of magic as other Anderson features, but the way that he plays with the film’s structure allows it to stand out against other entries in his filmography. Relying on a slew of familiar faces that he has previously worked with, it’s great to see that the best performances came from those whom he hasn’t worked with before such as Jeffrey Wright and Benecio del Toro, who lead their segments with ease. Anderson proves yet again why he is one of the most creative minds that Hollywood has to offer thanks to his ability to create whimsy and mix it with deadpan comedy and points of drama, making a film that is filled with excellent balance.

What did you think of The French Dispatch. Let me know in the comments below!

The French Dispatch is now available to watch on Disney+!

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London Film Festival 2021: Wheel of Fortune and Fantasy

It’s an accomplishment for any filmmaker to be able to showcase their work at London Film Festival; however, for Japanese director Ryusuke Hamaguchi, he has two films showing at this year’s festival. With his adaptation of Drive My Car sweeping awards at Cannes Film Festival (you can read my review here), his second film Wheel of Fortune and Fantasy took the Silver Bear Award at this year’s Berlin Film Festival meaning that we are gifted with two exceptional films from the visionary filmmaker. The latter is an anthology film split into three segments centred on women and their lives in modern day Japan. The results are a fantastic glimpse into Hamaguchi’s solid character work and his ability to bring out the magic out of everyday life.

As expected, Hamaguchi’s direction and writing is seamless and organic, proving that he is a filmmaker who isn’t going anywhere. His use of long takes filled with dialogue between two characters can be intense and slow paced but works perfectly for the kind of films he wants to make. His ability to get into the characters’ heads and bring forth their motives in a way that is completely natural while making it seem effortless is exactly why he has been sweeping the awards panels off their feet. Showing the magic in everyday life may seem boring but what Hamaguchi does is create characters who are completely relatable whilst also allowing the audience to build their own interpretations and emotions on top of it. Wheel of Fortune and Fantasy proves his talent for writing well-rounded female characters who have agency and are unaware of their sexuality without objectifying them at any point. He isn’t afraid to be daring in the topics he explores and seems to allow the characters to develop in an unpredictable way.

The film’s first segment is titled Magic (or Something Less Assuring) which follows friends Meiko (Kotone Furukawa) and Tsugumi (Hyunri) as they leave work for the day. The latter is discussing how she has found someone she really likes called Kazuaki (Ayumu Nakajima) who just so happens to be the former’s ex-boyfriend although she doesn’t know this. What follows is an intricate love triangle as Meiko realises she is still in love with Kazuaki and tries to win him back before he gets serious with Tsugami. Furukawa’s performance as Meiko, in particular, is unsettling as we see her discomfort as she realises the situation that has found herself in. Meiko’s encounter with Kazuaki shortly after leaving Tsugumi is gripping and unpredictable with both Furukawa and Nakajima visibly going through a whole spectrum of emotions after their relationship ended negatively two years earlier.

The second segment is titled Door Wide Open and is by far the most explicit and darkest inclusion of the three films. The film centres on Nao (Katsuki Mori) who agrees to seduce a reputable professor, Segawa (Kiyohiko Shibukawa) after the latter humiliates her partner, Sasaki (Shouma Kai), a student who has failed his class. Like the first segment, it appears that there are three pieces of the puzzle moving and this one dives even deeper in terms of its complexity. Segawa is a renowned author and Nao’s method of seducing him is reciting an extract from his book in which there is an extremely detailed sexual encounter between characters. Never taking her eyes off Segawa whilst reading, we see the discomfort in both characters as the tensions rises in conjunction with the sexual tension from the excerpt. Mori’s performance is unapologetically fearless and completely gripping as we see the shift in control change constantly between Nao and Segawa. There are also discussions to be had of the gender constructs in this segment as well. Having a female character read the relentless sexual description of the writing from the male professor gives the former power of the situation, taking it from the professor in a bid to humilate him by using his own words against him.

