We’ve finally reached the end of my Cardiff Animation Festival 2026 coverage and I want to begin by saying a huge huge thank you to Lauren and the team for hosting yet another amazing and successful festival and allowing me to cover press.
As an avid animation fan, I am always amazed by the skill and craftsmanship that goes into making a film and CAF did not disappoint. It was great to speak with some of the filmmakers and talk to them about their processes and inspiration.
The final slot of the festival is the awards show and, this year, it was hosted by film critic, Ali Plumb, who did a wonderful job of MC’ing and engaging with the audience.
In this roundup, I’ve listed the winners from the Festival’s award show and will conclude with my top 3 films from the festival.
Ali Plumb hosting the awards show
CAF 2026 Award Winners
Here are the winners from the CAF 2026 awards show:
Best Micro Short
Boglach directed by Sarah Benson
Young Jury Award
Lost Marble – The Shortcut directed by Laura Quinn Geyer
Best Student Short
Foreign Bodies directed by Lysander Wong
Student Special Mention
Pear Garden directed by Shadab Shayegan
Best Short Film
And Granny Would Dance directed by Maryam Mohajer
Special Mention
A Night at the Rest Area directed by Saki Muramoto
Audience Award
The Undying Pain of Existence directed by Oscar Jacobson
CAF’s adorable mascot, Dotty, and the the beautiful puppet from Chloe Herbert’s Aster.
Small Pics CAF 2026 Picks
Top Pick
Boglach directed by Sarah Benson
Special Mentions
PASALUBONG! directed by Sophia Uy
Pear Garden directed by Shadab Shayegan
That concludes my CAF 2026 write ups. What a fantastic year filled with talented filmmakers from all over the globe.
Well done to the team at CAF for another successful year!
Malcolm X is a revolutionary piece of cinema directed by one of the most prominent visionaries in film history. Often regarded as one of Spike Lee’s best outputs, the film follows the life of African American activist, Malcolm X (Denzel Washington) and chronicles his rise from turbulent childhood to one of the most prominent human rights activists in history. Malcolm X provides insight into both the personal and professional life of its subject, with director Spike Lee leaving no stone unturned.
It is clear that Malcolm X is a passion project for director Spike Lee. His admiration and determination to bring justice to Malcolm X’s story is evident from the very first shot as we see an American flag burn against a backdrop of historical and contemporary racial practices until the flag has formed an X shape. What makes Lee such a perfect visionary for this film is his fearlessness. Much like Malcolm X himself, Lee has always used his platform to talk about race relations and black empowerment. Through his films, he has given us decades of fully-fleshed characters, including those played by him (Mars Blackmon in She’s Gotta Have It for example). These characters are a stark contrast to the historical racism in cinema where African American characters are reduced to dangerous stereotypes. Lee also cowrote the screenplay with Arnold Perl basing the script on The Autobiographyof Malcolm X by Malcolm XandAlex Haley. Incorporating Lee’s signature fast-paced dialogue and reluctance to rest, we are instantly thrust into Malcolm’s world.
In a career that has spanned decades and seen huge range, Denzel Washington hits his peak as the titular character. His portrayal of Malcolm X is vast and layered. Washington embodies the fight and struggle Malcolm X faces throughout his life. Biopics run the risk of becoming Oscar bait with insincere performances that exist solely to win awards. This is not the case with Malcolm X. There is clear passion and heart from the cast and crew which evokes in every minute. The film follows Malcolm X almost exclusively making it an intense and reflective performance. Washington proves himself to be among the greats with his excellent turn.
Angela Bassett is also excellent as Betty Shabazz, later known as Betty X. Bassett can always be relied on to bring a strong and subtle performance. As Malcolm’s public appearances are proving to be popular and controversial, Betty is there as an intellectual and emotional anchor. Commanding the screen, Bassett brings a performance that allows us to see Malcolm’s personal side.
The film has a stellar supporting cast which includes Spike Lee in a delightful turn playing Malcolm’s friend, Shorty. Among the highlights in support are Delroy Lindo and Giancarlo Esposito who are known for their collaborations with Lee. Playing West Indian Archie and Talmadge X Hayer, respectively, these performances are hugely significant to Malcolm’s lifestory. Lindo is fantastic as a gangster who mentors Malcolm as a young man while Esposito is chilling as one of the men who assassinated Malcolm.
