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Bugonia (2025)

Bugonia was always bound to be one of the year’s wackiest films and boy, it did not disappoint. The film follows conspiracy theorist cousins, Teddy (Jesse Plemons) and Don (Aiden Delbis), who abduct pharmaceutical CEO, Michelle (Emma Stone) in the belief she is actually an alien on a mission to destroy the human race.

The film is a remake of the 2003 South Korean film Save the Green Planet! with the script written by Will Tracy and helmed by avant garde visionary, Yorgos Lathimos. What makes Lathimos one of the most exciting filmmakers working today is the way he creates surrealist immersive worlds that never feel too far away. They are places that terrify and intrigue in equal measure, and his penchant for unknown motivations make his worlds seem claustrophobic, even when incorporating astronomical themes.

It’s wonderful to see how Jesse Plemons’ career has skyrocketed over the years. Following his Best Actor win at Cannes for Kinds of Kindness, Plemons reunites with Lathimos as Teddy, the hopeless conspiracy theorist who thinks Michelle is a member of the Andromedan race and has elected himself as a spokesperson for the human race to save the Earth. What makes Plemons’ performance so captivating is how normalised his theories have become from the offset. The audience is immediately introduced into Teddy and Don’s mundane lifestyle which is contrasted with the wealth and excess of Michelle’s. The scenes in which Teddy emotionally manipulates Don into going along with his plans are uncomfortable because we know that Teddy truly believes in what he is saying, despite the absurdity of his theories. Counteract these moments of dominance with the inferiority he feels in scenes with Michelle, who uses her influence and intellect to challenge Teddy’s arguments. Plemons really shines during the dinner scene where the tension between Teddy and Michelle reaches its boiling point and he resorts to physically attacking Michelle when it’s clear that he is losing control of the conversation.

If Teddy’s life is stunted by his inability to gain respect and followship from others, then Auxolith CEO Michelle Fuller is his polar opposite. Emma Stone’s performance is immediately commanding and unpredictable as the audience teeters between believing whether she is an alien or not. As we see Michelle’s morning routine, we can see her confidence and assertiveness. She lives a high-pressured life, but she makes it seem effortless. If Poor Things’ protagonist, Bella Baxter, gave Stone the opportunity to play a character who was on a journey of self-discover, then Bugonia is a role that sees that discovery in fruition. When captured, Michelle uses her intelligence to assess and determine weaknesses in her captors. Stone’s physical transformation for this role cannot be overlooked either. Michelle’s appearance is completely changed as the events of the film unfold, her hair is shaved off and her high-end clothes become ruined and replaced with gaudy floral dresses. What makes Michelle such an engaging character is how she has different approaches with Teddy and Don. She knows that Teddy can be thwarted by intelligence, while Don is more susceptible to emotional discussions in a bid to save her life.

Aiden Delbis makes a fantastic debut as Teddy’s cousin, Don. Delbis holds his own against Hollywood heavyweights Stone and Plemons, with his onscreen chemistry with the latter being a highlight of the film. As the conflict between Teddy and Michelle grows and Teddy delves deeper into his rabbit hole of theories, we see Don struggling as the situation becomes too much for him. It’s one thing for him to go along with the plans, but when they are put into action and things become “real”, it’s evident that he doesn’t fully align with Teddy’s point of view. Where Teddy believes that Michelle is an alien, Don’s autism makes him feel like he doesn’t belong in such an unfair and unequal world. Teddy is the only person he has and he wonders if there are extraterrestrial beings in a bid to find somewhere that will accept him. Teddy and Michelle represent the worst extremes in the world, while Don is forced to help clean up the mess. Delbis is the heart of the film and brings a real human element to the story.

The score is another triumph from Jerskin Fendrix. Much like the conflicting characters, the music flits from one extreme to the other. What starts with natural and classical sounds with nature imagery is juxtaposed with futuristic synths as the film divulges into Teddy’s radical ideas. Even when there are moments of calm visually, Fendrix’s score is on hand to maintain the suspense, keeping the audience on their toes.

Bugonia is proof of the magic formula that Lathimos and Stone have perfected. While it may not have the grandeur of Poor Things or the historical levity of The Favourite, Bugonia still concerns itself with themes found in Lathimos’ filmography. On a larger scale, it’s a film about inequality and how those at the top hold an extortionate amount of power and influence. This then trickles down to those at the bottom of the chain who find solace online and venture down unfounded and dangerous routes. What Lathimos presents us is the worst of society from the top and the bottom.

