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I’m Thinking of Ending Things (2020)

One of the most anticipated films of 2020 comes in the form of this psychological horror from the genius that is Charlie Kaufman. I’m Thinking of Ending Things is based on the 2016 novel of the same name by Iain Reid with Kaufman adapting the screenplay and directing. Oscar-winning writer enlists Jessie Buckley and Jesse Plemons as the film’s leads following Buckley as a Young Woman who is hesitant with her new boyfriend, Jake (Plemons). In true Kaufman fashion, the dialogue is complex and layered as the Young Woman’s open voice over is interwoven into the discussions that she partakes in as though the other characters can hear her thoughts. The film takes place during a visit the Young Woman and Jake take to the latter’s parents and the impending mental breakdown that ensues when they are all trapped due to a snowstorm.

Jessie Buckley is brilliant as expected. Proving herself to be a true rising star in the acting game thanks to her turns in Beast (2017), Wild Rose (2018) and the TV drama Chernobyl (2019), Buckley shows off a flawless American accent as the Young Woman who descends into madness as she loses her grip on what she wants and what she should do with her life. Opposite Buckley is Jesse Plemons who has rapidly risen in the acting ranks in recent years. Known to most for his turn on the final season of Breaking Bad (2008-2013), Plemons has built a fantastic portfolio starring in films like The Master (2012) and Vice (2018). It’s refreshing to see both actors lead in a film that is reliant on their performances. The rapport between them is credit to the perfect casting and their ability to bounce off each other naturally despite the complexity of the writing.

In the supporting roles we have Toni Collette and David Thewlis as Jake’s parents who unsurprisingly bring phenomenal performances. Jake’s Mother is aloof and eccentric contrasted with his Father who is opinionated and direct. The casting again is top notch as it is great to see two relative newcomers and two acting veterans bouncing off one another and building onto the tension up to breaking point. Collette is flying high on a streak of brilliant roles she has taken in recent years including her lead performance in Ari Aster’s 2018 hit Hereditary and it’s nice to see Thewlis working with Kaufman again after playing the lead in the 2015 animated masterpiece, Anomalisa.

The dinner scene in which the new couple and the parents break the ice and get to know each other. What Kaufman has always been brilliant at is fleshing out his characters to a point where you know them but at the same time you don’t know everything about them. The characters cannot be fully trusted but because Kaufman writes it this way. These extra dimensions and layers allow the plot to naturally unravel. The film is directed from the Young Woman’s perspective so as she begins to doubt everything that happens, so does the audience. Its depiction of mental and emotional breakdown starts subtle but soon enough, the audience is thrust into a confusing narrative where stories change, the ages of characters change and even the protagonist’s name changes. The audience doesn’t truly know who the Young Woman is and so she could be any of these woman; a scholar, a waitress or an artist but her inner conflict in who she is and what she wants means that the uncertainties that unfold in Jake’s parents’ household are not as peculiar as it may seem.

Another unspoken aspect that is worth mentioning is the brilliant decision made to cut out music from the majority of it so the natural soundscapes provide the background noise. The opening piece composed by Jay Wadley is wonderfully intense underlying the horror aspects of the film as the Young Woman talks about her relationship and her outlook on life as a whole. The ballet sequence later in the film is driven by the musical narrative that Wadley composes and complimented the dancing perfectly.

Kaufman has knocked it out of the park again with his strong direction and distinctive writing and insight into the human condition. I’m Thinking of Ending Things is available on Netflix and I would definitely recommend giving it a watch. The ups and downs of the relationship is reminiscent of Kaufman’s screenplay for the 2004 film Enternal Sunshine of the Spotless Mind while still remaining original and developing its own DNA. I wouldn’t be surprised to see I’m Thinking of Ending Things in discussion when it comes to awards season. Thrilling and indulgent, it is a film that demands to be watched more than once.
Have you seen I’m Thinking of Ending Things yet? Let me know what you think in the comments below!
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You Were Never Really Here (2017)

Lynne Ramsay’s You Were Never Really Here follows hitman Joe who specialises in retrieving young girls from the clutches of underground paedophiles and trafficking. He is tasked by a New York senator to retrieve his daughter, Nina (Ekaterina Samsonov), who has been kidnapped and to eliminate those who took her by the most violent means possible. The film premiered in the main competition at Cannes FIlm Festival in 2017 where it became one of the most widely discussed films and won two awards for Best Screenplay for Ramsay and Best Actor for Phoenix. It’s rare to see a film win more than one award at Cannes so the hype for the film was huge. From the offset, the film doesn’t hold back in its themes and violence.

