Tag: cinematography

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The Batman (2022)

THE BATMAN, Robert Pattinson as Batman, 2022. ph: Jonathan Olley / © Warner Bros. / Courtesy Everett Collection

In recent years, we have seen many franchises emerge with plenty of reboots, prequels and sequels dominating the film industry. A lot of these films tend to provide plenty of nostalgia and familiarity that is enjoyable to watch, but offers nothing new. One such franchise that is reinvented time and time again is DC’s Batman. Following Christopher Nolan’s Dark Knight Trilogy, it felt as though the franchise couldn’t get more gritty and dark, but Matt Reeves proves it can be done with this year’s The Batman. The film is filled with characters that we all know and love including the titular character himself (Robert Pattinson), Catwoman (Zoë Kravitz), and Detective Gordon (Jeffrey Wright) to name a few. Rather than fill the film with the usual villains such as the Joker, Reeves has chosen villains who have been overlooked or not as widely used cinematically with the Riddler (Paul Dano) and the Penguin (Colin Farrell) being the major villains in the film. Unlike other Batman adaptations, this Batman is not as refined in his fighting skills, making him more realistic, while also finding out more about what his parents were really like and the mystery surrounding their untimely death.

The Batman is directed by Matt Reeves who cowrote the screenplay with Peter Craig. Reeves development as a true visionary feels as though it has come full circle since he became a household name in 2008 with Cloverfield. Just as Cloverfield pushed narrative boundaries and explored alternative filming techniques, Reeves applies this innovative way of thinking with The Batman. From the telescopic point of view that opens the film, to the brilliantly shot climactic scene in which Batman beats up a load of cronies in a dark hallway with the only lighting provided by gunfire, Reeves brings an element of true imagination to a studio blockbuster and shows that not all superhero films need to contain a formulaic structure and content. The screenplay is particularly brilliant and perfectly delves into Bruce’s character without feeling too over the top, while also having plenty of fun with the Riddler’s character and his clues.

Robert Pattinson proves himself more than capable of taking on the Caped Crusader and can simply be explained as a perfect mix between Michael Keaton’s and Christian Bale’s performances. The film has more interest and focus in seeing the character as Batman rather than Bruce Wayne, which serves the narrative brilliantly. Pattinson’s Batman is unlike others because his fighting skills aren’t perfect and there are moments when he is getting beaten up by thugs. The Batman is a much more violent take on the character, but one that feels more realistic and less like a regular superhero film as it feels as though Batman is just a man wearing a suit who can fight. Pattinson’s Bruce is moody and isolated from the world, despite living in the centre of the city, while his Batman is relentless and will do anything to get to the bottom of the situation. The scene in which Batman confronts the Riddler in Arkham State Hospital is the best in the film as it shows the character break face as he tries to figure out what the villain has planned.

Playing opposite Pattinson is Zoë Kravitz as Catwoman in a turn that feels revolutionary for a character that has been overtly sexualised over the years. Kravitz’s Catwoman is unapologetic in her actions and isn’t afraid to stand up for what she believes in, even if it isn’t necessarily the morally right thing. From the moment that Kravitz steps onto the screen, the audience is immediately drawn to her. What is amazing about Kravitz’s performance is how well she develops Selina’s character throughout the film, so her turn never gets boring or loses steam. Not only does she have great chemistry with Pattinson which makes the film gripping to watch in its entirety, but Kravitz’s Catwoman is incredibly strong and capable of asserting her own agency without the need for male assistance or approval, which feels revolutionary and authentic in how it is portrayed onscreen.

The main antagonist in the film is the Riddler, who is played phenomenally by the always fantastic, Paul Dano. In a career that has shown gigantic range, Dano appears to be getting the recognition that he has long deserved from mainstream audiences thanks to his menacing Riddler. It’s an unpredictable performance that shows the same level of dedication and characterisation that he brings to films such as There Will Be Blood and Prisoners. Even when he is not onscreen, his presence is felt through the entire film in the game of cat and mouse thanks to his ability to be a perfect match for Pattinson’s Batman. Dano may not be obvious choice for a superhero villain, but he’s proven that he is more than capable of performing exceptionally well in any genre.