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Anatomy of a Fall (2023)

One of the most exciting inclusions in the upcoming awards discussion is Anatomy of a Fall. Winner of the Palme d’Or at the 2023 Cannes Film Festival, the film follows novelist Sandra Voyter (Sandra Hüller) who is accused of murdering her husband, Samuel (Samuel Theis). Making use of the French Alps setting, Anatomy of a Fall is a film that perfectly balances open space with a claustrophobic feel.

Directed by Justine Triet who co-wrote the screenplay Arthur Harari, Anatomy of a Fall is captivating from beginning to end. Triet’s direction has a timeless quality, drawing inspiration from classic crime dramas with the use of close-ups. The surface plot regarding Samuel and his death serves as a door into Sandra’s character and her life. Triet’s triumph at Cannes is well-deserved, becoming the third woman to take home the Palme d’Or.

Sandra Hüller provides one of the best performances of the year as Sandra. The role was written with her in mind and this is made clear beyond the name. Hüller slips into the character of Sandra seamlessly, encapsulating every essence of her being. There is a wonderful subtle quality to the performance that leaves the audience unsure as to what she is thinking. It also cannot go unnoticed that Hüller also excels in another 2023 film in Jonathan Glazer’s The Zone of Interest. Both films received top prizes at Cannes (The Zone of Interest received the Grand Prix which is often regarded as second place) and this is thanks in large part to Hüller’s ability to really connect with her characters and provide layers and layers to her performances. The argument scene between Sandra and Samuel in particular is an acting masterclass and should earn Hüller nominations across the board with potential wins.

Swann Arlaud is fantastic as Sandra’s lawyer, Vincent. Anatomy of a Fall is undoubtedly Hüller’s film but the character of Vincent is essential as we learn so much about Sandra’s background through their conversations. Arlaud’s performance feels natural and serves as the audience’s way into understanding the mechanics of both the main plot and also learning more about Sandra and her struggles.

One of the standout performances in the film is Milo Machado Graner as Sandra and Samuel’s son, Daniel. Although his role is relatively small, he does a brilliant job, especially for a child actor. Like Sandra, Daniel keep his cards close to his chest. We see him vent his emotions through piano practice and sense his frustration and upset at the situation. It’s great to see Graner receive recognition for his wonderful performance.

The cinematography by Simon Beaufils is stunning in every setting. From the open landscapes to the chalet interior, Beauflis’ work captures seemingly idyllic and scenic images in a way that subverts these qualities and feels claustrophobic and uncomfortable. The use of natural light allows the vulnerability of the characters to shine through while the openness of the mountain range contrasted with the smallness of the chalet captures the overall mood of the film.

Overall, Anatomy of a Fall is a film that commands your attention. The writing is impeccable and Hüller leaves you hanging on every word. If only France had submitted this film for the Academy Awards it would have been the frontrunner. However, it would be a surprise not to see Anatomy of a Fall included in some major categories on nomination day, especially for Sandra Hüller’a magnificent performance.

What did you think of Anatomy of a Fall? Let me know in the comments below!

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Red Rocket (2021)

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!

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Ali & Ava (2021)

British cinema is at its best when it is able to truly capture the plight of the working class. Clio Barnard’s newest film, Ali & Ava, premiered at Cannes Film Festival in 2021 and has been well received by critics and audiences alike thanks to its universal story. The film is set in Bradford and follows the titular protagonists (Adeel Akhtar and Claire Rushbrook, respectively) as they meet, and their relationship develops. Both characters have received judgement and prejudice for different reasons as Ali faces racism while Ava lives in a poorer area of town. Together, the pair find that they share a lot in common such as a passion for music and this blossoms into a relationship that develops concern from the family and friends of both parties. On top of this, the film also explores emotional challenges as Ava has to overcome the trauma of her last relationship as her deceased husband was abusive. With Akhtar and Rushbrook bringing profound performances that perfectly capture the working class experience, Ali & Ava is an uplifting tale of love.

The film is written and directed by Clio Barnard, who has managed to bring forth the complexities that come with everyday life, by interweaving brilliant characters. The plot may seem pretty simple on the surface as the two protagonists meet and fall in love, facing plenty of prejudice from their friends and family, and learning how to thrive in the face of these protests. Barnard has done a flawless job of getting to the heart of her characters and really delving deep into their development and characterisation, so we are able to truly understand Ali and Ava’s decisions. The way that Barnard captures Bradford makes it feel as though it is based in its own universe and shows that there is more to people than originally perceived.