The direction is executed with a cat and mouse feel. The camera trailing through Joe’s eyes as he hunts for the perpetrators and their accomplices. What Ramsay does so well is being able to use the protagonist’s perspective as the audience’s entry into the film. Even in scenes when Joe is doing menial tasks like cleaning or singing with his elderly mother, we get a glimpse into the two different lives he has. Ramsay’s screenplay is incredible and tight, managing to create a fully realised character in its 90 minute runtime. The screenplay is written around the character of Joe and the outside context such as politics is only touched on lightly when introduced to joe in an organic way. Despite using multiple locations, the film still has that claustophobic tone throughout. Like previous films by Ramsay, the film heavily relies on its imagery rather than dialogue to tell the story. This works particularly well for You Were Never Really Here as a lot of the scenes only contain Joe and so scenes filled with dialogue would result in an unnatural and jarring experience. 

Phoenix’s performance as anticipated is more than deserving of the praise received. Joe is unapologetically violent, trauamtised from childhood and yet he displays affection, especially towards his mother and Nina. Joe’s troubled state of mind is displayed from the beginning as we see him self-suffocating with a plastic bag in order to cope with the flashbacks and trauma in his life. Throughout the film, Ramsay gives us brief glimpses into Joe’s backstory but doesn’t overdo it in a way that the film is anchored down by it. Phoenix’s performance is subtly expressive and he allows himself to go to a place that is uncomfortable and disconcerting, resulting in a character that is highly unpredictable and yet so commanding of the audience’s attention. In my previous post where I discuss my top 5 performances by Phoenix (which you can read here), I have included You Were Never Really Here because I think it is one of the prime examples where the actor truly emcompasses everything about the character.For the score, Ramsay recruits Jonny Greenwood for the second time after her 2011 film We Need to Talk About Kevin. Like Joe’s character, the score flits between intense pieces with a strong and consistent beat which are usually played when he is on the job and more natural and flowing pieces which provide a backing track for scenes with Nina and his mother. The track, “Tree Strings”, which is played as Joe buries his mother is such a poignant moment and the music elevates the scene by assisting in his ephiphany to rescue Nina from her kidnappers. Greenwood is more widely known for his collaborations with Paul Thomas Anderson but his scores for both We Need to Talk About Kevin and You Were Never Really Here assist in elevating and excuting Ramsay’s vision to perfection.

Ramsay is one of the best female directors working in the industry today. She consistently brings out performances that are career-defining such as Phoenix in You Were Never Really Here and Tilda Swinton in We Need to Talk About Kevin. She has a clear vision and isn’t afraid to delve into any topic, particularly those centred around children. The ending to You Were Never Really Here isn’t the all-rounded happy ending you would want from a film that explores child sex trafficking, but Ramsay’s choice to give it the ending that it does have highlights the reality that these children face. Ramsay’s ability to write strong characters is in another league. Her characters aren’t particularly likeable but that doesn’t matter. The characters are the driving force of the film and the fact that they aren’t completely relatable or likeable only serves to add another layer of depth. I think because of this that this makes You Were Never Really Here an outstanding inclusion in Ramsay’s filmography and why it was so successful upon release.

What do you think of You Were Never Really Here? Let me know in the comments below!

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Jordan Peele: Film Ranking

When it comes to the best horror visionaries of the 21st century, it is most likely that Jordan Peele’s name will crop up. He rose to fame for his comedic acting alongside Keegan-Michael Key in the hit shows Mad TV and Key & Peele and the two are still often cast together such as their voice work in last year’s Toy Story 4.