With the 4K UHD release, it’s hugely important to discuss the cinematography by Ernest Dickerson. A testament to Dickerson’s work is how refined and elegant the use of lighting is, especially in the first half of the film. The audience is aware of a wider world beyond Malcolm and yet the camera seems intensely transfixed on him. This means the audience is truly seeing the world through Malcolm’s eyes.
Malcolm X marks the second collaboration with Terence Blanchard who provides an exceptional score. Much like the film itself, the music provides a constant backdrop filled with jazz-infused pieces. Blanchard’s use of trumpet echoes the yearning and struggle Malcolm X is faced with. Most of the pieces are tinged with sadness, as though Blanchard is foreshadowing the inevitable outcome. From the impactful “Opening Credits” to the tender choral “Black & White”, Blanchard’s soundtrack for Malcolm X matches the intensity of Lee’s direction.
Malcolm X could arguably be seen as Spike Lee’s magnum opus. Spanning 202 minutes, the film is a departure from Lee’s previous offerings such as Do the Right Thing. Boasting his largest budget to that point, Malcolm X showed that Lee was more than capable of handling an epic feature that allowed him to expand on his signature aesthetic and writing. What makes Spike Lee such an effective filmmaker is not only his distinct style and approach to directing, but the fearlessness in his artistry. Simply put, Lee has earned his place as one of the most important directors in cinema history.
Malcolm X 4KUHD is available to buy 29th July 2024.
Marking Hayao Miyazaki’s first film in a decade, The Boy and the Heron was my most anticipated film of 2023. The film follows Mahito Maki, a young boy who must deal with the loss of his mother, Hisako, in a hospital fire during World War II. As his father finds love with Hisako’s sister Natsuko, Mahito journeys through a literal and figurative path of grief and acceptance with the assistance of the mysterious Grey Heron.
Written and directed by Hayao Miyazaki, The Boy and the Heron is a stunning piece of cinema. It feels big and grand, harking back to previous surreal epics such as Spirited Away and Howl’s Moving Castle. While the film may be maximalist in its approach, the tone draws more parallels to The Wind Rises due to its more serious themes and wartime context. The film feels like Miyazaki taking a final bow after changing the world of animation, and cinema itself, forever.
The film is distinctly Miyazaki, filled with expressive characters, colourful scenery and adorable creatures. What makes The Boy and the Heron standout in particular is how unflinching the character design is. The Grey Heron becomes truly grotesque during his transformation and each of these sequences is filled with intricate details. There are also plenty of Easter eggs throughout the film relating to Miyazaki’s previous films, especially Spirited Away and Howl’s Moving Castle.
The characters are brilliantly written. Mahito serves as the audience’s way into the other worlds and his confusion and curiosity is portrayed beautifully. His dynamic with the Grey Heron changes and shifts as often as yhr landscapes, keeping the film in flight and showing that internal and external struggle Mahito has. The Grey Heron is a tortured character and acts as an anti-hero. He acts as an antagonist initially as he lures Mahito into a forbidden tower by saying they will find his mother.
The main theme that is prominent throughout the film is loss and grief. These discussions are examined through the eyes of Mahito, meaning that the film delves into complex and alien emotions. From the opening scene in which Mahito’s mother perishes in the fire to the climactic scene where Natsuko is in a delivery room, we see all of Mahito’s trauma rising to the surface. There is an elemental quality to the film as Mahito’s journey sees a mesh of fire, water, earth, and air. Each holds significance as they guide him through each world until he is able to find peace.
One of the highlights as expected is Joe Hisaishi’s stellar score. How he did not receive an Academy Award nomination is truly criminal. While the music for The Boy and the Heron may not reach the heights of his previous scores, it boasts some of his best film work yet. The track “A Feather in the Dusk” is among the high points, serving as accompaniment to the conflict between Mahito and the Grey Heron while “Memories” is a melancholy piece that calls back to Mahito’s trauma of losing his mother. It feels as though Hisaishi composed the music with the mindset of Mahito’s emotions with excellent results.
The Boy and the Heron is clearly a passion project that is executed fantastically. Miyazaki’s attention to detail is second-to-none and it marks a phenomenal installment in a career that has changed the animation game forever. What makes it such an effective film is how engaged with the time and setting The Boy and the Heron is but its themes and discussions are universal and relatable. Hopefully we will see Miyazaki take to the stage victorious at the Oscars next month.