Adeel Akhtar is fantastic as local landlord, Ali as he provides a grounded performance that has so many layers. To say that he deserves his BAFTA nomination is an understatement, as it feels as though his performance – and the film overall – has been overlooked by awarding bodies outside the UK. Ali is a person who loves music and is always doing his best to please the people in his life. When he meets Ava, it is evident that this is the first time in a while when he is able to put himself first. Akhtar brings forth Ali’s passion for life as well as the complexities that come with it. It’s an intelligent performance that becomes more resonant as the film goes on. Akhtar’s chemistry with Rushbrook is undeniable and the two of them complement each other perfectly. The scene in which they are both listening to their music is extremely beautiful, as they are sharing the same experience through a different song, which is reflective of how their lives have crossed from travelling down different paths. Akhtar’s performance is nothing short of charismatic and magnetic, while also ensuring that there is sincerity in the character, even in the lighter moments.

Playing Ava is Claire Rushbrook who does a brilliant job of delving into the character’s complicated story. Ava’s path is very different from Ali’s as her struggles have come from inside the home. She is a working class mother who endured abuse from her husband for many years before his death. Not only does Ava have to put up with the racist opinions from those in her family, but she clearly struggles to let her guard down and open her heart to another man following her trauma. It’s a shame that Rushbrook isn’t receiving award recognition for her performance. While Akhtar’s fantastic performance is more extroverted, Rushbrook’s is more subtle in that her revelations and development occur later on in the film, while also showcasing the pressures that are put on her as a mother, a friend, and a teaching assistant.

The cinematography is provided by Ole Bratt Birkeland who does a brilliant job of showcasing the magic within Bradford and the many places it is home to. The characters live in the same city but come from different walks of life and this is captured in Birkeland’s cinematography as we venture into the lovely built-up areas near the centre where Ali lives that is known to have a large South Asian community, while contrasting this with the rural working class community on the city’s outskirts where Ava lives. Bradford works as a visual microcosm that has an abundance of different communities within it and Birkeland does a brilliant job of ensuring that the film doesn’t feel claustrophobic in terms of location. The way that Birkeland heavily focuses on characters during scenes of tension is fantastic as we are able to see every movement that the actors make. The scene in which Ava’s son, Callum (Shaun Thomas), confronts his mother and Ali at a local bonfire ventures into thriller territory thanks to the unpredictability and the sharp focus that Birkeland has on the characters.

Ali & Ava is a film that feels so timely and timeless at the same time. It is a film that doesn’t need bells and whistles in its production and is proof that having a wonderful visionary at the helm with stellar performances can draw out the magic and complexity from a plot that may seem simple at first. Akhtar and Rushbrook are a fantastic team and the way that they develop the characters and showcase the lows and highs of the relationship is nuanced and resonant. Barnard’s modern day Romeo and Juliet may not have the grandeur that is expected of such a love story, but Ali & Ava is a beautiful take on the human experience.

What did you think of Ali & Ava? Let me know in the comments below!

Ali & Ava is available to view in cinemas now!

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The Worst Person in the World (2021)

One of the most successful films from 2021’a Cannes Film Festival was the Norweigian film, The Worst Person in the World. The film follows protagonist, Julie (Renate Reinsve) and runs through her life as she tries to find her passion in a world that expects too much of younger generations. The film is split into a prologue, 12 chapters and an epilogue in which we learn more about Julie and the people who are in her life. Boasting one of the best screenplays of 2021, a performance for the ages and direction that is captivating and personal, The Worst Person in the World is a film that explores societal expectations and treatment of women and generational differences while also including discussions on climate change and legacy. With so much scope in terms of themes, there is a lot that can be dissected in The World Person in the World meaning that people can take different messages and interpretations, while remaining hilarious and gripping throughout. With plenty of critical and commercial acclaim, The Worst Person in the World has been able to make a mark on awards season and has been nominated for Best Original Screenplay as well as Best International Feature Film.

The film was directed by Joachim Trier who co-wrote the script with Eskil Vogt and marks the final installment of Trier’s “Oslo Trilogy”. The direction is absolutely stunning with plenty of appreciation for the natural landscape and the city. The Worst Person in the World is very much a singular character study but has such a beautiful tapestry of characters that it helps to communicate the complexity of this one person’s life thanks to the sharpness of the script. Trier and Vogt waste no line of dialogue and ensure that each second contributes something meaningful to the overall story. This means that not only does the film have longevity and a timelessness about it, but it also makes it rewarding to watch time and time again. Trier’s direction is nothing short of spectacular with plenty of innovative decisions to showcase Oslo from Julie’s perspective to such a degree that we really feel as though it is her universe thanks to the level of concentration.