Aside from being a comedian, Peele is also an avid horror film fan and turned his attention to writing and directing horror films that have redefined the genre in recent years. He has experienced resounding successes both critically and commercially, which is fantastic for a rising voice in the horror genre especially. His films are original and topical, using the horror genre to explore the African American experience in modern-day America.

A four-time Oscar nominee, Peele is one of a few who has been nominated for Best Picture, Best Director and Best Original Screenplay for his debut, winning the latter for 2017’s stellar Get Out. He has received an additional Best Picture nomination for his contribution as Producer for Spike Lee’s incredible BlacKkKlansman (2018). Peele is on course to become a master of the horror genre and it’s exciting to see what films he creates next.

Get Out (2017)

Peele’s directorial debut was a game-changer in many ways. The hype for this film spread like wildfire and it soon became one of the most critical and commercial successes of 2017. Following African-American photographer Chris (Daniel Kaluuya) who sets off with his white girlfriend, Rose (Allison Williams) to meet her family over the weekend which gradually shifts from a nervous first encounter to a nightmare beyond belief. Peele flips the horror genre on its head with Get Out. Horror films in general tend to exaggerate racial stereotypes a lot more than other genres but what Peele absolutely rejects this and gives us an array of characters who are well-rounded with their own background stories and motives thanks to the incredible script. The film is filled with so many layers that you can notice something different every time you watch the film. From the brilliant supporting performances from Lakeith Stanfield and Lil Rel Howery to Michael Abels’ impeccable score. What sets it apart from other horrors is that the villains are white middle-class liberals whereas a lot of racism in horror is at the hands of the right-wing. The film was nominated for a slew of awards including nominations for Academy Awards for Best Picture, Best Director and Best Actor in a Leading Role for Kaluuya, winning Peele the Oscar for Best Original Screenplay in a year that was incredibly strong in competition. Get Out is only 3 years old and yet has already solidified itself as a horror classic and will certainly be marked as a milestone for the genre.

Us (2019)

Peele’s follow up is another demonstration of his talent as a skilled writer and director. Starring Oscar winner Lupita Nyongo’o as Adelaide, a woman who is haunted by a traumatic encounter she experienced as a child, and her family as they go on vacation. Aside from a couple of weird coincidences, everything seems to be going okay until the family are confronted by a family of doppelgangers who attempt to kill their counterparts. Us is a highly intense film filled with puzzle pieces that are eventually placed together. It is a joy to watch and Nyongo’o’s performance particularly is a knockout. To simply compare this film to Get Out would be ridiculous because they are so different in tone. Again, Michael Abels’ score is absolutely brilliant with its classical elements to reflect Adelaide’s ballet background. Gifted with four times the budget Get Out had, Peele takes advtange using multiple locations and the cast as expected is flawless with Winston Duke playing Adelaide’s husband, Gabe and Elisabeth Moss as family friend, Kitty leading the supporting cast. It’s a shame that this film wasn’t included in the awards circuit, especially for Peele’s screenplay and Nyongo’o’s spectacular performance.

Thanks to his genius and contribution, Peele has helped horror become the best genre to explore topical issues. He is clearly inspired and admires horror films but isn’t afraid to reject the stereotypes and add his own voice to the mix. It’s incredible to think how much Peele has achieved in the space of a few years and only serves for further excitement as to what projects he works on next, including as screenwriter and producer for the upcoming Candyman.