What did you think of The Boy and the Heron? Let me know in the comments below!
Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan
The Best Picture favourite going into awards season is none other than Chrostopher Nolan’s nuclear epic, Oppenheimer. Spanning the life and career of Robert J. Oppenheimer, the “Father of the Atomic Bomb”. Starring Cillian Murphy in the titular role, Oppenheimer is a three-hour insight into the work and personal life of one of the most controversial figures in modern history.
Written and directed by Christopher Nolan, Oppenheimer is based on the biography, American Prometheus by Kai Bird and Martin J. Sherwin. Nolan’s unique perspective stemmed from the writing process as the entire screenplay is written from the first-person. This exacerbates the fact that Oppenheimer provides a limited view as the titular character is in almost every scene. The film flits between key points in Oppenheimer’s life spanning his beginnings as a budding physicist to the aftermath of the nuclear bombings on Hiroshima and Nagasaki. Nolan’s direction feels controlled and focused, his passion for the project coming through in every frame.
As the titular character, it can be argued that Oppenheimer lives or dies from the Cillian Murphy performance. Murphy can always be trusted to bring a nuanced performance. His turn as Oppenheimer is so intimate and yet always holding the audience at a distance. Seeing his internal conflict between the scientific achievements and the ethics rise to the surface in the final act is gripping. The scene in which Hiroshima has been been bombed and Oppenheimer begins to envision corpses on the follow among the ruptuous applause from his colleagues is one of the best scenes in any Nolan film.
Providing a standout performance in support is Robert Downey Jr. Having dominated cinema screens for the past decade as Iron Man in Marvel Cinematic Universe, Oppenheimer may be the first project a lot of people have seen Downey Jr outside of the franchise. The performances couldn’t be more different and sees Downey Jr return to form. Playing the antagonistic Rear Admiral Lewis Strauss who is hellbent on taking Oppenheimer down, he commands every scene he is in. His scenes with Murphy are among the best in the film and it’s up there with his other phenomenal turns in films such as Chaplin and Tropic Thunder.
Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.
There are a plethora of supporting turns in the film that are impressive. Another that is garnering a lot of attention is Emily Blunt as Katherine “Kitty” Oppenheimer. One consistent critique of Nolan’s previous films are the lack of female characters. When there are female characters, they tend to be underwritten. Kitty is probably the most in-depth female character that Nolan had included in his filmography. Blunt’s performance is subtle and brilliant, especially towards the end when her anger at the government is evident following their dismissal of her husband.
The score by Ludwig Gorrenson captures in the inevitability of the bomb. Filled with dramatic crescendo and loud bombastic sounds, Gorrenson’s music becomes a dominant force during the film’s climactic scenes. The opening track “Fission” really highlights the anticipation and inevitable change in history. Gorrenson isn’t afraid to change the tone and pacing of tracks to emphasise the unpredictability and shift in dynamics and events.
The cinematography by Hoyte van Hoytema is stunning. The standout scene in the film is when the Trinity Test is carried out and this is thanks to van Hoytema’s incredible work. The focus on Oppenheimer as he waits for the results swiftly followed by blinding light marks a visual change in the film. The scenery in Oppenheimer consists largely of open spaces but there is such a pinpointed focus on the characters that it really closes the environment in towards Murphy and his performance.
Overall, Oppenheimer does have a runtime that could have been edited down ever so slightly, especially in the first act. However, it is also one of Nolan’s best films as director. His passion and knowledge on its subject piercing through every frame from beginning to end. It is a film filled to the brim with details and nuanced performances that makes it easy to see why it is garnering so much critical and commercial praise.
What did you think of Oppenheimer? Let me know in the comments below!
One of the most competitive films coming into awards season is The Holdovers. While a lot of awards talk has been surrounding Barbie and Oppenheimer, Alexander Payne’s modern fable is a Christmas classic in the making. The film follows disgruntled boarding school teacher, Paul Hunham (Paul Giamatti) who must stay at the school over the Christmas break. Stuck with a rebellious but brilliant student (Dominic Sessa) and a cook grieving her son who died in Vietnam (Da’Vine Joy Randolph), the film sees a friendship develop between these characters.