Given the nature of the film, its success lies heavily on lead actress, Renate Reinsve’s shoulders who provides an absolutely transplendent performance as Julie. From the opening shot of her smoking her cigarette, Reinsve immediately pulls you in with her confidence and depth of character. Julie is deeply flawed, curious to a fault and makes awful choices throughout the film, but this doesn’t make her a bad person. The Worst Person in the World is ultimately an extensive singular character study that allows us to see every side of Julie through her failures and successes as she tries to figure her way through life. What is truly magnificent is how Reinsve maintains her energy through the whole film as she becomes Julie. There are plenty of monologues and speeches dotted throughout, but the moments of silence and contemplation are where Reinsve really shines. The emotional weight of the character means that the role of Julie is not easy to take on, but Reinsve proves she is more than capable and was even awarded the Cannes Award for Best Actress and received a BAFTA nomination for Best Leading Actress which she will hopefully win.

Even though the film is dominated by Julie’s characterisation and Reinsve’s star-making performance, there are plenty of excellent supporting turns. The best of these goes to Anders Danielsen Lie who plays Julie’s ex, Aksel. Aksel’s journey is an intriguing one as he starts off by being a provocative comic artist whose work is extremely popular but incorporates plenty of misogyny with the final chapters of the film chronicling his terminal illness as he succumbs to cancer. There is a sense throughout the film that Aksel and Julie are truly destined for each other and will eventually get back together since they seem to fit well as a couple. The scene in which Julie visits Aksel in hospital and he tries to reassure her when she finds out she is pregnant allows Danielsen Lie to channel Aksel’s vulnerability, especially as the character’s mortality begins to close in.

Playing Julie’s eventual boyfriend is Herbert Nordrum as Eivind. Where Aksel wants to settle down and start a family, Eivind shuns that lifestyle and is content with his job as a barista. Initially it seems that Eivind and Julie have a lot in common thanks to their relaxed personalities, their differences soon emerge as Aksel’s illness comes to light. Nordrum’s performance as Eivind is fun and the chemistry he has with Reinsve is evident, especially in the second chapter when they first meet one another. The scene in which Eivind unsuccessfully reassures Julie over a story she had written and thrown away is incredibly intense thanks to Nordrum’s controlled responses and calculating nature that comes through subtly through the film.

One of the best elements in the film outside the acting is Kasper Tuxen’s cinematography which helps to elevate the locations thanks to the beautiful use of natural light and innovative shots such as Julie running through the street where the world has stood still. The cinematography goes hand in hand with Trier’s vision thanks to its focus on Julie and Tuxen’s ability to show the audience Julie’s world almost as though it is directly from her perspective. The scene when Julie is tripping on magic mushrooms is both crazy and claustrophobic at the same time as we delve into Julie’s psyche and see the situation from her perspective followed by the reality of what has happened the next day when the flat has been messed up.

There is a reason why The Worst Person in the World has gained as much traction as it has. Not only does it combine flawless elements into one film, but Reinsve’s performance is deeply affecting and feels like a real tour de force. Blending a perfect mix of daring comedy and hard-hitting drama, The Worst Person in the World is a film that demands conversation and can be enjoyed on a surface level thanks to its entertaining comedy and heartbreaking moments, while also allowing for plenty of thematic analysis for those who want to dig a bit deeper. Trier has proven himself a true visionary while Reinsve has delivered a suckerpunch of a performance.

What did you think of The Worst Person in the World? Let me know in the comments below!

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Flee (2021)

This awards season has the regular frontrunners and blockbusters included in the mix, but one film that has taken critics and cinema goers by storm is animated docudrama, Flee. Executive produced by Oscar-nominee, Riz Ahmed and Nikolaj Coster-Waldau, Flee is the true story of Amin Nawabi, an Afghan man living in Demark who was forced to flee his native country when extremist militants begin to attack “non-believers” in Kabul. Not only does Amin have to grapple with the challenges of being a refugee and seeking asylum in a safe country, but he also comes to terms with his sexuality as a gay man. Flee marks itself as both a statement on the trials and tribulations that come with fleeing war-torn homelands and having to find a new place to call home, while also serving as a complex character study as Amin’s unique perspective is one that has clearly touched and resonated with many viewers.

