Tag: comedy

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Nashville (1975)

You know that feeling when you watch a film and it resonates so deeply that you find yourself watching it again almost immediately after the end credits roll? That was my experience watching Robert Altman’s masterpiece, Nashville.

“This isn’t Dallas, it’s Nashville!”

Set in the titular city, the film follows the lives of 24 people who are involved in Nashville’s music and political scene as the omniscient Hal Phillip Walker (voiced by Thomas Hal Phillips) campaigns for the fictitious Replacement Party. Made in what is now viewed as one of the best years in cinema history, Nashville showcases an incredibly vast yet meticulous microcosm of contemporary American life during a time of political and social conflict.

Robert Altman is regarded as one of cinemas greatest visionaries and Nashville is often used as reference to support this statement. His documentation approach acts as a doorway for the audience to grasp the hysteria and buzz without ever feeling alienated. Jean Tewkesbury’s phenomenal script feels so natural, weaving from one scene to the next with an effortless ease that despite the large ensemble, never feels exhausting. This is a film where so much happens and yet, it seems as if nothing happens at all because it is a true slice of everyday life.

One of things that makes Nashville so unique is that it has 24 fully-realised characters. Some characters are more prominent throughout the film than others, but the richness in each performance makes it even better with every watch. Ronee Blakley’s turn as vulnerable country singer, Barbara Jean, shows a darker side to the entertainment industry as she is treated like a commodity by those around her. We see her mental fragility waver and spiral, culminating in a scene that shows a conflict of identity as Barbara disrupts her own gig to regale memories of her upbringing and the passion she had for music as a child. In this heart-breaking scene, we see the “real” Barbara Jean trying to surface and literally have a voice, but this is quashed by the heckling audience who want to see country music’s sweetheart with her manufactured public image.

My favourite scene in the film takes place during an open mic night where we see folk trio Bill, Mary and Tom (Allan F. Nicholls, Cristina Raines, and Carradine) perform “Since You’ve Gone”, a song that perfectly captures the underlying tension between Tom and Mary, the latter being heartbroken by the former. The frustration and anger in Raines’ performance compared with Carradine’s neutral demeanor displays the emotional investment each had in their brief affair, all while Bill (who is Mary’s husband) plays on, clearly sensing the friction between his bandmates. This is swiftly followed by Tom’s Oscar-winning song, “I’m Easy”, which is a crooning ballad he wrote just to get the married gospel singer Linnea (Lily Tomlin) to sleep with him.

So, what is it about a film so intrinsically observational on American life that resonates with this Scouse-Welsh (Scwelsh?) blogger who has never even been to the capital of country music? Despite the film’s specific time and place, the themes and messages are universal. We know vulnerable people like Barbara Jean, dreamers like the heartbreakingly talentless yet determined Sueleen Gay, and straight shooters like Wade who are disillusioned by the glitz, glamour and promise. It’s the naturalistic storytelling that makes Nashville such a pioneering piece of filmmaking and one that has stood the test of time for better and for worse. Seemingly set in its own universe, the ties to reality are planted with anecdotes on the Kennedy assassination (Barbara Harris delivering an exquisite monologue), and the Vietnam War.

Nashville is arguably the quintessential American film, capturing the aspiration and downfalls of the American Dream and one’s battle to succeed. Universally, it is a poignant display of the human condition and everyone should watch Nashville at least once in their life. It’ll make you laugh and cry in equal measure while also bamboozling you in its unflinching ambition. Altman’s seminal masterpiece has certainly earned its place among the echelon of filmmaking.

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Review

Not Okay (2022)

One film that has gained a lot of attention on social media is Not Okay. The film follows Danni Sanders (Zoey Deutch), an aspiring writer currently working as a photo editor for an online magazine. Despite her extreme privilege, Danni is unsatisfied with life and pretends that she has been accepted on a writing retreat in Paris. Using her photo editing skills, Danni posts pictures on social media but this comes back to haunt her as she finds herself in a web of lies when a terrorist attack happens at the Arc de Triomphe where she had posted as her location at the time of the attack. Pretending that she is a survivor of the attack, Danni finds the fame and recognition she wanted whilst also befriending people from a local trauma support group such as Rowan (Mia Isaac). However, the more famous she becomes, the more twisted the lies become.