In a film full of brilliant performances it’s difficult to choose which one was best of all, but in this instance, it has to go to Colin Farrell who is completely unrecognisable as the Penguin, a sleezy mobster who helps Carmine Falcone (John Turturro) run Gotham’s crime scene. Although he only has a small role in the film, Farrell is absolutely magnetic and steals every scene he is in. The chase scene between him and Batman is brilliantly executed and highly intense. Farrell has been knocking it out of the park for years and proven that he is a flawless character actor who is able to fully immerse himself into each character he plays. His Penguin doesn’t feel like a caricature, although there are some funny moments, and it’s exciting to see if he will star in the sequel.

The score is composed by Michael Giacchino, who has brought us a slew of iconic soundtracks over the years spanning across various genres including family films such as Ratatouille and Up as well as blockbusters such as Jurassic World and Rogue One: A Star Wars Story. It only makes sense that someone like Giacchino fits the bill considering his resume, and he delivers his best score in years. The main character theme consists of four hard-hitting notes that have become immediately identifiable. The opening track “Can’t Fight City Halloween” is riveting and atmospheric, instantly transporting the audience into the grime and horror of Gotham City.

The Batman delivers brilliance from start to end thanks to its gritty aesthetic, innovative filming techniques, and incredible characterisation filled with great performances from both the heroes and the villains. Pattinson’s career has gone from strength to strength and with The Batman, he is able to translate his indie successes to a huge blockbuster. Reeves has done a great job of setting up this particular Batman universe, and with the hint of a new villain (probably the Joker) incorporated into the film’s narrative, it’s only a matter of time before we see a sequel to The Batman.

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

The Batman 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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Dune (2021)

One of the most hyped films to come out of 2021 was Denis Villeneuve’s Dune which boasted one of the best casts and a huge budget, incorporating plenty of advanced special effects that have given a new sci-fi franchise room to thrive. Dune is based on the 1965 novel of the same name, written by Frank Herbert and was often regarded as “unfilmable” due to the enormous scope of Herbert’s universe. It follows Paul Atreides (Timothée Chalamet), the heir of the House of Atreides, who is gifted with powers bestowed upon him by his mother, Lady Jessica (Rebecca Ferguson), who is a member of the Bene Gesserit, a religious sect that strictly trains the body and mind to achieve things that ordinary people can’t. When the desert planet of Arrakis is under attack by the power-hungry Baron Vladimir Harkonnen (Stellan Skarsgård), Paul must master his powers and team up with the inhabitants of Arrakis, including a young woman called Chani (Zendaya) to overthrow the Baron and restore peace to the planet.

Denis Villeneuve is one of the most talented directors working today and he proves this with Dune. Villeneuve has worked in many other genres in his career but no project has been bigger than Dune. The result is absolutely spectacular despite the many challenges that a story like Dune has. It is a story with many characters and many moving parts, but Villeneuve never overwhelms the viewer with more than they can handle, while also ensuring that enough of the character is brought through. There are lots of star-studded films that feel overwhelmed by the scope of the actors but this isn’t the case with Dune, and this is because of Villeneuve’s impeccable directing. The actors really become their characters and where performances in sci-fi blockbusters are usually grand, the performances in Dune are more subdued and substantial.

Leading the film is Timothée Chalamet. who has proven to be one of the best young actors working today. Ever since his breakthrough performance in the 2017 film, Call Me By Your Name, which brought him an Oscar nomination, Chalamet has been leading all kinds of films from autobiographical dramas (Beautiful Boy) to period dramas (The King) to comedies (The French Dispatch). Dune allows Chalamet to showcase further range within the sci-fi field in the role of the protagonist, Paul Atreides, which he does with ease. What is great about Chalamet’s performance is that he showcases Paul’s struggle to master his powers while also facing pressure as the heir of his house. Despite his young age, there is a lot of responsibility on Paul’s shoulders and Chalamet brings forth Paul’s naivety and flawed nature rather than making him seem like a man who has all the answers. The scene in which Paul is tested by the Reverand Mother of the Bene Gesserit, Gaius Helen Mohiam (Charlotte Rampling), is a masterclass in acting as we feel the physical and mental pain that the character is enduring.