Directed by Alexander Payne from a script written by David Hemingson, The Holdovers is simple yet extraordinary. In true Payne style, we are immersed into the surroundings. The minimalism of snowy Boston and the regal halls of the boarding school give an immediate sense of space. Hemingson’s screenplay is a masterclass in writing. Providing plenty of characterisation for its three main characters, The Holdovers gives Giamatti in particular a lot to play with in a relatively short run time.
Paul Giamatti leads the film as miserable teacher, Paul Hunham. The role was written with Giamatti in mind and it’s easy to see why. Hunham’s arc from cynical disciplinarian to vulnerable rule-breaker is not a role that just anyone can play. Having previously been snubbed for his leading performance in Sideways (another Alexander Payne film no less), Giamatti has managed to craft an incredible career playing predominantly supporting characters. This even includes an Oscar nomination for his supporting turn in Cinderella Man. However, it is undoubtedly his magnificent turn in The Holdovers that will be his crowning glory in a truly stunning career.
The most exciting breakout this award season Da’Vine Joy Randolph as Mary Lamb. Her performance is quiet, subtle, and completely heartbreaking. Her presence can be felt in each scene like a raincloud looming that is waiting to burst. The party scene in which we see Mary breakdown over the loss of her son packs an emotional punch. If Giamatti is the soul of the film, then Randolph’s is definitely the heart. It’s incredible to see such a wonderful performance sweeping various major and critic awards.
Providing an exceptional film debut is Dominic Sessa as student, Angus Tully. It’s difficult to believe that this is Sessa’s first ever role. He fits into the role of Angus fantastically, working excellently against Giamatti. It’s evident that he is having fun in the role and the bickering scenes between him and Giamatti are hysterical to watch.
One of the most striking and underrated parts of The Holdovers is the cinematography by Eigil Bryld. Bryld’s understated approach allows the natural beauty of each location to shine through. The dimly lit corridors of the boarding school allow the antiquity and traditional mindset to come to life while the snowy weather is framed in a bleak way due to the baroness of the town.
The music by Mark Orton provides a tranquil backdrop to the film. Never faltering, the music blends with the snowy scenery and exacerbates the heartwarming emotions at the core of the film. Filled with 1970s sounds, Orton does a phenomenal job of capturing the characters’ essence in each track.
Overall, The Holdovers is a Christmas classic in the making. While it may not be family-friendly, this is a feel-good film that is filled with heart-warming characters and backed with an excellent script. This marks Giamatti’s career-best performance, a stunning breakthrough for Randolph and Sessa, and outstanding direction from Payne.
What did you think of The Holdovers? Let me know in the comments!
One of the biggest cultural phenomena of 2023 was undoubtedly Greta Gerwig’s blockbuster hit, Barbie. Making up one half of Barbenheimer (Barbie and Oppenheimer), Barbie uses the iconic doll as a way to explore women, feminism, and the human condition as a whole. Starring Margot Robbie as the main Barbie, Ryan Gosling as the main Ken and a plethora of stars in support including American Ferrera and Will Ferrell, Barbie is a film for the ages.
Directed by Greta Gerwig and co-written by Gerwig and Noah Baumbach, Barbie is full of satire and isn’t afraid to poke fun at Barbie’s manufacturer, Mattel. Gerwig can simply do no wrong from the Powell and Pressburger-inspired set design to the bonkers musical number in the film’s climactic final act. Barbie is a film that feels timely in its messaging and themes and timeless thanks to its various nods and tributes to films past.
Margot Robbie is perfect casting as Barbie. Time and time again, she has subverted expectations, providing brilliantly layered performances. From her turn as Tonya Harding in I, Tonya to her starry-eyed performance as Sharon Tate in Once Upon a Time in Hollywood, Robbie isn’t afraid to try something different and new. The scene in which she encounters Ruth Handler (Rhea Perlman) near the end of the film sees Barbie spanning a plethora of emotions as she sees what it means to be human.
Ryan Gosling provides a hilarious and memorable performances that is one for the ages. Where Barbie is quickly objectified by society in the real world, Ken realises that a patriarchal society means he can take control of Barbieland with the other Kens. Gosling is on another level in this film. It’s clear he is having fun in the role and he isn’t afraid to truly go for it. The rivalry between Gosling’s Ken and Simu Liu’s Rival Ken is hysterical to watch as they vie for Margot’s Barbie’s attention.