Written and directed by Quinn Shephard, Not Okay is hilariously self-aware from the opening shot. The film begins with a warning card that includes “unlikeable female protagonist”, apparently a clapback at some negative feedback from initial screenings. It’s clear from watching the film that Danni is not meant to be a “likeable” character as she radiates entitlement. However, what Shephard’s script does is peel away at Danni’s character until we see her eventual breakthrough. As Danni’s friendship with Rowan grows, the former starts to realise the gravity of the situation she’s in and begins to act more human despite the lies. This being said, Shephard isn’t interested in justifying or understanding Danni’s behaviour with the film being an exploration of privelege and identity. Danni is so eager to gain recognition on social media and is clearly willing to do whatever it takes to achieve this instead of coming clean in the first place.

Zoey Deutch stars as protagonist Danni Sanders, a young woman who comes from a privileged background and feels that deserves more. From her opening scenes in which she patronises her LGBTQIA+ coworkers and ignores her photo editing colleague, it is clear that Danni is an inherently selfish and self-absorbed person. Like a lot of people, she lives her life on social media and craves a wider recognition. When she pretends to visit Paris on a writing retreat, she begins to grow in popularity but she cements her influencer status when she lies about surviving a terrorist attack and speaks of her “experience”. Deutch’s performance perfectly mixes the entitlement and the character’s sincere struggle for recognition. There is a level of self-awareness in Deutch’s performance that works brilliantly as the dark humour takes the weight from some of the heavier subjects discussed in the film.

Mia Isaac is one of this year’s breakthroughs as Rowan Aldren. Rowan is a brave and resilient young woman who is part of a trauma support group after she witnessed a school shooting. Using her story, Rowan has since become an activist fighting against gun use and has a strong social media following thanks to her passionate speeches and spoken word. Isaac’s performance is nothing short of fantastic, channelling Rowan’s trauma which makes the eventual realisation of Danni’s lies absolutely devastating. The scenes in which Rowan performs her spoken word poetry are captivating and you can feel Isaac emphasising each and every word as though her life depends on it.

In a small but hilarious role is Dylan O’Brien as influencer, Colin. Colin dismisses Danni, despite her clear efforts to get him to notice her, but soon becomes interested once she garners fame. O’Brien’s performance feels similar to James Franco’s turn as Alien in Harmony Korine’s Spring Breakers in that both characters are clearly taking on a stoner bravado. O’Brien is not in the film a lot and Colin doesn’t contribute a lot to the film’s overall plot, except to showcase how shallow influencer-culture can be. However, O’Brien is clearly having a lot of fun in the role and shows him in a more comical role that he hasn’t shown before.

One of the highlights in the film is the music by Pierre-Philippe Côté. The original tracks are short and sweet with a cappella sounds that are snappy. Côté’s score being so short and quick reflects social media’s tendency to focus on one topic or subject intensely for a brief amount of time before swiftly moving onto another without looking back. The music itself sounds cheery and upbeat for the most part, contrasting greatly with the darker subject matter.

Not Okay is a pleasantly surprising film. It is completely aware of its “unlikeable female protagonist” and doesn’t try to understand or justify her actions. Deutch and Isaac’s performances are excellent with the latter providing a brilliant breakthrough with such range and talent. Not Okay may not be a perfect film, but it manages to grapple with surface topics such as identity and social relevancy whilst also delving into more political territory such as gun control.

What did you think of Not Okay? Let me know in the comments below!

Not Okay is available to watch on Disney+ now!

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All My Friends Hate Me (2021)

All My Friends Hate Me is a British comedy horror films that has proven to be one of the underrated gems of year. The film follows Pete (Tom Stourton), a charity worker, who is planning to spend his 31st birthday with friends from university who he hasn’t seen in years. The celebrations take place at the estate owned by friend George (Joshua McGuire) and it becomes apparent that while Pete may have matured since his partying days, the same cannot be said about his friends who seem to be stuck in the past. When newcomer, Harry (Dustin Demri-Burns), joins the group on their escapades, Pete grows more and more paranoid that he is being pushed out the group.