Arguably the most important character in Dune is Chani, the young woman who lives on Arrakis and fights back against those who try to oppress its people. Playing Chani is Zendaya, who is another actor that has proven a huge range at such a young age. The battle for Arrakis is not one that is grounded in power for Chani, but rather the fight for her home and to live a peaceful life. This means that the character’s motives are completely different from the House of Atreides and Paul in particular. However, as events unfold, Chani and Paul find that they have a lot in common and agree to work together in order to overthrow the Baron. The little we see of Zendaya shows a lot of promise for the upcoming films in which Chani has more presence as she showcases the loss that Chani has and her resilience.

In a film as vast and heroic as this, there has to be a villain that steps up to the plate and an excellent performer who can effectively put this across. The role of Baron Vladimir Harkonnen is filled with greed and corruption and is a difficult role to successfully pull off and Villeneuve entrusts none other than the fantastic Stellan Skarsgård to step up to the task. Skarsgård’s performance not only lies in the intimidating physicality of the character, but the unpredictability of his actions and the relentless nature he has in order to get what he wants and successfully reap back the power he believes he wrongly lost. Skarsgård isn’t in the film a lot, but the scenes that include him are among the best in the film, including the scene in which he has captured Duke Leto Atreides (Oscar Isaac). It’s a testament to his performance that his presence is felt throughout the film, even in the scenes that he is not in and it will be exciting to see the Baron and Paul’s eventual standoff in the upcoming films.

Although the film is filled with brilliant performances, the real highlight for me was Hans Zimmer’s score which undeniably contains traces of Zimmer’s signature sounds but also combines a new sound that enhances the overall experience. It’s difficult to pinpoint one track that stands out because the music flows so naturally with the film and works perfectly to highlight the struggles that Paul is facing. What Zimmer has always done brilliantly is incorporating vocals into his tracks, which is what makes the music in Gladiator so entrancing. For Dune, he takes a similar approach with tracks such as “Gom Jabber” boasting aggressive vocals that provide an otherworldly feel, while using instruments such as bagpipes in the track “Arrival on Arrakis” shows the unpredictability and clashing nature that Villeneuve is capturing. Hopefully, Zimmer’s work will get rewarded with a deserved second Oscar win.

It’s difficult to talk about a film like Dune and not discuss the cinematography. What Greig Fraser manages to achieve is astonishing as he captures a world that is vast and seemingly endless, while contrasting it with feelings of entrapment and claustrophobia at the same time. It is thanks to Fraser’s use of the camera that we are able to explore the planet of Arrakis through Paul’s perspective, so it feels as though the audience is on the journey with the protagonist. Despite the abundance of special effects in the film, Fraser makes the landscape seem as natural and real as possible, truly allowing the audience to escape and feel as though Arrakis could be real.

Dune is one of those books that has always proven to be difficult to film, but what Villeneuve does is enhance the grittiness and realism of the story and uses the special effects fantastically to transport us to Arrakis. It’s no surprise that Dune has received so many award nominations and it is certain to swipe the technical categories thanks to the immersive experience. Dune: Part Two is sure to be just as exciting and thrilling as the first installment as it will explore Chani’s character more and follow Paul’s improvements. A star-studded spectacle that works beautifully and showcases blockbusters at their very best.

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

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London Film Festival 2021: Petite Maman

One of the most anticipated films that was shown at this year’s London Film Festival is Céline Sciamma’s Petite Maman. A beautiful exploration of memory and home, the film follows Nelly (Joséphine Sanz) whose grandmother recently passed away. With her parents, Nelly spends time in her mother’s childhood home as they make the appropriate arrangements. When Nelly meets another girl who lives nearby, it becomes clear that not everything is as it seems and we delve into a tender story about family and memory all from the perspective of a child. The two girls build a tree house in the woods near their houses and a bond forms that makes it incredibly charming while also incorporating hints of magic realism without going too far off the ground.

The film is written and directed by Céline Sciamma who has become one of the leading female directors in France and with good reason. What makes Sciamma such a fantastic filmmaker is her ability to create such well-rounded female characters and use the camera as a way of showing the female perspective. With films such as Girlhood (2014) and Portrait of a Lady on Fire (2019). In Petite Maman, Sciamma manages to create a world that feels magical without venturing into fantasy territory by ensuring that the film is grounded in its reality on a narrative level. Combining this with the childlike perspective adds an extra layer that allows the audience to see the magic in the banal things whether that is through the girls making their tree house or watching them make pancakes.