What do you think of Jordan Peele’s films? 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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Yentl (1983)

Barbra Streisand’s directorial debut follows the titular character (Streisand), a young woman living in an Ashkenazi Jewish community in the early 20th century who disguises as a man to study in a Yeshiva after her father passes away. Based on the short story by Isaac Bashevis Singer and cowritten by Streisand and Jack Rosenthal, Yentl is a film about subverting the cultural and societal norm as well as conflicts between religion and morality. Yentl Mendel is constantly questioning the way of life in her village and is looked down upon by the townspeople for being unmarried with no prospect of settling down. It is only when she disguises as a man called Anshel that she finds a place of belonging and her views are accepted and even celebrated. Problems occur when Yentl begins to fall in love with her mentor, Avigdor (Mandy Patinkin) who is in love with his ex-fiancée Hadass (Amy Irving) who then in turn falls in love with Anshel. It is the very definition of a love triangle and allows the film to have some lighter moments such as Anshel and Hadass’ wedding night. Winning Streisand a Best Director award at the Golden Globes making her the first and to date only woman to win the accolade, Yentl marks a huge step for female filmmakers in the mainstream thanks to its star appeal and critical and commercial success.

Streisand as director is really remarkable. You can sense the passion that she has for this film. Although there are trademark comedic moments and musical numbers that are identifiable with a Streisand picture, there is no doubt that the dramatic elements and aesthetic allow Streisand to explore a darker approach that we hadn’t really seen from her on film previously. Streisand’s female gaze gives this film a new perspective that we haven’t seen before in film. Instead of condemning Yentl’s choices, we view Anshel as a sensitive man who isn’t afraid of his vulnerability despite living in a male dominated environment. Where it not for Streisand’s feminine interpretation, the performance of Anshel could have slipped into caricature and taken away from the mature themes that the film discusses. Streisand lends a heavy feminist focus as she disputes why a woman cannot have the same outlook and expectation of a man while still appreciating the jobs that the women do. Yentl can be viewed as a crossover between genders and she doesn’t really fit in and altering her gender isn’t an issue. The pursuit of knowledge and equality overtakes the ideals expected of her. There are so many different readings that could be made when watching this film. It has been argued that Yentl could be considered as a queer film thanks to its discussions on gender and sexuality which adds a more progressive meaning to the story.

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In terms of her performance, it’s best to view Streisand as playing two roles rather than one such is her success in distinctly differentiating the two. Her Yentl is typical Streisand: sassy, witty and strong with an ambition to subvert the norm. This is the Streisand that we have grown to love in her previous cinematic outings. What is different about Yentl is that she is aware that she is trapped within her local community. When reciting the Talmud at her father’s funeral, it becomes such a scandal and causes widespread gossip. The transition period between Yentl and Anshel comes from her journey to the Yeshiva which includes her heartbreaking rendition of “Papa, Can You Hear Me?” where Yentl begs her father for forgiveness for her decision to disguise as a man in pursuit of an education. She sits alone in the forest at nighttime with nothing but a candle for light and it is then when the realisation of what she has done comes to fruition. It is also the point where she knows that there is no turning back and thus has to embody the identity of Anshel. Streisand’s Anshel takes a bit of getting used to in the same way as Yentl getting used to her new identity. We witness Anshel practicing his tone of voice and mannerisms, making sure not to appear too feminine without risking his integrity.

Mandy Patinkin does a wonderful job as Avigdor, Anshel’s friend and mentor at the Yeshiva who is initially engaged to Hadass. Avigdor isn’t afraid to be vulnerable to Anshel and his other male friends but the idea of being vulnerable to Hadass or her mother disgusts him. He doesn’t allow himself to get involved in any confrontation and is always calm when in her company. Avigdor seems so progressive when we are first introduced because he is so accepting of Anshel but it is easy to forget that Anshel is Yentl and he has no idea. When he spouts ideas about a woman’s true place in the home and that Hadass cannot think for herself, it comes across as a shock and ignorant but despite his intelligence, Avigdor is still a product of an environment that looks down on women. In another brilliant supporting turn, Amy Irving was deservedly nominated for an Oscar for Best Supporting Actress in her role as Hadass. When we first meet Hadass, she appears to fulfill all the criteria of the perfect woman and seems to do everything at the men’s commands. What we don’t realise is that she has successfully supressed any feeling of rebellion and it is when she is married to Anshel that she shares her aspirations to learn more. Yentl is in the middle of these two characters and yet it is because of Yentl that they are drawn closer together and allow themselves a more progressive and happier life.