Providing the film’s most iconic and pivotal moment is America Ferrera as Mattel employee, Gloria. Serving as Barbie’s way in to understanding how the real world works, Ferrera’s performance is grounded and reminiscent of what it’s like to be a 21st century woman. The monologue scene is delivered perfectly, encapsulating the frustrations of what society expects from women. Ferrera and Robbie play off each other excellently, finding the common ground between them.
The cinematography by Rodrigo Prieto is plastic and fantastic, making use of the Barbie aesthetic. The bright pinks and pastels bounce off the screen deliciously, contrasting greatly with the imperfections of the real world. Prieto has had an excellent year working on Barbie and Killers of the Flower Moon. His work on Barbie has helped make it one of the most visually recognisable films of the year.
The music by Mark Ronson and Andrew Wyatt plays on the fun, plastic world of Barbieland. It immediately immerses you and sucks you into the uplifting atmosphere. The soundtrack is filled with ecletic dance tracks from the likes of Dua Lipa and Charli XCX. However, the standout tracks are “I’m Just Ken” sang by Ryan Gosling and the emotional ballad “What Was I Made For?” by Billie Eilish. The latter is most likely to give Eilish and cowriter FINNEAS their second Oscars and it’s well-deserved.
Barbie is a delight from the opening tribute to Stanley Kubrick’s 2001: A Space Odyssey to the concluding one-liner. It’s a film that reveals more each watch. The dazzling visuals, top-notch acting, and impeccable script make Barbie one for the ages.
What did you think of Barbie? Let me know in the comments below!
Past Lives is a beautiful film that presents two intricate character studies. Bringing the minimalist approach, it is a film that speaks volumes and weaves its non-linear narrative to create a heart-wrenching story of identity, love, and the loss of love. The film follows Nora Moon, a New-York based playwright who moved to Toronto from Korea as a child. By chance, she sees a comment on Facebook from childhood friend from Korea, Hae Sung, who is looking for her. They reconnect and the film follows the dybamics between the two as well as Nora’s husband, Arthur. Starring Greta Lee as Nora, John Magaro as her husband, Arthur, and Teo Yoo as childhood friend, Hae Sung, Past Lives is captivating from its opening shot.
Celine Song is undoubtedly the breakthrough writer and director of the year and it’s easy to see why. The film serves as a character study for Nora’s character as we see the entire film from her perspective. With lingering shots and thoughtful dialogue, Past Lives is a film that isn’t afraid to take its time. The screenplay is beautifully laid out following a non-linear structure as we begin to piece Nora’s life together like a puzzle. Song’s direction is equally intense as there is a significant focus on the characters, showcasing a film that looks sleek and excellent whilst also backing it up with plenty of substance.
Greta Lee provides one of the best performances of the year as Nora. Lee has been making her mark in shows like The Morning Show and Russian Doll, but here she is given the lead performance and what a breakthrough it is. Having won the Best Actress Award at Sundance Film Festival earlier this year, there was a lot of anticipation. Her turn as Nora is a beautifully subtle character study. Nora grew up in Seoul, South Korea and moved to Canada with her family as a child. We begin to learn about her experience as a Korean-immigrant and her perspective as someone who has spent of their life in North America.
The supporting turns by Teo Yoo and John Magaro are both fantastic, especially Yoo playing Nora’s childhood friend, Hae Sung. Yoo captures the downward spiral that Hae finds himself in. As he reconnects with Nora, it’s clear that he feels an inkling of hope. It’s as though Nora is a missing piece in his life. In Nora, he sees a life that he aspires to live as his own hasn’t panned out in the way he had hoped. The scenes between Yoo and Lee are beautifully to watch from their initial awkward encounter to their melancholy final scene. Magaro’s performance as Arthur is equally emotional as he sees Nora begin to reconnect with her Korean roots and has to watch as her chemistry with Hae Sung begins to spark.
The transcendent score by Christopher Bear and Daniel Rossen plays into the subtleties. Rather than drowning the visuals, the music works as an accompaniment and works to serve the performances. We feel the tension rising between Nora and Hae Sung in tracks such as “An Immigrant and a Tourist”. There is a whimsical element to the arrangements that feeds into the childhood aspects of the film. The music connects adult Nora and young Nora and the consistent tones serve as a connective thread to her character.