Leading the film are twins Joséphine Sanz who plays Nelly and Gabrielle Sanz who portrays Marion. Naturally, the girls make for a fantastic onscreen partnership and the genuine friendship and sisterhood they share in real life only helps to elevate the story even more. Despite their young age, both performances seem to have a depth and maturity that exceeds their years. As the lives of the characters seem to mirror and reflect one another, their lives become intertwined. Both Nelly and Marion are initially portrayed as lonely characters as they are both only children who don’t have a lot of friends their own age but together, they become pieces of the same puzzle and through spending time together, the characters begin to learn more about themselves.

In support, we see Nina Meurisse portray Nelly’s Mother and although her character isn’t in the film as much as you would initially think, there is a lot to unpack. Nelly’s Mother is a character tormented by her own grief and trauma all while trying to stay positive for her daughter. When staying in the childhood home, it’s clear that she struggles to cope with all the memories that the home has. Her absence is felt through the film as Nelly is forced into isolation before meeting Marion.

Petite Maman is one of the most tender and poignant films of the year thanks to its intricate glimpse of life through the eyes of a child. The wonderous direction and writing show just why Sciamma is one of the best filmmakers working today.

Petite Maman is showing at this year’s London Film Festival!

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Nomadland (2020)

Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.

Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.

Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.

It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.

Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.

What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.

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

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Crip Camp (2020)

One of the best documentaries coming into this awards season is this Netflix feature that was executive produced by Barack and Michelle Obama. Crip Camp follows the participants of Camp Jened in the 1970s which was a place that catered to teenagers with physical disabilities. Written and directed by Nicole Newnham and James Lebrecht, the film looks at the campers’ experience  at the camp and also their experiences as disabled teens growing up in ableist American in the mid-20th century and how they managed to create change when it comes to ableist discrimination. Starting with the inception of Camp Jened, we are taken through the camp’s lifespan, the campers and their stories to adulthood and how the camp has affected them and motivated them to inspire change. Crip Camp doesn’t hold back and doesn’t want you to feel pity for the campers but inspiration. We immediately see the campers adapting to their environments and thriving despite what society wants to make them think. Simultaneously, simple things such as easy access to public transport and buildings doesn’t exist and organisations and campaigners take it on themselves to fight an establishment that refuses to have their back.

Starring interviews from as many of the campers, campaigners and Camp counsellors, Crip Camp immerses you into their world at the time. As the campers frequently experience discrimination in the “real world”, especially those who had more severe disabilities whereas at Camp Jened they are able to express themselves and feel like they can be heard without prejudice. Refusing to be defined by a society that doesn’t cater to their needs, the kinship at Jened soon turns into a powerful campaign to outlaw ableist discrimination. Also, the rebellious nature that the campers had from a young age has followed through to the present day. They campaign and protest strongly whilst also having fun as they refuse to let society’s bias dampen their spirits.

One of the most powerful scenes in the film comes in the form of the “Capitol Crawl” in which 1,000 people travelled to the Capitol to campaign for the Americans with Disabilities Act to be passed. 60 of the protestors then proceeded to climb up the steps to showcase the need for easy accessibility. To see this footage alongside interviews with organisers and fellow protestors sums up the struggle and the result of their campaigning. When starting the film, you don’t think that it will all end up at the steps of the Capitol but the film grows bigger from the small group of campers to the nationwide protest. Camp Jened feels like a starting point of revolution and this is an important story for our times.

Behind the scenes, the highlight for me is Bear McCreary’s score. Known for his dramatic music for film, television and games with The Walking Dead theme song being his most well-known venture, his score for Crip Camp is subtle and beautiful. The perfect backing track that tells a story in itself, McCreary has been making his mark on composing in recent years and this is another huge accomplishment. Justin Schien’s cinematography is also a fantastic element to the film thanks to his minimalist and realistic approach.

Overall, Crip Camp is a film that brings the unexpected. Chronicling the summers at camp that gave these kids a chance to be themselves with no restrictions, we see how their positive experiences rippled through into their adulthood and inspired change. It will leave you astounded and in awe of the incredible achievements that transpired from their experiences.

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

Crip Camp is available to watch now on Netflix.