Directed by Andrew Gaynord and with the script written by Tom Palmer and Tom Stourton, All My Friends Hate Me is a brilliant take on British horror. It subverts everything you would expect from a British horror film while exploring issues revolving around class and privilege. Palmer and Stourton’s script is a perfect blend of horror and comedy demonstrating plenty of examples of excellent comedic timing throughout the duration of the film. Despite only running for 93 minutes, the film is full of character development for its cast thanks to the peppering seeds of doubt that are planted all the way through the film, leading to the extremely tense climactic scene. Gaynord’s direction takes advantage of the limited locations by making the large estate feel incredibly small and claustrophobic as though Pete has no means of escape.

Tom Stourton leads the cast as protagonist Pete, a charity worker who believes that he has grown up and matured since his university days, while the others seem to be trapped in the mentality. What is great about Stourton’s character and the performance is that he is not as different to the others as he may think. He comments on their backgrounds and their privilege plenty, despite coming from a similar background himself, while also forgetting about the various displays of behaviour that he had committed at university in a bid to disconnect himself from that privilege and lead a life where he can help those less fortunate. However, simply forgetting or refusing to acknowledge privilege and wrongdoings of the past is not good enough and in this film, we see the paranoia and delusions unfold as Pete is forced to look in the mirror and reflect on what kind of person he is and who he has been. Pete is such a fantastic character to follow because he ventures in this grey area where there is no blatant right or wrong.

There are lots of brilliant supporting turns, but Graham Dickson shines as the super-posh, Archie, a selfdescribed “toff” who is struggling to come up with a decent business plan. What makes Archie a gem of a character is that he is fully aware of his privelege and takes ownership of his lifestyle. He is both likeable and unlikeable at the same time and it’s a testament to Dickson’s ability to exaggerate the character without it feeling like a caricature. Totally opposite to Archie is Pete’s girlfriend, Sonia who is played by Charly Clive in what can be deemed as the most grounded performance. Sonia is from the North (presumably meant to read as working class) which immediately puts her in a separate category from everybody else with their affluent upbringing. Clive isn’t in the film a lot, but when she is onscreen, it is as though her character is the one that can ground the tension and bring understanding. What is great about Sonia is that she isn’t afraid to speak her mind and doesn’t let herself be put down by the others, especially Archie. The variety of characters is what makes All My Friends Hate Me such an engaging watch as we get to see these eclectic personalities clash.

A personal highlight was the music by Will Lowes and Joe Robbins which elevates the tension and draws on the horror of the film. The music style feels familiar to soundtracks of other modern horrors, but the way it bounces off the comedy in the film works excellently. There are drawn out violin pieces to highlight the isolation that Pete is feeling and the rising paranoia that is building throughout the film.

All My Friends Hate Me does a brilliant job of subverting various tropes associated with British horror. Palmer and Stourton’s script takes the audience on a journey filled with so many twists and turns that we begin to feel Pete’s paranoia and delusion, questioning every action and reaction that takes place. Despite the short running time, All My Friends Hate Me has a lot to discuss in the topics of class and privilege, and manages to do this while ensuring that the characters are fleshed out enough so we are gripped from beginning to end.

What did you think of All My Friends Hate Me? Let me know in the comments below!

All My Friends Hate Me is available to watch in cinemas now!

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London Film Festival 2021: Language Lessons

With the COVID-19 pandemic taking place all over the world, recent years have seen new innovative ways of filmmaking to accommodate the restrictions that came with. The result has seen an abundance of films released that utilise the use of screen recording where we see characters interact over social media and chat programs such as Skype and Zoom. Language Lessons is one such example and follows Adam (Mark Duplass), a man whose husband Will (Desean Terry) buys him 100 Spanish lessons with Cariño (Natalie Morales). The premise is simple but the result is anything but as the Spanish lessons serve as as introduction into deeper issues and a blossoming friendship between the two main characters.

Directed by Morales who cowrote the screenplay with Duplass, Language Lessons is clearly a film that the two were deeply passionate about and this comes across in how well they share the screen together. Morales’ direction is simple and yet manages to make the world of the film feel as though it is wider than viewing the characters’ computer screens. Morales does this by incorporating different locations for the characters to call from so the environment doesn’t become too familiar and there is always something different to talk about. The screenplay is written by both Morales and Duplass and it is clear that they have both delved deep into their characters to ensure that there is more to them that meets the eye. This is especially important given the limitations in how the film is shot and serves well to make sure that the characters have a well-developed backstory.