The final segment is entitled Once Again and follows Moka (Fusako Urabe) who meets Nana (Aoba Kawai) at a train station believing that she was once her first love. Nana is flustered by Moka’s approach and is equally happy to see her. However, it later emerges that Nana isn’t who Moka thought she was and both women had mistakenly thought that the other was someone else entirely. The situation gives a chance for both characters to divulge into past traumas and find an outlet for its release to the other, despite being perfect strangers. Urabe and Kawai work fantastically together and we really feel their genuine connection as the events of the film develop. Even when it turns out that the characters don’t know each other, it doesn’t seem to matter and allows us to delve deeper into their backstories.

The only connecting thread that weaves these stories together is the music which is a light classical number by German composer Robert Schumann. The score is simple and romantic in style, fitting the themes of love perfectly as each woman shows their love in a different way. Even in the scenarios where there are dark undertones or an unhappy ending, the music serves to bring the audience back into the narrative of the film as an anthology and helps to move them along to the next segment. It’s a simple yet effective way of ensuring that these segments have some form of connection and helps to avoid alienating them as three completely separate films. After all, they do serve as a consistent triptych of the female perspective in modern day Tokyo which gives a basic common ground between them.

Overall, Wheel of Fortune and Fantasy may be a jarring view for some due to its anthological narrative but it is a testament to Hamaguchi’s skill as a writer and director that he is able to work with so many different kinds of characters and somehow find the humanity in them, showing that not everything is in black and white or good and evil. With each segment lasting 40 minutes each, we are really able to delve deep into the characters’ psyches and are able to explore their perspective of the world in a short amount of time.

Wheel of Fortune and Fantasy is showing at this year’s London Film Festival!

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Education (2020)

Rounding off the incredible Small Axe series is Education. Veering away from police discrimination completely and focusing on the mistreatment of black children by the education system. Following schoolboy Kingsley Smith (Kenyah Sandy) who is sent to a school for the “educationally subnormal”, a grotesque term used throughout for children who struggle academically. Kingsley cannot read but is clearly very bright and has been sent to this school due to racial profiling and the lack of support provided for non-white children in mainstream education. Despite the promise of receiving one on one care and a class tailored to his specific needs, what Kingsley enters is a school that deprives its students of any lessons and any respect. The children are neglected with the assumption that they will enter “menial” jobs afterwards that don’t require a formal education. As Kingsley’s mum, Agnes (Sharlene Whyte) begins to question whether her son is really benefitting from his new classes. Along with a local politician, Agnes assists in helping bring the issues of the education system to light.

McQueen’s decision to conclude Small Axe with Education is an interesting one. There have been references to educational discrimination through Small Axe for example at the start of Red, White and Blue when we see a young Leroy Logan forced to undergo a stop and search right outside his school by police whilst wearing his uniform and there are references to Alex’s school performance in Alex Wheatle. This makes the thread into Education flow really nicely and finish the series showing that the problems lie within all systems. Starting with Kingsley at a planetarium with his class as they sit in a presentation on Andromeda which is then contrasted soon after with an English lesson in which he struggles to read an excerpt from Of Mice and Men, it’s clear that Kingsley is a capable student but needs more support from his teachers. Rather than offer more help and guidance, his English teacher chastises him in the middle of class and turns his struggle into a laughing stock. Immediately, we are introduced to the prejudice faced as Kingsley finds it hard to express to his mum why it is that he is being picked on constantly.

McQueen has a knack for picking great newcomers. As Kingsley, Kenyah Sandy is a perfect fit as he conveys that conflict that the character has perfectly. Wanting to please his mum and do well in school, Kingsley starts to miss mainstream education when it’s evident that his new school does not have his best interests at heart. With the help of his mum, sister and a Saturday school set up to help the children who aren’t being supported, Kingsley is given the opportunities that he should have been afforded. Watching the final scene in which he reads aloud to his family is one of great relief and emotion as Kingsley pushes through the doubts of those in the educational system who has wronged him. The maturity that Sandy brings is beyond his years and yet he acts as if he has a full understanding of the gravity of what has gone on.