The cinematography by Shabier Kirchner makes Past Lives such a layered film. The wide shots showcase how small Nora is against the city backdrops whilst also remaining incredibly intense and personal to her perspective. The use of lighting in the opening scene quite literally places a spotlight onto the three characters as they are immersed in their own little bubble. Kirchner’s work makes Past Lives so individual to Nora’s perspective while also remaining universal and relatable thanks to these contrasts. The minimalist approach is captivating and makes it one of the most beautiful-looking films of the year.
While it may seem simplistic on the surface, Past Lives is one that allows the emotions and characters to grow gradually. We feel the dynamics shift and change as we learn more about Nora and Hae Sung’s past in Korea. There is a lot to be gained from this film and it whole-heartedly deserves repeat viewings. Past Lives will be looked upon as a classic in years to come.
What did you think of Past Lives? Let me know in the comments below!
Men is one of most anticipated horror films released this year as it sees Alex Garland back on the big screen as his previous film, Annihilation was a Netflix film. The film follows Harper, a woman who is grieving the recent loss of her husband, James (Paapa Essiedu). She ventures to the small village of Cotson and stays in a large house in order to take some time to herself and heal following her ordeal. As she spends more time in the village and encounters the (predominantly male) locals (all played by Rory Kinnear), everything is not as it seems. The film is a folk horror and feels as though it would fit nicely alongside a double bill of Ben Wheatley’s Kill List.
The film is both written and directed by Alex Garland, and it’s safe to say that this is one of the most original films of the year. While Men may not be flawless throughout, it does pose some intriguing ideas and concepts that are rarely discussed in film, especially the horror genre. The main themes are gender politics and Garland’s use of one actor playing the male residents in the village is a brilliant move as it shows the danger of men’s treatment of women and how connected it is, even though it shows itself in different ways. However, there is no denying that this story may have been better served if it was told from a female perspective, whether that is through a female director or a co-writer. This is because it feels as though there is something missing from the script, especially at the end of the film, and a female perspective may have rounded things off nicely. Garland’s direction is as striking and visceral as always, with a particular focus on anatomy and autonomy. The male body is shown explicitly throughout, while the female body is not, subverting the usual trope that we are accustomed to in film.
Leading the film is Jessie Buckley as Harper, who shows why she is one of the most in-demand actresses working today. What makes Buckley such a fantastic actress is how experimental she is with the roles that she takes. Whether she is starring in something more mainstream such as The Lost Daughter (which earned her an Oscar nomination earlier this year), or something more experimental like Charlie Kaufman’s I’m Thinking of Ending Things, Buckley has a strong presence and is immediately gripping, captivating audiences every time she is onscreen. This is no different in Men as she drives the film onward and showcases plenty of star quality despite the “smallness” of the film’s cast and setting. While the film may suffer in terms of its story and themes, Buckley’s performance is nothing short of phenomenal as she breathes life into the character, providing plenty of depth into Harper and bringing lots of strength into the role.
The supporting cast is very small and is led by Rory Kinnear who takes up most of the space as landlord, Geoffrey and the other Men in the village. Kinnear’s role is to represent men and the various privileges that men have through a variety of characters. Leading these characters is landlord, Geoffrey, who owns the house that Harper is staying in. From the moment he appears, Geoffrey’s privilege is loud and clear as he exudes the tropes associated with the middle and upper classes, while also remaining ignorant of the dangers that befall women on a regular basis. What makes Kinnear so effective in the various roles is how committed he is to each character.
As expected from an Alex Garland film, the cinematography is especially striking. Garland collaborates yet again with Rob Hardy, who makes use of some wonderful shots. The scene where Harper is in the tunnel is simple, yet the way Hardy shoots this and makes use of the contrast between light and shadow is brilliant. Hardy manages to capture the extraordinary in everyday life, while making use of the limited locations. He knows when to make the village seem vast and large, and when to make it feel incredibly claustrophobic.
A key part of any folk horror film is the music and Men is no exception. The score composed by Ben Salisbury and Geoff Barrow not only provides many trademarks associated with folk horror scores, but it actively serves the plot. The scene in which Harper ventures into a tunnel and begins to sing serves as the basis for a choral track that is played throughout the rest of the film to exemplify her inner torment and struggles, especially as her life is in danger. The way the score is edited and mixed in with the film is a masterclass in how to make the score relevant to the plot, while also contributing to the film as a sensory experience.