Mark Duplass delivers a great performance as Adam, showcasing his emotional range despite the short running time. What makes Duplass such a great fit for the role is his charisma and likeability which lends itself nicely to Adam’s character. We see Adam’s journey quickly take a turn for the worse following the sudden death of his husband but through his friendship with Cariño, he finds an outlet to express his emotions, good and bad, through the turbulent time. Adam’s character feels real because, despite his kindness, we are able to see his flaws, especially during heated discussions with Cariño.

In their role as Cariño, Natalie Morales is a great onscreen partner for Adam. Where Adam is an emotional character who wears his heart on his sleeve, Cariño is more reserved and guarded, even when the two begin to form a friendship. However, Morales is still able to showcase emotional range including the brilliant scene when Cariño is extremely drunk and calls Adam on his birthday where she begins to divulge personal and incriminating information about herself. It is up to Adam to put these pieces together and he still doesn’t know a lot about her. However, Morales’ performance is on that is unpredictable which makes the film so watchable and eager to know what will happen next.

What makes Language Lessons such an impactful film is its simplicity and allowing the characters’ relationship to naturally form in a way that feels genuine. Mixing comedy and drama, this film will have you laughing one minute and crying the next, taking the audience through a journey that feels authentic. Both charming and sincere, this is a film that shows the genuine nature of online connection and how it can build into a real life friendships.

Language Lessons is playing at this year’s London Film Festival!

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Palm Springs (2020)

Palm Springs has finally landed on Amazon Prime in the UK and it was definitely worth the wait. A modern take on time loops, this film follows carefree Nyles (Andy Samberg) and troubled Sarah (Cristin Milloti) as they find themselves living the same day again and again and again. As Nyles has become used to the time loop life and enjoys it, Sarah is adamant to get out as soon as she can. Naturally, the two begin to bond due to their circumstance and a relationship blossoms. It’s a film that has garnered a lot of praise since its premiere and deservedly so. Directed by Max Barbakow from a script written by Barbakow and Andy Siara, Palm Springs is guaranteed to have you in stitches and in tears as we see how living the same day over and over can actually offer a different perspective on life.

The direction and nonlinear structure makes it different from your average Groundhog Day situation. The topic is actually quite dark as the protagonists cannot escape but Barbakow contrasts this with the idyllic setting of the Palm Springs desert. The nonlinear structure works perfectly with the plot and Barbakow isn’t afraid to let the audience piece everything together rather than spoonfeeding the plot bit by bit. Rather than leading the audience into the time loop, we’re already thrown in there immediately which makes it feel like a puzzle that we have to put together ourselves. It is this unpredictable nature that makes Palm Springs an entertaining watch as we really don’t know what the characters are going to do next even though we know what their day would be like.

Andy Samberg can always be relied upon to turn wonderful comedic performances and his turn as Nyles is no exception. Although Palm Springs is primarily a comedy, there are some brilliant dramatic moments in there as well, especially when Nyles has to decide whether he wants to stay in the time loop or attempt to get back to reality. Samberg’s carefree character quickly becomes affected by his growing relationship with Sarah as she finds herself stuck in the same loop. It is during these moments of inner turmoil that we really see how Nyles’ carefree persona is really just bravado as he has become complacent in this life. Samberg is well known for his comedic roles, mainly as Detective Jake Peralta on Brooklyn Nine-Nine, however, this film marks a small step in drama at times and it would be interesting to see him take on more dramatic roles in the future.

Cristin Milloti has been building an interesting career to date spanning TV (How I Met Your Mother), theatre (Once) and film (The Wolf of Wall Street) but with Palm Springs she gets the leading role she needs to properly breakout. Milloti is absolutely wonderful as Sarah and showcases the character’s conflicted feelings perfectly throughout the film. The chemistry she has with Samberg is great and they work really well on building the jokes and making the film an enjoyable experience. We never feel that Sarah has to rely on Nyles to be saved, she looks to herself for the solution and proves to be more practical and reliable than Nyles is. This is because we are actually seeing the film through her eyes as we are introduced to the time loop through Sarah’s eyes.