A lot of the politics within the film is discussed among the adult characters and it is Sharlene Whyte as Kingsley’s mum, Agnes, is my personal highlight. Managing to juggle two jobs and her children’s wellbeing, Agnes may seem dismissive of Kingsley’s objections initially but grows to doubt the education system and their intentions. Whyte’s portrayal of Agnes is subtle and laid in such realism that you feel her struggle and horror as she learns of the racial bias that is happening to towards the black community. The scene in which she is at the group meeting she says few words but Whyte conveys a lot more through her expressions that words aren’t needed.

It goes without saying that watching Small Axe has been consistently thought-provoking and educational as well as captivating through McQueen’s impeccable talent for storytelling. I have said before how he is one of the most exciting filmmakers working in the industry today and releasing a feature film anthology series was a bold move that has paid off. Much like his initial career as an artist, McQueen is constantly pushing the envelope and developing new ways to convey a story through film in different ways. This is what is so exciting and it feels revolutionary to watch Small Axe. The brilliance of all five films, and Education in particular, is that they retain their impact even when watched on the.small screen which shows the mastery behind the writing and directing.

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

Education is showing along with the rest of the Small Axe films on BBC iPlayer!

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Alex Wheatle (2020)

The penultimate film in Steve McQueen’s Small Axe anthology series is named after a prominent figure of the Brixton riots that took place in 1981. Alex Wheatle sees the titular character (Sheyi Cole) serving a sentence after partaking in the riots and connecting with his roommate, Simeon (Robbie Gee) as he shares his story from his troubled upbringing in the system to adulthood where he starts to learn his roots and how that fits into the modern day society where the police are constantly mistreating minorities on a regular basis. Just like the other films in this series, Alex Wheatle is another unflinching look into the ordinary life of a black man.

Like the previous installment, Red, White and Blue, Alex Wheatley decides to chronicle a specific person’s experience rather than an event as found in the first two films. Where Alex Wheatle differs from its predecessor is it goes into detail of how racial prejudice is evident in the social services system. From the moment he is put in social services’ care, it is clear that Alex has entered a system that doesn’t care for him. From the constant physical abuse and daily beratement, Alex’s struggle to fit in at school and have a healthy home life is basically impossible from the outset. McQueen shifts between the present and past so we can see the parallels between Alex’s child and adulthood even if the events are different.

Sheyi Cole is fantastic as Alex, playing him from his teenage years to adulthood. With the film itself being named after his character and being onscreen for the majority of the time, it could be easy for a newcomer to struggle to remain consistently captivating but Cole does a brilliant job. From Alex’s time during childhood in a foster home where he was abused and picked on constantly by the matron because he is black to his time among the black community as an adult where he is an outcast as he doesn’t acknowledge his blackness or know his roots. Alex goes on a journey to find his identity and over time he is shaped by the people around him becoming more comfortable in himself and aware the political climate.

As Alex’s cell mate, Simeon, Robbie Gee also pulls off a flawless performance. Simeon acts as Alex’s polar opposite. A Rastafari who is completely aware of himself and his identity, Simeon encourages Alex to read a wide range of literature to better himself when it comes to his views on the world. Acting as the inspiration for Alex to become a writer, his presence is so integral to the plot and development of Alex’s character. He is also the catalyst to Alex’s built up tension and anger as his ongoing hunger strike leads to a bout of diarrhea which causes Alex to lash out due to the smell. Naturally Simeon manages to calm Alex and ask him to share his story. Simeon is a character created from Wheatle’s memories as he acted as a consultant for the script meaning that you get the full story from his perspective.

Reaching into another area of London, Alex Wheatle shows that these communities are connected by the thread of racism and prejudice that is thrust upon them by systems that are meant to serve and protect them. Focusing on the person rather than the riots also made sure that the audience fixation remains on Wheatle whereas in Mangrove, the actual protest is such an important part of showcasing the injustice the whole group faced. Another interesting choice by McQueen was not immediately divulging what Alex’s crime actually was so we can naturally see the events of Alex’s life unfold without actually knowing what to expect except for the fact that he ends up in prison.