The film is directed by Jonas Poher Rasmussen who is credited as a writer alongside the film’s subject, Amin Nawabi. It is apparent that the two have known each other for a while, which makes the film lovely to watch as they have a wonderful rapport. Rasmussen doesn’t pressure Nawabi into saying anything he isn’t comfortable saying, and even asks him to reflect on his childhood first before discussing anything that may be uncomfortable for him. The rapport between the two men is great and means that the script itself and the discussions have a natural flow and work well with the animation format, as we are able to see the world through Amin’s eyes. By using animation, Rasmussen is removing his own presence and placing more emphasis on Nawabi and ensuring that the story is at the heart of the film and the main focus, rather than the usual format of following a subject round with a camera.

The animation style is incredible, and it’s great to see the film included in the Best Animated Feature race at the Oscars. What makes the animation such a huge draw for the film is how the animators change the style depending on what is being said. The film opens up with an abstract and minimalist animated segment of people running away. This segment turns out to be the fabricated story that the traffickers told Amin to tell the Danish authorities in order to gain asylum and lends itself to the idea that the animation is not clear and complete. This contrasts to the majority of the film that has bright and vivid animation with clear-cut lines and plenty of vibrancy and movement throughout to indicate the certainty of Amin’s story.

The music is composed by Uno Helmersson and it is so expressive in that it feels as though it reflects the emotions that Amin is going through. Incorporating elements of Afghan-inspired sounds with dramatic pianos and violins, it seems as though Helmersson has used Amin as the inspiration for the music and transferred his identity and his story into the music itself. The track “Running Hiding” plays as Amin and his family desperately try to avoid capture from the militants with fast-paced bells to signal the intensity of the situation. This is immediately followed by the deeply melancholic, “Fleeing Kabul”, which places more of an emphasis on the sadness of having to leave home and not knowing where to go.

Flee has been listed as one of the best films of 2021 and with good reason. The combination of animation and documentary is seldom seen but works beautifully to tell Amin’s story. What Rasmussen and Nawabi achieve is a film that has a powerful message that is also innovative in the way that it is made. The great thing about films is that they allow us to learn from other people and hear their stories, and Amin’s story is one of huge importance in a landscape where so many people struggle to find a safe place to belong.

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

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Belle (2021)

Anime is always an exciting medium as it boasts some of the most progressive filmmaking. While most people are familiar with the works of Studio Ghibli, there is another huge animation studio that has become hugely popular in Japan and has a large following worldwide. Studio Chizu was founded by director Mamoru Hosoda and producer Yuichiro Saito in 2011 and has released four films to date. The newest of these films is Belle, which had its premiere at the 2021 Cannes Film Festival, where it received a 14-minute standing ovation. The film is an adaptation of Jeanne-Marie Leprince de Beaumont’s fairytale Beauty and the Beast, but where there have been many traditional adaptations over the years (with the most famous rendition being Disney’s Oscar-winning 1991 animation), Belle completely reinvents the story for the modern-day by incorporating social media while still sticking to the moral and basic storyline of the tale.

The film follows Suzu, an introverted 17-year-old schoolgirl who loves music and singing but hasn’t sung since her mother died, who sets up an account on social media app U which allows users to create an avatar and experience a whole new world. Suzu’s avatar is called Belle and quickly gains popularity by singing songs that she has written. When Belle is due to perform at her biggest concert to date, the performance is crashed by the “Dragon”, a mysterious figure who is plagued with anger and fury, and the two eventually bond.

Like all of Studio Chizu’s outputs, Belle is written and directed by Mamoru Hosoda, who strips the original fairytale down to its core and propels it into the 21st century, while providing little nods to the 1991 Disney adaptation. What makes Hosoda such a brilliant visionary is his ability to delve deep into the characters’ internal conflicts and his fearless approach means that we are able to see all sides of his protagonists while injecting plenty of humour and lightness into the film to provide a perfect balance. With Belle, Hosoda provides plenty of background and characterisation for Suzu, so we get a perfect idea of who she is and why she acts the way she does. We see that Suzu has a deep internal conflict as she struggles to form her own identity which is contrasted with the confidence that she exudes as Belle in the world of U. Adding onto this, Hosoda is not afraid to shy away from mature themes and adds in discussions on grief, loss, and child abuse, proving that animation can discuss real-life topics in the same way that live-action films do.

The style of the film is captivating from the opening scene as we are immediately thrust into the world of U and get to see Belle performing a song while riding a whale. The great thing about the U universe is the limitlessness and imagination that takes hold as we see hundreds (if not thousands) of uniquely designed characters against a computer-animated backdrop that is vast and endless. The production design is carried out by Tomm Moore, Ross Stewart, Alice Dieudonné, Almu Redondo and Maria Pareja, who are best known for their work for Cartoon Saloon, and it proves to be a perfect combination as they help bring Hosoda’s vision to life.