JK Simmons is phenomenal as Roy, a man who Nyles accidentally introduced to the time loop life when the two were inebriated with alcohol and drugs. Set on hellbent revenge, he appears every so often to torture and kill Nyles knowing that the two of them will spawn again the next day. It’s great seeing Simmons take on interesting roles that allow him to become immersed in a character. After winning his Oscar, it would have been easy for him to take on leading man roles in blockbusters but Simmons has carried on doing the roles he is clearly passionate about and it really adds in excitement to the overall film as we anticipate his return in the film.

The soundtrack is one of the best parts of this film. With an eclectic mix of genres from a variety of decades including a brilliant use of Kate Bush’s “Cloudbusting” which is used in the film’s climactic scene, the random quality of the soundtrack helps brings the absurdity of the film’s plot. A lot of period films incorporate music from their respective time period to help the audience get a feel for the sounds of the time, however, Palm Springs completely rejects this and refuses to allow its music choices to conform to this. We are not supposed to get a feel for its time and it is wonderfully unpredictable with tunes from Leonard Cohen and David Bowie.

Palm Springs proves to be an incredibly original take on a subject that has been done lots of times before. Despite the time loop making the repeated day a predicted experience, it is actually the film’s unpredictability that makes it exciting to watch. From the beautiful cinematography to the brilliant script, Palm Springs may only be an hour and a half but it makes the most out of every second and never puts a foot wrong.

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

Palm Springs is available to watch on Amazon Prime UK now!

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The Forty-Year-Old Version (2020)

Radha Blank appears in The 40-Year-Old Version by Radha Blank, an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Jeong Park. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

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

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

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

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

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

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

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

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The Love Witch (2016)

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

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

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

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

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

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

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Raindance Film Festival 2020: Ella es Cristina

Another film on my Raindance schedule that I knew I had to watch was Chilean comedy, Ella es Cristina. Directed by Gonzalo Maza, who co-wrote the brilliant Oscar-winning A Fantastic Woman, Ella es Cristina is about the titular character and her on-off best friend, Susana, two women in their thirties who are trapped in a teenage mindset. As Cristina longs to find inspiration for her drawings to find meaning in her life, Susana is forced to become responsible for her actions when living at her mum’s house alone for six months. Ella es Cristina is a perfect modern comedy that mixes the drama of the millennial’s struggle for identity and the plight of the modern woman in a patriarchal society. Maza’s vision is wonderful and it’s hard to imagine that this is his directorial debut.

As expected, the script is fantastic and where the film really shines. Maza has a knack for writing three dimensional female characters, as seen in his previous film A Fantastic Woman. The comedy in the film felt akin to Noah Baumbach’s Frances Ha. Not only because they are shot in black and white but the struggle for millennial identity and the aspirations for artistic expression in a male-dominated environment. As well as this, centering the film on the relationship between the two women provides a connective thread through the film even when the women’s plots are not intertwining. The decision to film in black and white is a smart choice as it provides a rawness that allows focus to be solely on the characters. The male characters in the film are set to break the female characters down. Cristina is constantly gaslighted and bossed around by her love interests, used for sex and undermined constantly.

Mariana Derderián is captivating as Cristina, an aspiring artist who longs to find inspiration for her drawings. Derderián has such brilliant screen presence and Cristina is a fascinating character. Unbelievably naive and too trusting of people, Cristina is extremely vulnerable and wears her heart on her sleeve. Initially struggling with the separation and divorce with her ex, Ruben, Cristina is forced to stand on her own two feet and carve out her own identity. Derderián brings out Cristina’s vulnerability while building on the character’s resilience and strengrh throughout the film. One of the most unique female characters I have seen this year, Cristina’s character arc is one of self-realisation and learning self-respect.

In support, or more accurately co-lead, we have Paloma Salas as Cristina’s on-off best friend Susana. Living at her mum’s house rent-free as her mum ventures to Brazil for six months, Susana is forced to become more responsible for her actions. Unapologetically brash and harsh at the best of times, Susana has a tendency to push people away whereas Cristina is too trusting. Desperate to keep connections with her ex and the friends she insults, Susana slowly realises that she needs to emotionally mature. Salas’ performance is brilliant and unpredictable.