What did you think of Alex Wheatle? Let me know in comments below!

Alex Wheatle and the rest of the Small Axe films are available to watch on BBC iPlayer now!

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Red, White and Blue (2020)

The third installment of Steve McQueen’s revolutionary Small Axe anthology series is Red, White and Blue chronicling the career of Leroy Logan, a forensic scientist turned police officer who aims to tackle racism in the system by encouraging more non-white people to join the force. His goal to fix the system does not come without challenges as his colleagues are openly racist and his own friends and family look down on him for joining the force. Whereas the previous two films in the series have looked at how black people were treated from their side explicitly and what Red, White and Blue does is show how black people were treated from within the police force itself.

Just as McQueen explores the racism at the hands of the police in the previous two films, we get an even more intense and first-hand perspective through PC Logan’s point of view. Despite excelling as an officer, his unwillingness to accept the racist treatment handed out by his colleagues costs him promotions and eventually leads to endangerment when they ignore Logan’s pleas for backup when he is pursuing and attacked by an armed suspect. Whether he is part of the force or not, Logan is treated as a suspect despite having not committed any crimes just as he was searched in his school uniform as a child. McQueen only covers the beginning of PC Logan’s career rather than presenting a full span of his incredible achievements but it works because we really get into the brutalityand prejudice that he faced when he initially joined. If McQueen had decided to do a full blown biopic then maybe certain significant events would have been overlooked which would undermine PC Logan’s struggle to have his voice heard by a force that historically doesn’t wish to hear it.

John Boyega’s lead performance as PC Leroy Logan is fantastically layered. Aiming to change the system from the inside out, Leroy experience racial attacks from his white colleagues at the force and hatred from the black community who view him as a traitor for joining the police. With Boyega being a huge advocate for the anti-racist movement, it is a clear match in heaven for McQueen to work with him. Honestly, it’s a collaboration I have been wanting for years and it paid off. Boyega is such a charismatic actor that his success in the Star Wars films can make people overlook his range but he is stellar and carries the film on his shoulders. Showcasing the building frustration and conflict that PC Logan felt as he was attacked from both the police who believe he should accept their racism and those in the black community who view him as a traitor. The scene in which he confronts his colleagues in the locker room after discovering abuse scrawled on his locker is hugely intense and marks a turning point in which Logan becomes more active and vocal about his goal to end racism within the force.

The scene in which PC Logan pursues the armed suspect is an amazingly shot scene. A single running shot showing Logan making his way through an industrial printing factory floor by himself highlights the problems that he faced perfectly. He apprehends the suspect alone after requesting backup numerous times but does not receive the support of his fellow officers. Whereas Logan is indirectly punished for speaking out against their racism, the other officers do not face punishment for abandoning him in the field despite being a street away. This scene hammers home how Logan had to build himself up without the help and support given to his white coworkers. It’s a scene of little dialogue except when Logan is desperately asking for help. Still he pushes forward and the tension builds and builds until he is attacked and manages to arrest the perpetrator.

Red, White and Blue may not have received as much coverage as Mangrove and Lovers Rock have but it deserves a viewing just as much. Telling the story of a man who introduced important change within the police force and encouraged new rules for how people of colour were treated by the police is something that has been grossly overlooked by the media at whole. Steve McQueen is telling these stories now so other people can take inspiration from their struggles and achievements and make their own changes.

What did you think of Red, White and Blue? Let me know in the comments below!

Red, White and Blue is available to view on BBC iPlayer now!

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Small Axe (2020)

One of the most exciting releases of the year comes in the form of Steve McQueen’s Small Axe anthology series. Consisting of five films that explore the racial tensions during the late twentieth century in the West Indies community London, Small Axe is an achievement worthy of much awards discussion. I have written on McQueen’s previous feature films which you can read here. With Small Axe, McQueen only proves further why he is one of the most exciting and fearless directors working today.