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Why Parasite’s win is important

Going into the 92nd Academy Awards, it seemed that pretty much every category was a lock. Joaquin Phoenix was favoured to take home the Best Actor gong for Joker, Renee Zellweger winning Best Actress for Judy and Sam Mendes was the strong favourite to win Best Director for 1917 with the latter ultimately winning Best Picture. How much the Academy surprised us then when the Best Director trophy was awarded to Bong Joon-ho for Parasite and then his film won the Best Picture award, beating the odds. Personally I was very happy as I had placed a bet on Parasite to win so there was a monetary reward for myself but the happiness goes to another more serious level. 1917 is a prime example of a quintessential award film. Don’t get me wrong, 1917 is a brilliant film that is full of revolutionary technical achievement, particularly Roger Deakins’ cinematography but it is no secret that the Academy and other Western award bodies have a love affair with war films. So much so that it has become a running joke in the film industry that to win awards, you have to make or star in a war film.

For those who are not in the know, Parasite is a Korean film exploring classism and inequality in a society that only benefits the rich and leaves those poorer to live in the gutter (quite literally). It has been the source of much hype since its premiere at last year’s Cannes Film Festival where it won the top prize, the Palme d’Or, in a rare unanimous vote, marking the first Korean film to win the prestigious award. Korean cinema is among the best in the world and has been a leading institution for years for filmmakers and film lovers and it felt like it was finally getting its due in the mainstream. Bong Joon-ho has previously delved into English-language with Snowpiercer (2013) and Okja (2017) which have become much-loved modern classics and released to acclaim; however, I think it’s poignant that Bong’s ascendance to the global audience has come from a Korean-language film that explores Korean society. It is very much detached from Western society in both its subject matter and filmmaking technique, allowing Bong to direct without the restrictions that Western studios demand. The fact that a film like Parasite, a film that is inherently unique in its style and content can beat a film like 1917 shows that there is an appetite for a different kind of film experience. It also shows a promising step forward in what audiences now expect. Naturally, franchises such as the Marvel and DC films still top the box office but Parasite concrete proof that people want more variety in the cinemas as well. Parasite’s subsequent box office success after its award wins confirms this. Now that it’s been given the chance to screen in more cinemas, it’s been able to demonstrate that there is an audience who want to watch foreign-language films, snubbing the assumption that Western audiences don’t want to watch films with subtitles.

There are many people who dismiss award season as pointless and dim, viewing it as celebrities patting themselves on the back. I don’t think it is as simple as that though. The truth is people do pay attention to awards season and follow the films that are successful. Of course, a lot of time there are the usual suspects who are nominated time and time again, sometimes undeservedly but when you have a film like Parasite that isn’t given the same chance as a mediocre English-language film then the exposure that award season brings is crucial for the film’s box office success.

Overall, there were some brilliant films this award season but Parasite was the clear standout. The fact that it won the major awards is a sign that the Academy is looking at artistic merit and not just succumbing to making it a popularity contest. Parasite’s win may not seem significant but the importance cannot be understated. Hopefully this will spark the beginning of an awards body that seeks to be more inclusive and diverse, giving all films an equal chance.

Here are my reviews for some of the films of the 92nd Academy Awards:

Winners: 1917, Joker, Jojo Rabbit, Judy, Marriage Story, Once Upon a Time in Hollywood, Parasite, Toy Story 4

Nominees: A Beautiful Day in the Neighborhood, Bombshell, The Irishman, The Lighthouse, The Two Popes

Snubs: Dolemite Is My Name, Hustlers, Midsommar, Uncut Gems

What did you think of Parasite’s winning streak at the Oscars? Let me know in the comments below!

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The Lighthouse (2019)

Robert Eggers’ follow-up to 2015’s The VVitch is a mind-bending mesh of chaos, insanity and broken masculinity. Starring Robert Pattinson and Willem Dafoe as two lighthouse keepers who are stranded on the island after a storm hits, The Lighthouse shows the men’s mentality break and crumble in a fashion never before seen on film. Co-written by Eggers and his brother Max Eggers and inspired by the unfinished short story “The Light-House” by Edgar Allan Poe, The Lighthouse is a brilliant look into madness and mayhem from the outset as the protagonists drink themselves into oblivion when a storm hits. Distributed by the illustrious A24, the film has become instantly iconic for it’s beautiful cinematography, brilliant screenplay and magnetic performances. It is a film that commands attention from the outset and despite it’s simple plot, it is sublimely complex and groundbreaking. Eggers has proven yet again that he is a filmmaker to watch. More like his contemporary Ari Aster (Hereditary and Midsommar), Eggers is bringing a new perspective on the horror genre. His films are not afraid to be gory and disgusting in a different way while also bringing in dark humour and aspects of magic realism. Incorporating sea folk such as mermaids and sea monsters in a space where they are clearly fantasy to begin with but slowly slip into the reality and getting to the point where their existence could be argued.