The music by Cristobal Carvajal is phenomenal and the opening piece immediately sets the tone for the rest of the film. A stagnant shot of a flight of stairs showing the two leads running up as the powerful drums play. The piece is exciting and filled with anticipation for the rest of the film. After this, most of the pieces in the film are piano led yet carry this quirky and unpredictable nature aligning with Maza’s script. The music feels stripped back yet complex at the same time, just like the characters. It feels as though Carvajal gets into Cristina’s mind and puts her character into music. I look forward to see where Carvajal’s career takes him next.

Overall, Ella es Cristina is a charming and sincere film that explores the uncertainty felt by the millennial generation. Carried by two standout leading performances, Maza manages to draw out an authenticity that explores the modern woman as well as navigating artistic expression in a patriarchal society.

Ella es Cristina is showing at Raindance Film Festival.

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Raindance Film Festival 2020: My Thoughts Are Silent

The next on my list for Raindance is this quirky Ukrainian comedy-drama film written and directed by Antonio Lukich. Following sound engineer, Vadym (Andriy Lidagovskiy) who is tasked with recording the sound of a rare bird that can only be found in the mountains in Transcarparthia and embarks on this journey with his mother, Galia (Irma Vitovska-Vantsa). If he succeeds in doing this, he will be able to move to Canada where he will work for a huge gaming company as a sound engineer. Visually, the film is absurd, striking and really entertaining to watch. Making the most of the Ukrainian landscapes as Vadym and Galia journey across country, Lukich really thrives at making the ordinary seem extraordinary.

Lukich’s script is well-balanced between its comedy and drama. Never needing to veer into too dark a place, My Thoughts Are Silent shows the contradictions in the mother-son relationships and the differing expectations they have of themselves and each other. Initially, the plot centres around Vadym’s research into the rare bird, known as the “Fussy Mallard” and whether he will be able to record its voice but the film becomes much more than that. The voice that is important is Vadym’s creative voice and knowing what he wants to achieve in life as well as his mother’s wishes. It is a film about their fragmented relationship and them getting to know each other and piecing together the puzzle.

Andriy Lidagovskiy’s performance as Vadym is fantastic. Aspirational and creative, Vadym is headed for success in the gaming industry. His mother, Galia, is less impressed and would like to see him settled with children. The lengths Vadym goes to to capture the sounds of various animals for his game is hilarious with one incident requiring him to seduce an older woman so her parrot will chirp. Lidagovsky has great screen presence and really dives into Vadym’s determination to be creatively fulfilled. The idea of a settled life bores him and the adventure that ensues reflects that. Often donning ridiculous disguises to record the animals and be amongst them, Vadym isn’t bothered by the outward appearances. Lidagovsky’s performance brings an all rounded characterisation that is fantastically developed throughout the film.

In support we see Irma Vitovska-Vantsa as Galia, Vadym’s mother. A woman who refuses to let her age define her, Galia strives to find a partner and settle down. Constantly feeling unwanted and unloved, she urges Vadym to search for the love that she doesn’t have. This isn’t to say that Galia doesn’t have strength as a character. Her arc explores that she doesn’t need anyone else to define who she is. An avid fan of Victoria Beckham, we are introduced to her driving her taxi to pick Vadym up with the CD player blasting “Viva Forever” which I absolutely loved. Vitovska-Vantsa and Lidagovskiy have a striking relationship onscreen which feels authentic and raw. The ups and downs portrayed will resonate with any familiar conflict.

The music in the film composed by Sam Kuzel is a huge standout. The synthesised music juxtaposing with the natural noises that Vadym records makes for a great combination. The heavily synthesised pieces assist in elevating the absurdity of the film at times and lighten the dramatic moments. It’s a great rhythmic score that provides the heartbeat for the film. Vadym’s own creative musical aspirations are more in line with the electronic sounds than the animal noises in nature. He is inspired by the written notes of the Fussy Mallard in a museum and this becomes the driving force through the film.

What Lukich achieves in this film is portraying a normal family conflict in an overly eccentric way. Combining serious moments with touches of absurd comedy ensures that your attention is grasped at all times. My Thoughts Are Silent is captivating, beautifully shot and feature great comic performances, particularly its leads Ludagovsky and Vitovska-Vantsa.