Since their release, I have been working my way through the Small Axe reviews and will link them below for easiness. Having them all in this post will make the website look a lot tidier so for my thoughts on each individual film, simply click on the film names below!

Here are the links to my reviews for each of the Small Axe films:

Mangrove

Lovers Rock

Red, White and Blue

Alex Wheatle

Education

What did you think of the Small Axe series? Let me know in the comments below!

All films in the Small Axe series are available to view on BBC iPlayer!

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London Film Festival 2020: Mangrove

The big opener for this year’s London Film Festival comes in the form of Mangrove, directed and co-written by the incredible Steve McQueen. Mangrove is the first episode of McQueen’s Small Axe miniseries due to premiere on BBC next month. The series explores racism in Britain throughout the years with all episodes based on true stories. McQueen is one of my favourite directors so Mangrove was one of my must-sees of this year’s festival. I have previously written about McQueen’s filmography which you can read here. Mangrove tells the story of the titular restaurant, a black owned business that is constantly harassed and raided by the police from the moment it opens. The Mangrove becomes a safe haven for people of colour to be and this creates concern within the corrupt police system, particularly at the hands of PC Frank Pulley, who seems determined beyond reason to bring the Mangrove to the ground.

Shaun Parkes’ leading performance of Frank Crichlow is captivating and powerful in his aim to bring forth the struggle. All Frank wants to do is run a business but the police are unwilling to allow this to happen and will do anything to shut the Mangrove down. Initially Frank is reluctant to use the Black Panthers’ assistance as he would prefer to avoid politics but he begins to understand that the Mangrove itself is political and he can’t avoid it no matter how hard he tries. What transpires is the coming together of the black community in an effort to exploit the brutality of the police by organising a protest that begins at the Mangrove establishment. Parkes’ portrayal of Frank is moving and poignant in these uncertain times. As minorities are persecuted and stopped in the street for no reason or than the colour of their skin, Frank’s story is just as important now as it was then. McQueen’s parallels with the 1970s is clear and makes Mangrove a protest piece in itself.

Letitia Wright is stunning as Altheia Jones-LaCointe, a prominent figure in the British Black Panthers movement. As expected, she is a strong woman who seeks equality for minorities. We first see her persuading factory workers to join a union so their voices can be heard. Wright provides a powerhouse performance and this is perfectly shown in the scene when she gives her speech at the Mangrove protest. She is riveting and makes her presence known, a real force to be reckoned with. Wright’s career has gone from strength to strength in recent years and it’s brilliant to see her collaborate with Steve McQueen. She is perfectly cast as Altheia and brings that passion and fire required for the role.

The supporting cast also do a phenomenal job led by Malachi Kirby who plays activist, Darcus Howe and Sam Spruell who plays Constable Frank Pulley, an instigator of the racism towards the black community. Alex Jennings also does a great job as the upper class and uptight Judge Edward Clarke, whose bias towards the police is soon shattered as the corruption begins to seep through during the trial. The details put into everyone’s character becomes distinct and identifiable as the Mangrove Nine go to trial.

McQueen’s handling of the protest scene is done perfectly. To reflect its chaotic nature, McQueen makes use of multiple observational shots from all kinds of angles, including the observation slot in the police car. When Altheia is delivering her speech, a part of the shot centres on her shadow on a nearby car in the rain. It’s the kind of shot you would see in a cinematic feature but it works extremely well here. The power of the protesters against the police is built up and soon enough the latter begins to fight back and take away placards and signs. The brutally of the police here is delivered in a fully real way in true McQueen fashion, unflinching and unapologetic.

Despite being made for TV, McQueen does a fantastic job of making Mangrove feel like a cinematic experience. As I have previously said, he has never put a foot wrong and the passion he has for this project is evident. The detail in character development to song choices and the perfectly balanced script allows Mangrove to show the people behind the trial and the importance of their fight against the police.

Mangrove will air in the United Kingdom on BBC One on the 15th November.