Robert Pattinson proves that he is on a promising streak of strong performances following his stellar turn in Claire Denis’ erotic sci-fi High Life (you can read my review here). Pattinson plays Ephraim Winslow, a newbie to the lighthouse keeping game who is put to strenuous tasks by the elder Thomas Wake. When he finds a mermaid ornament hidden in his mattress, Winslow becomes fascinated by the eroticism that the sea has and becomes sexually obsessed to the point where his fantasies and realities collide. Even he doesn’t know what is real by the end of the film. The events in the film act as an awakening for Winslow as well as proving to be his demise. He’s a character who never feels settled and is clearly out of place in the job. His inability to understand why what they do is important and Wake’s reluctance to allow him to see the light actually prove to be motivators for Winslow as he doesn’t allow the job to overwhelm him. Pattinson’s character is manic, quiet and calculating at the same time and I think this film is solid proof of how far he has come from his Twilight days. Considering he found fame in a mainstream franchise and will be starring as the titular character in the new Batman film, I think starring in indie films like The Lighthouse shows Pattinson’s passion and his desire for good characterisation and artistic growth.

Williem Dafoe and Robert Pattinson in director Robert Eggers THE LIGHTHOUSE.

Willem Dafoe gives a flawless performance as is expected. Undoubtedly one of the best working actors today, Dafoe’s portrayal of the elderly Thomas Wake is a revelation. He is boisterous and unafraid to stand his ground, having no trouble delegating all the hard work to his companion. At the same time, there are many moments when Wake will change his stories and claim that the stories haven’t changed at all. It’s a role that requires fearlessness which is something that Dafoe has in spades. Known for his controversial roles and ability to play any character to perfection, Dafoe manages to reach yet another career best which is amazing considering the performances he has pulled off the past few years, particularly his turn in The Florida Project. What differs with his performance in The Lighthouse, however, is that this role feels more fantastical and removed to how we usually see Dafoe and the result is immense. I firmly believe that he was deserving of Supporting Actor nominations through awards season but it wasn’t to be as The Lighthouse was shut out from most categories. I think what Dafoe does brilliantly is challenging himself and showing time and time again just how much range he has as a performer. Wake is a despicable man who takes advantage of his protegee and yet he is captivating, incomprehensible and misunderstood.

The score by Mark Korven marks his second collaboration with Eggers after providing the eerily fantastic music for The VVitch. Created in a similar vein to the aforementioned, the score for The Lighthouse is clearly inspired by old maritime songs and merged with traditional horror tones. The result is a suspense filled mesh of mayhem that stands out clearly against the black and white backdrop of the film. It feels timeless and yet not suited for any time with its standoffish tone. There are many jarring string pieces that are like the tempting siren but then contrasting with the stormy surrounding and building tension as the relationship between the protagonists becomes more unbearable. Looking back, this has been a fantastic year for movie scores and even among all the best soundtracks, The Lighthouse proves to be equally simple yet effective, heightening the viewing experience.

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I think this is a film that has the potential to go down as a horror classic. It feels experimental and brave, pushing the boundaries on film-making through the use of its contrast between simplicity and complexity. It’s a horror in many ways from its gore to its mental abusive nature and the inability to trust in its lonely characters makes it a nail-biting experience. I think it’s a real shame this was locked out of almost all categories but glad that Jarin Blaschke was recognised for his phenomenal cinematography. The Lighthouse has proven to be a marmite film among film lovers but it is a deeply rewarding experience and the vision is executed beautifully. It’s a film that I look forward to viewing again and again as I think I’ll notice even more elements that I admire. It makes me keen to see where Eggers’ career will take him next and eager to see if he continues with his great collaborations.