Leading the cast is Kaho Nakamura, who voices Suzu and Belle, providing the speaking and singing performances. Nakamura perfectly captures Suzu’s frantic and nervous energy as we sense her internal conflict and desire to forge her identity, while also providing the confidence and sense of self that Belle has. Although Belle is technically Suzu, it is technically a role of two parts as Belle is a part of Suzu that Suzu feels unable to convey to the real world, meaning that this is not an easy task to achieve. However, Nakamura portrays every aspect of both characters beautifully, while also having the singing voice to match. The contrast between the opening scene in which we hear Belle sing confidently and fantastically and the following scene in which Suzu frantically gets ready for school shows a huge conflict in her personality and identity.

Now that we’ve discussed the Beauty, it’s important to discuss the Beast, which in this case is Dragon. Providing the voice of Dragon is Takeru Satoh whose performance is filled with the darkness and turmoil that the character feels. The character is introduced with a bang halfway through when Belle has risen to fame and is performing at a huge concert as he is pursued by a group of vigilantes who swear to bring justice and order to the U universe. Dragon’s first scene is highly intense and violent, marking a huge contrast to the events of the film up to this point, and perfectly marks the differences between the two main characters. Dragon doesn’t say a lot, but when he does, Satoh perfectly conveys the struggle that the character has and the physical and mental anguish that he is feeling.

Going against the norm, Belle incorporates musical elements, which is almost unheard of in Japanese cinema, especially within anime. Hosoda originally wanted Belle to be a musical but restricted the number of songs; however, the songs that managed to make the final cut are exceptional and fit beautifully into the story and the world of the film. The film’s opening number “U” is our introduction to the character of Belle, who we see before we are introduced to Suzu, and immediately immerses the audience into the world of U and the various characters that inhabit the social media world. The film’s climactic moments lie in the performance of “A Million Miles Away”, which is a slow ballad that Suzu sings when she is searching for Kei and Tomo. The song builds and builds, showing the power and community that has brought millions of social media users over. Comparing the emotional tone of “A Million Miles Away” with the upbeat and celebratory tone “U” displays the complexities in Suzu’s character, and her ability to connect with people through the power of music.

Belle is an animation that will steal your heart and stay with you long after it has finished. Fearless in its theme and progressive in style, Belle marks another triumph for Hosoda and Studio Chizu, and it is such a shame that it hasn’t had a look-in at the major award boards. Between Suzu’s impeccable characterisation and the wonderful songs, Belle is a film that has a lot to say and propels anime into a new age thanks to its combination of hand-drawn and computer animation.

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

Belle is available to watch in cinemas now!

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Julia Ducournau: Double Feature

Horror has seen s huge resurgence in recent years, especially when it comes to original ideas. Directors such as Ari Aster and Robert Eggers have helped propel horror into a new era. However, oftentimes, the female perspective is forgotten and just as there are many male horror directors, a number of women have come forward to craft their own visions such as Jennifer Kent’s debut The Babadook and Rose Glass’ debut Saint Maud. Another director who has made waves is French director Julia Ducournau who made her feature debut in 2016 with her coming-of-age horror, Raw, while her followup, Titane is even more brutal and explicit in its gore and walked away with the top prize, the Palme D’Or at the 2021 Cannes Film Festival.

The first thing you may hear when coming about Ducournau’s films for the first time is the controversy that surrounds them. Her films are not for the faint of heart and even hard-core horror fans have been known to flinch once or twice at some of the scenes. However, her approach to “body horror” is not gratuitous in the way that many male directors have done in years past as Ducournau gives power to her female protagonist rather than writing female characters that have been created to be tortured.

Raw (2018)

Ducournau’s feature debut, Raw, could initially be mistaken as a regular coming-of-age story as Justine (Garance Marillier) is about to start veterinary school. However, things take a deep dive into horror territory as lifelong vegetarian Justine discovers that she has a hunger for raw meat, especially human meat. Raw was met with much controversy on release as word spread that people fainted during the screening due to the explicit gore. It is a shocking film to watch and one that can cause upset due to the content, but Raw is an intricate commentary on the female experience and the pressures and expectations that society places on women.