My Thoughts Are Silent is showing at Raindance Film Festival.

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“Amok, amok, amok, amok, amok”: Halloween Family Fun

“I’m a master of fright, and a demon of light, and I’ll scare you right out of your pants!” 

– Jack Skellington, The Nightmare Before Christmas

Halloween is a favourite time of year for many. The spooky decorations, costumes and sweets galore, Halloween is the perfect time of year to whip out the horror films and have a marathon. Also, given that we’re in a lockdown situation, it seems like a movie night will be the best way to celebrate the scariest night of the year. However, not everyone can stomach the gore of the Saw films or Midsommar but don’t fret, there are so many films available for younger audiences and the faint of heart. But why do people of all ages love to watch scary films? Filled with creepy costumes, unimaginable monsters and black magic, horror has always been relied on to entertain and stretch the imagination to its limits.

The first name that comes to mind when thinking of family horror is Tim Burton. Combining Halloween with a Christmassy texture in his earlier films such as The Nightmare Before Christmas (1993) which features characters he created. His imagination sparked a new wave of gothic childlike films that have gained millions of fans around the world. From the magical music numbers to the vulnerability of his characters, Tim Burton’s vision is undeniably horror but also mixed a variety of genres such as comedy and musical to make it suitable and accessible for all ages. Even in his later films such as 2005’s Corpse Bride, he adapts this approach and it still remains as popular as ever.

Seeing how successful it was on release, Disney have taken ownership of The Nightmare Before Christmas since and before this appeared to channel their Halloween offerings into their live-action films. It’s rare to find someone who isn’t aware of the 1993 hit Hocus Pocus which follows the evil Sanderson sisters, a trio of witches set on killing the children of Salem to regain their youth once more. Led by Bette Midler in one of her best performances, Hocus Pocus follows the same approach at exploring the scary topics through comedy and music. It’s no surprise that, despite being critically panned, dedicated fans watch the film every Halloween. Between the likeable characters and the fantasy aspects introduced through the eyes of a Californian native who has recently moved to Salem with his family. What transpires is the terrifying resurrection of three witches who are hellbent on killing the town’s children before sunrise on Halloween night or they will vanish again. It’s a fun film with quite a bit of adult humour to appeal to older viewers and lots of creative costumes to captivate children. It’s such a great watch. Besides, who doesn’t love to sing along to Midler’s fantastic rendition of “I Put A Spell On You”?

Despite never having made a feature film for them, Burton did work at Disney in the 80s but was fired as his work was deemed too dark for children. However, it cannot be argued that his influence has had an affect on Disney’s approach to scarier films in the years since. This reasoning is odd considering that 1985 saw Disney release their scariest movie to date with The Black Cauldron bringing the Studio’s first PG rating. However, it may be due to the film’s failure at the box office that supported their decision to fire Burton. Aside from The Black Cauldron, the only horror animated films Disney had released by 1990 was The Tales of Ichabod and Mr. Toad (1945) which, despite its dark ending, was much lighter in tone than The Black Cauldron. Needless to say, Disney is not the only studio producing horror content for a younger audiences.

Another popular way that filmmakers integrate horror into their films is through satire. Even if younger audiences don’t understand all of the punchlines or references, there are still plenty of laughs to be had. Take Aardman’s Wallace & Gromit: The Curse of the Were-Rabbit and Laika’s Paranorman, two stopmotion animations that take the horror genre and change the rules. The former taking the classic monster werewolf and turning it to a vegetable-crazed were-rabbit and the latter making its protagonist the “monster” as he is a young boy who can see dead people. What makes these films so successful in their audience outreach is that the visuals and stories are enough to captivate and scare younger audiences and older audiences will understand the deeper context.

Halloween has always been a popular time for film fans with new horrors being released every year. Not only is it fun to watch new films but revisiting old favourites for nostalgia always makes for a great time and although it is entertaining to watch some the more gory offerings, it’s nice to watch a lighter family Halloween film as well. Just because a film doesn’t contain massive amounts of blood and guts doesn’t mean that a film can’t be scary and entertaining. Films like The Nightmare Before Christmas and Paranorman have become modern classics because of their fearlessness in bringing out vulnerability in potentially scary characters. No one has to miss out on the jumpscares and thrills after all.