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

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1917 (2019)

1917 is a World War I epic that seems to be the one to beat when it comes to the Best Picture award. Co-written, directed and produced by Sam Mendes, the film acts as a tribute to his grandfather, Alfred Mendes, based on stories that he would tell about the war. Following two young soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) who are tasked with travelling across enemy lines to warn off a British attack before they fall into a trap set by the Germans. The film has become well-regarded for its flawless editing, designed to look like two continuous shots. As well as beautiful technique, 1917 also boasts a stunning cast that includes well-loved actor of the big screen such as Colin Firth and Benedict Cumberbatch as well as TV favourites such as Daniel Mays and Andrew Scott. As expected, Mendes delivers and the continuous shots and editing only exemplify the non-stop nature of war. There is only one point in which the audience is allowed to relax at the start of the third act of the film. The writing is simple as Mendes lays focus on the physicality and the atmosphere rather than the dialogue. There are few monologues and those with speeches such as Andrew Scott’s Lieutenant Leslie are at rare moments of stand still. Co-written by Mendes and Krysty Wilson-Cairns, the script is minimalist in dialogue. Even when following the two Lance Corporals on their journey, we never really hear Schofield’s backstory because he is so withdrawn. One brilliant scene is when Schofield is picked up by a passing British unit and they are sat in the back of a truck. Schofield sits silently as the soldiers around him comment on their various backgrounds, imitate their General and comment on whether occupying other countries is worth the damage. It’s a poignant scene which brings in a humane aspect that is often missing from World War films.

The performances are impressive, particularly by George MacKay who is always on camera. He carries the film in the same way that he carries the message to the troops. It is no easy feat as an actor to hold so much pressure from such a big film but MacKay has shown promise from the early days in his career and his subsequent breakout performances in Pride (2014) and Captain Fantastic (2016). 1917 exploits MacKay to a mainstream audience that he won’t have been subject to in such a way previously. His Lance Corporal Schofield is reluctant to go on the mission and keeps his cards close to his chest but his determination to see it through is fearless, particularly in the final scenes as he runs through the trenches. Schofield and Blake appear to have different takes for their mission at the beginning. Blake is insistent on setting off immediately whereas Schofield logically believes in waiting until dark. Because of the emotional stake that Blake has in the mission (his brother is among the troops heading into the trap), Schofield has to ensure that Blake’s heart doesn’t lead his head.

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The two protagonists balance each other out as Blake risks his own life to save Schofield when a bomb is set off in a German trench. Chapman is also fantastic as Blake who appears naïve due to his sentimental nature. When encountering a German soldier whose plane was shot down in a dogfight, Blake’s gut reaction is to assist and get the soldier some water to ease the pain whereas Schofield doesn’t hesitate to shoot at the enemy. As mentioned before, the supporting cast is littered with stars from the small and silver screens. Admittedly, the supporting cast are granted one scene each so it’s more of a cameo, but each actor makes the most of their moments. Andrew Scott particularly delivers a brilliant monologue as a Lieutenant who has little hope in winning the war whereas Benedict Cumberbatch’s Colonel Mackenzie views he retreat from battle as a sign of defeat. The fleeting appearances from the supporting characters is thanks to the perfectly linear narrative of the film itself. We see the two Lance Corporals setting off to warn the Devonshire Regiment and ending with Schofield sat beside a tree in a mirror image of the opening shot.

It would be a big misjustice not to mention the revolutionary cinematography and editing provided by Roger Deakins and Lee Smith, respectively. Both men are at the top of the game in their respected fields and they work fantastically as a team. What these men have managed to achieve feels as claustrophobic and in your face as the war itself. There are many comments from people saying that the continuous effect took some getting used to but for me it felt natural and flowed perfectly. The editing is in a similar vein to the technique used in Birdman but on a bigger scale. What Deakins does so brilliantly is simultaneously provide big explosions shots filled with action while also maintaining great focus on the individual protagonists’ faces. Despite everything that is going on around the soldiers, the audiences’ eyes are fixated on the characters. Deakins’ colour palette is muted as expected in a war film with greens and browns. There are no exaggerated colours or futuristic spectacles. Deakins ensures that the film is very much grounded in its reality. Together, Deakins and Smith manage to create a film that is visually captivating and stunning, making the best use of the environment given and its limited landscapes.