Titane (2021)

Her second film, Titane, also made waves on release and follows serial killer, Alexia (Agathe Rousselle), who is impregnated by a car and subsequently begins to experience horrific bodily changes. When Alexia goes on a murderous rampage, she disguises herself as a missing boy and finds herself living eith the boy’s father, Vincent (Vincent Lindon), who also has his own fair share of bodily issues. Titane is unflinching and unapologetic in its approach to discussing gender and subverting traditional and stereotyped gender roles. You can read my full review for Titane here, but needless to say, it is a wild ride from start to finish.

What makes Ducournau such an exciting filmmaker is her fearless approach to filmmaking. Not only does this fearlessness relate to the subject matter or the scope of horror involved, but the way that she directs is truly innovative and unique. Ducournau’s ability to capture the essence of femininity and the horrors within are second to none and this makes her a force to be reckoned with. Since making her brutal debut with Raw, Ducournau has garnered a reputation for her unflinching perspective on the female gaze and gender, taking her place among the best horror directors while doing so.

Which Julia Ducournau film is your favourite? Let me know in the comments below!

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London Film Festival 2021: Titane

There is always a film every year that pushes the boundaries of violence and taste beyond question. While these films generate a lot of publicity thanks to polarising reviews from critics and cinemagoers alike, these films never seem to win a lot of major awards. This year is different. Julia Ducournau’s sophomore feature, Titane, took critics’ breath away at Cannes Film Festival where Ducournau won the top prize, the Palme d’Or with a film that follows serial killer, Alexia (Agathe Rousselle), who has sex with (and is subsequently impregnated by) a car. If this isn’t complicated enough, Alexia disguises herself as a teenage boy, Adrien, who has been missing for ten years and is taken in by his fire captain father, Vincent (Vincent Lindon) who has developed an addiction for steroids in a bid to become the man he once was. Both characters then explore differing issues with the body as they are individually manipulated by their desire to be someone else.

Directed and written by Julia Ducournau, Titane is a film that holds no punches in its plot as well as the filmmaking approach. What Ducournau does so well is allow the camera to linger as though it is an observer which serves into the horror aspect well as it makes the film completely unpredictable. As with her debut feature, Raw, Ducournau isn’t afraid to push boundaries and incorporate universal issues in her film, specifically exploring gender through the female gaze in a way that feels distinguishable among a genre that is dominated by the male perspective. There is no “final girl” in Ducournau’s films as she completely subverts the traditional horror template and instead uses body horror as a way to instigate discussions on the human body.

Newcomer Agathe Rousselle makes her mark as Alexia in a role that requires a lot of physical and emotional range. The daughter of doctors, Alexia spends her free time modelling in car shows and murdering people. When her murderous ways begin to catch up with her, she has to physically manipulate her body to disguise herself as a teenage boy, all while pregnant from a sexual encounter with a car. Rousselle is absolutely relentless in her performance and pushes herself to ensure that Alexia’s physical and mental struggle is perfectly pur across to audiences. We see the character in her prime scantily clad as she dances on the classic cars with plenty of admiring spectators waiting for her autograph. This contrasts greatly as she covers herself in bulky clothing whilst taping down her breasts and stomach to hide her pregnancy in a bid to eliminate any trace of the feminine body. Alexia is a character of little words but she doesn’t need speeches to convey how or what she is feeling and Rousselle pulls this off brilliantly in what feels the breakout performance of the year.

In support is acting veteran Vincent Lindon as Adrien’s father, Vincent, who works as a fire captain. Vincent is a man who has spent the last ten years of his life plagued by grief due to the loss of his son and dedicated his life to work, injecting himself daily with steroids in a bid to maintain a traditionally masculine body. Acting as Alexia’s pilar opposite, Lindon is vocal and emotionally vulnerable, wearing his heart on his sleeve in a bid to get his son to open up to him. His protection over Adrien threatens to be his downfall as he begins to lose respect of the fellow firefighters, even venturing down violent avenues to stop them from speculating about Alexia. Where Alexia has to disguise as the opposite gender in a bid to stay hidden, Vincent hides behind the illusion of toxic masculinity, believing that the steroids will allow him to eventually become the man he once was before his son went missing.

One of the most striking elements in Titane is the cinematography which is handled by Ruben Impens. Having worked on the cinematography for Raw, Impens was the perfect choice for Ducournau’s follow-up and the results are fantastic. Impens’ approach seems effortless while also relentless as he allows the camera to sit and show us everything where most horrors would cut away. One sequence that is particularly brilliant is when we see Alexia walk through the car showroom and observe her fellow dancers, the spectators, and the cars as she makes her way to the dressing room only for the camera to pan to a car where she is already on top doing her dance. It is this kind of seamless unpredictability that makes the film such a thrill to watch.