Men is another example of why Alex Garland is one of the most original filmmakers working in horror. While this film may feel muddled in terms of its discussions and themes, it boasts strong direction and excellent performances, especially from Buckley who shows that she is one of the best actresses working today. It’s a film that deserves more than one viewing because of how detailed every moment is, which could be why it has been receiving so many mixed reviews.
What did you think of Men? Let me know in the comments below!
One of the best films to come out of this year’s awards season is Pedro Almodóvar’s latest feature, Parallel Mothers which sees him reunite with Penélope Cruz for the seventh time. The film follows photographer, Janis (Cruz) and her parallel experiences of motherhood with teenage mother, Ana (Milena Smit). What follows is a series of event that are unpredictable as the main characters lives start out the same, but veer off into different directions. Receiving two Oscar nominations for Cruz’s lead performance and Alberto Iglesias’ magnetic score, Parallel Mothers is a film that sees Almodóvar at his best. The film opened the Venice Film Festival where Cruz was awarded the Volpi Cup for Best Actress.
The film is written and directed by Pedro Almodóvar, who showcases yet again how fearless he is as a filmmaker. What Almodóvar does so well is his ability to merge various genres, while also bringing in various layers that make his films so rewarding to watch. In Parallel Mothers, there is an ongoing plot as Janis campaigns for a local mass grave to be excavated as it contains the remains of her great-grandfather and other men who are unlawfully killed during the Spanish Civil War. This fight for freedom and local identity parallels her own struggles to find herself and her place in the world, while also serving as a plot point that drives the film forward.
Undoubtedly the beating heart in the film, Penélope Cruz provides one of 2021’s best performances as Janis. Janis is a successful photographer who lives in a beautiful apartment in the heart of Madrid. When she unexpectedly falls pregnant, her life begins to change and after encountering a teenage mother, Ana, in the hospital, she begins to see that they share more in common than she originally thought. Cruz is absolutely excellent in the film and deservedly won the Volpi Cup for Best Actress at Venice Film Festival for her troubles, as well as receiving an Oscar nomination for Best Leading Actress. Cruz and Almodóvar have proven yet again how well they work together as Cruz is able to bring forth Janis’ complexities and strength.
The role of Ana is equally important as Janis because she serves as Janis’ parallel and counterpart throughout the film. Playing Ana is Milena Smit, a relative newcomer, who does a fantastic job in the role of complex Ana, a teenage mother who struggles in her new role as caregiver. Smit works brilliantly with Cruz as the two share a natural chemistry that makes the characters’ relationship authentic and believable from beginning to end. Throughout the film, we learn more about Ana and the more tragic it becomes in terms of her background. Smit’s performance therefore becomes more rewarding as we can see that sadness and struggle that Ana has been faced with and begin to understand why she makes the decisions that she does.
When it comes to the cinematography, Almodóvar relies on his regular collaborator José Luis Alcaine. What Alcaine does so well is allowing the audience to see the world from the character’s eyes. Janis’ perspective serves as a microcosm for the experiences of motherhood, while also remaining beautiful to look at. One poignant location used throughout the film is Janis’ kitchen. The kitchen is often referred to as the “heart of the home”, and in this instance, it is the “heart of the film” as Janis has many meaningful encounters there. Alcaine makes use of the space by shooting the kitchen from various angles to make it feel claustrophobic in scenes of tension and confrontation, while using wider shots to make it feel more spacious and free when used in scenes of joy and bonding.
One of the best elements of the film is the score composed by Alberto Iglesias. Iglesias was nominated for an Oscar for his work, and it’s easy to see why. Some tracks such as “El visillo volante” feel reminiscent of classic thrillers as the fast strings feel like a quickened heartbeat. What makes the score so effective is that Iglesias knows when to keep the music quiet and subtle in the background and when to allow the music to be loud and drawn out.
What makes Almodóvar one of the best filmmakers working today is his ability to craft beautiful characters, while also bringing in a wider view of the world. In Parallel Mothers, we follow Janis and her struggle to find her own identity, while simultaneously trying to fight for a local mass grave to be dug up that is believed to contain her great-grandfather and others who were killed during the Spanish Civil War. Almodóvar always makes films that are thoughtful and gripping and Parallel Mothers is no exception. It’s a film that doesn’t need all the bells and whistles as Almodóvar allows his actors to bring forth the tension in the script with Cruz providing her best performance in years, and one that I believe she should have won the Oscar for.