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On the musical side of things, Thomas Newman’s score for this film is beyond incredible and has deservedly earned him his 15th Academy Award nomination. This year has seen a strong competition in the score category with both Thomas and Randy Newman pulling punches for their scores for 1917 and Marriage Story, respectively. Undoubtedly, the Best Original Score gong will go to Hildur Guðnadóttir for her stellar work on Joker making her the first woman to walk away with the award. It shouldn’t go unnoticed, however, that Thomas Newman’s score is among his best. Much like the editing, the film is reliant on its score which acts like a thread connecting the scenes. Needless to say, if Newman does end up winning, I wouldn’t be disappointed.

Overall, 1917 has proven to be a much better film than I had originally anticipated and I found myself moved and stunned by the technical and artistic achievement that Mendes has managed to pull off. I’m not sure if it’s a film that you need to watch more than once as I personally got everything out of the film that I needed in one go. I imagine that in time, it will become renowned and known for its technical aspects and the uniqueness in that field rather than the characters.

What do you think of 1917? Let me know in the comments below!

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Lips of Blood (1975)

I came across this film by chance on BFI player and without knowing anything about it or the director, thought I’d give it a watch (which I rarely do truth be told). Made by horror director Jean Rollin, it follows Frédéric (Jean-Loup Philippe), a 30-something man who is haunted by a childhood memory that is triggered when he gazes at a photograph of a château while at a perfume launch. The memory is immediately shown in which he encounters a young woman, Jennifer (Annie Belle, credited as Annie Briand), in the doorway of the château. His mother was always adamant that he imagined the woman but when the woman starts to appear to him, he knows that the only way he can figure out the mystery is by facing his childhood demons. Released in its native France as Lèvres de Sang, Lips of Blood is a film that provides violence, blood and sex where the vampires walk around in sheer dresses that billow in the wind.

The screenplay written by Rollin and Philippe is tight and compact making the pace of the film nice and fast. I found that this added to the suspense of the film, however, as we see Frédéric’s descent into madness and despair in his search for Jennifer. This contrasts with Rollin’s direction which tends to linger at points with brilliant use of close-ups and scenery, allowing the audience to become immersed in the location. It makes the film an entirely sensory experience which is elevated by Jennifer’s speech towards the end of the film where she explains that her spirit has wandered the landscape without leaving. There are also some questionable choices that Rollin brings to the film, the main scene being one where Frédéric locates the woman who photographed the château who we see photograph another woman who is fully naked and masturbating in front of the camera. It’s a scene that is entirely gratuitous and does not enhance the plot in any way but is clearly reflective of Rollin’s experience as a pornographic director. Again, the costume designs for the four vampires (particularly the two dressed in sheer sheets) screams sex. It’s bizarre to watch because these vampires are walking around public streets absolutely naked and it seems that no one bats an eyelid or even questions this.

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Philippe’s performance as Frédéric brings a mix confusion and distrust as each situation proves even more bizarre than the last. He doesn’t stop to question anything and instead pushes on with his mission. Frédéric’s acceptance of the situation allows the audience to become invested in the plot with no doubt. There’s a huge shift as Frédéric is torn between his God-fearing mother and the demonic vampires in the final act. This is the moment when it seems to come to a stand still as physically and mentally, Frédéric has pressed forward without thinking for much of the film. His one fixation appears to Jennifer throughout but it is only his mother who has the ability to stop him. On the other hand, there is Jennifer who is played beautifully by Annie Belle who subverts the traditional vampire trope and makes the character ethereal and (ironically) angel-like. Rollin allows the costumes to also speak for the characters with Jennifer dressed in shades of white and off-white with various textures and layers to illuminate that not all is as it seems contrasted with the single sheered material that the other vampires wear demonstrating a freedom and fearlessness.

It’s a film that I would be interested in watching again to see what else I could take from this film. This time around I really took in the use of location, costume and the cinematography but I could see the huge amount of detail given in the props in the background. I think that there is more to this film that meets the eye, particularly with the characters of Jennifer and La Mère de Frédéric (Nathalie Perrey). On researching this film on the internet, it seems that it is a fairly unnoticed film overall so I’d be interested in watching more Jean Rollin films (the horror ones that is!) and seeing how this one fits into that collection.

Have you seen this film? Let me know your thoughts in the comments below!