Another highlight in the film is the music which is composed by one of the most exciting composers working today, Jim Williams. Having previously worked on a variety of different horrors such as Ben Wheatley’s Kill List and A Field In England as well as Brandon Cronenberg’s Possessor and Ducournau’s debut film, Raw, Williams proves that he is the right person for the job and uses elements of the machinery and industrialist sounds to create a score that sounds like a new form of horror music. The music never feels like it overwhelms at any point while also timing itself perfectly so it beats in conjunction with the film. One such highlight is the explicitly named “Car Fuck” track which plays through the scene in which Alexia has her sexual encounter with the car. The score intensifies subtly building like a traditional horror track while never feeling melodramatic or parodying the genre or subject.

Titane has become one of the most discussed films of the year and with good reason. Although proving to be too overwhelming for some, Ducournau has shown that she is a filmmaker to pay attention to thanks to her modern take on body horror and how it can play into gender roles and identity. Titane is a complex film that goes much deeper than its controversial subject and is definitely a film that you won’t soon forget.

Titane is released in the UK on 31st December 2021!

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London Film Festival 2021: Lamb

One film that was an intriguing watch was Valdimar Jóhannsson’s Icelandic horror Lamb. The film follows married couple María (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason) who run a small farm where one of the sheep gives birth to a sheep/human hybrid that they affectionately name Ada after a child that they had previously lost and treat her as though she is a human child. What follows is a sequence of unexpected events that explores themes of identity and family whilst also incorporating elements from various genres including horror, thriller and sci-fi. The result is a film that can be unsettling and unconventional while distinguishing Jóhannsson as a director with a unique point of view.

Directed by Valdimar Jóhannsson in his directorial feature debut and based on a script he cowrote with Sjón, Lamb is unlike any other horror film. Subverting the folklore trends so commonly seen in horror today, Lamb is a film that feels as though it may be misunderstood by some and gradually gain popularity as time goes on. Jóhannsson’s vision manipulates you into thinking that the film will take a certain direction and then completely subverting this and throwing in many unpredictable twists and turns. The writing never allows itself to get too close to the protagonists which means that the audience is never spoon-fed and provides a desire to learn more.

Noomi Rapace is great as María, a woman who is completely besotted by Ada following a life plagued by loss and grief. Rapace can always be relied upon to provide a fearless performance and María seems like a character that was written for her. María isn’t always likeable and her motivations aren’t always understood but we still feel sympathy for her despite her flaws. The scene in which Rapace locks Ingvar’s brother, Pétur (Björn Hlynur Haraldsson) in a closet and then plays the piano loudly to drown out his screaming draws her suffering and pain to the surface as we see her attempt to glaze over the negativity with music, a metaphor for her willingness to overlook Ada’s physical differences and accept her as her own.

In support, we see Hilmir Snær Guðnason play María’s husband, Ingvar in a performance that builds as the film unfolds. The decision-making between the couple usually lies in María’s hands in a role that would traditionally fall under a man’s control but Ingvar doesn’t complain or feel emasculated at any point. Content with his life, Ingvar embraces Ada as his own and does his best to provide for his family. Guðnason is a great onscreen partner for Rapace as they compliment each other’s approaches perfectly. Where Rapace’s performance is full of physical emotion, Guðnason has a quieter performance that is full of nuance and subtly, working well against the horror element of the film.

One thing that the film makes use of is the beautiful cinematography by Eli Arenson. Arenson manages to capture a world that is set in an open space whilst contrasting this with a claustrophobic setting as we feel trapped within the home. This isolated feeling makes the characters seem locked and unable to travel beyond their immediate surroundings, feeding into the horror elements of the film. Arenson utilises the natural surroundings to create a realistic approach against a topic that is full of fantasy, driving it away from being a traditional horror. It is this grounded approach that makes Lamb such an unpredictable watch and such a beautiful looking film to behold.

Lamb isn’t a film for everyone but those who enjoy it will be able to appreciate the beautiful scenery, intense writing and raw performances with characters that we never fully understand but keep us gripped from start to finish. It’s a film that will undoubtedly grow in popularity and requires multiple watches due to the various layers, textures and themes that it explores. The unconventional approach this film has is why it has been selected as Iceland’s submission for Best International Feature Film at the Academy Awards which will hopefully bring Lamb to an even larger audience.

Lamb is released in the UK on 10th December 2021!