What did you think of Parallel Mothers? Let me know in the comments below!
One of the most anticipated films to come out of last year’s Cannes Film Festival was Sean Baker’s latest feature, Red Rocket. The film follows Mikey Davies (Simon Rex), who has returned to his hometown of Texas City after his career in the porn industry has come to a standstill. When he meets 17-year-old Strawberry (Suzanna Son), at a local donut shop where she works, Mikey is determined to groom her into becoming the next big name in porn. Red Rocket received a standing ovation at Cannes and became a critical and commercial success as expected from Baker’s films, while establishing Baker as a true visionary who seeks to place the spotlight on outcasts and their stories, especially those who work in the sex industry. From the opening credits that show off the industrial background while NSYNC’s track “Bye Bye Bye” plays to the closing shot of Strawberry in the bikini in her doorway, Red Rocket is another brilliant entry in Baker’s filmography.
The film is directed by Sean Baker who cowrote the screenplay with writing partner, Chris Bergoch. As expected from Sean Baker’s films, Red Rocket sheds life on another perspective within the sex industry as Mikey is a former porn star who tries to settle down into “normal” life and struggles when potential employers learn of his previous profession. Like his other projects, Baker’s focus is on a select few characters and explores Mikey and Strawberry as the former has been involved in the porn industry for years before while the latter is toying with the idea of entering the industry. The film is far grittier and has even darker undertones than Tangerine and The Florida Project thanks to the controversial age gap that had many critics and moviegoers talking about as Mikey is in his 40s while Strawberry is only 17 and still in high school. However, Baker and Bergoch do not glorify Mikey or his actions, which is clear from the get-go as he turns up at his ex-wife’s house broke and bruised.
Simon Rex leads the cast as former porn star, Mikey Davies who has returned home to Texas following the downfall of his career. Providing one of the most uncomfortable yet brilliant performances of the year, Rex’s turn as Mikey has many layers that can be interpreted in different ways depending on the viewer. On the surface, he seems excited and optimistic about the future, especially after his encounter with high school senior, Strawberry, and the prospect that she could be the next big thing in the porn industry. On the other hand, Mikey’s actions can be construed as manipulative and deceptive as he will do anything to get what he wants in an extremely controlling manner. Once his gaze is fixated on Strawberry, he does everything he can to control each aspect of her life beginning with the breakup of her relationship with her high school boyfriend through to convincing her that the porn industry is the right path for her. Mikey is a deeply disturbing and flawed character, but this is what makes the film captivating to watch and it’s thanks to Rex’s fearless approach to the character. It’s no surprise that Rex won an Independent Spirit Award for his troubles.
It’s always exciting when an actor seems to breakthrough out of nowhere and one of this year’s big breakouts is Suzanna Son who is magnetic as high schooler, Strawberry. Strawberry’s character is the catalyst for the events that happen in the film as her encounter with Mikey inspires the latter to pursue a career as a talent scout in the porn industry. Red Rocket has garnered controversy due to the aforementioned age gap, but on watching the film, Mikey’s position as a controlling manipulator is evident as he puts himself in the centre of Strawberry’s life to groom her into entering the porn industry. This means that she doesn’t really have a say, even if it may seem like she does. Son fills Strawberry with plenty of ambition and dreams that seem to be bigger than the small town she lives in.
The cinematography is provided by Drew Daniels who manages to find the magic in the Texan setting. The opening shot sees Mikey return to Texas City and the industrial influence is clear as the bus makes its way past a slew of power plants. Mikey’s ex-wife’s house is by contrast, a small patch of green that sits near to these power plants, while Strawberry lives in a small town nearby that is far away from the power plants and has a beautiful lake at the bottom of her back garden. Despite the limited locations that have become signature in Sean Baker’s films, Daniels manages to show the contrast between Mikey and Strawberry’s backgrounds simply from the environments where they live.
Red Rocket will definitely prove to be uncomfortable viewing for some thanks to the large age gap between the two main characters, but Baker doesn’t necessarily glorify the age gap as Mikey is clearly a flawed and charismatic individual who has a penchant for controlling and manipulating those around him. While the film may not be on the same level as Baker’s previous effort, The Florida Project, Red Rocket is another worthy addition to his filmography and proof of his ability to tell stories that are often overlooked or ignored.
What did you think of Red Rocket? Let me know in the comments below!