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The amazing music is composed by Michel Legrand, one of the best composers that the film industry had to offer. From his imagination we were given the incredible song “Papa, Can You Hear Me?” composed by Legrand with lyrics written by Alan and Marilyn Bergman. The trio won an Oscar for Best Original Song Score and Its Adaptation or Adaptation Score. In true Legrand fashion, the music is whimsical and brings an essence of fairytale to the story. The musical numbers are far and few between but the score itself is wonderfully subtle when you compare to Legrand’s catalogue such as the music for Les Parapluies De Cherbourg (The Umbrellas of Cherbourg). The songs are suited to Streisand’s amazing vocal range, especially the aforementioned song but rather than being full of show-stopping numbers like the ones in Funny Girl, Legrand makes use of Yentl’s male identity and gives the songs a lower key register so Yentl is singing as if she were a man herself.

Overall, Yentl is a film that has helped pave the way for female filmmakers in mainstream cinema. It is a film not without flaws but it has beauty in its ability to discuss ideas that are considered taboo. Even within the Orthodox setting in the early 20th century, there are still similarities that Streisand is able to get across to link with the modern day. Yentl is not a film that Streisand wishes to make all about herself despite directing and starring in it but the story of how women are often subjected to misogyny and not afforded the chances of their male counterparts. It is equal parts drama and musical and a smaller part comedy which encapsulates Yentl’s character.

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

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The Wizard of Oz (1939)

With the hype of awards season in full swing, I thought I would take a look back at some older favourites of mine. Inspired by the Judy Garland biopic, Judy, what better way to connect the current awards season with a favourite classic of mine and discuss the wonderfully magical The Wizard of Oz (1939). Commonly seen as the film that propelled Judy Garland to stardom at the tender age of 16, cementing her legacy in Hollywood for years to come. The film is adored by fans of all ages and a regular watch at Christmastime. Following Kansas teen Dorothy Gale who is whisked away in a tornado along with her dog, Toto and landing in the mysterious land of Oz. Dorothy must team up with the unlikeliest of friends and find the great Wizard to find her way home. The film was mainly directed by Victor Fleming who left the production to direct Gone With the Wind and the remaining work was taken over by King Vidor. The screenplay was written by Noel Langley, Florence Ryerson and Edgar Allan Woolf and based on the classic children’s book The Wonderful Wizard of Oz by L. Frank Baum, The Wizard of Oz is a masterclass in classic Hollywood cinema.

Judy Garland is absolutely breathtaking as Dorothy. Probably one of the most perfect casting choices in film history. From her brilliant expressions and sheer talent for being an all-rounder, it’s hard not to feel moved by Garland’s performance, particularly when she sings “Over the Rainbow”. Garland’s background and the tragedy behind her experience filming this is well-known. The trauma Garland went through during the filming was sure to have had a lasting effect on her for the rest of her life. This makes the performance even more heartbreaking watching in retrospect. Dorothy has enough bravery and courage to face her enemies and stand up for herself but there is still vulnerability there and a maturity that makes her seem older than her years while at the same time bringing in that childlike innocence.

In terms of the supporting cast, the most iconic comes in the form of Margaret Hamilton’s brilliant turn as the Wicked Witch of the West. She’s just a plain nasty character and her only motive is ensuring that Dorothy doesn’t succeed in her quest. Hamilton’s voice and characterisation is a performance of legend and has resulted in one of the most identifiable villains in film history. Whether it is one of her trademarks such as “I’ll get you, my pretty, and your little dog too” to the iconic melting scene in which we see the Wicked Witch defeated after Dorothy throws a bucket of water over her. Out of the three friends, my favourite is the Cowardly Lion (Bert Lahr), mainly because I love the costume design so much and his performance of the song “If I Were King of the Forest”. It’s a film that is rich in distinguished characters that, although simple, does a good job of giving them enough screen time to be distinguishable.

I don’t know where to begin to talk about my love for the use of colour in this film. Aside from being iconic thanks to its amazing switch from black and white to brilliant technicolour with the simple opening of a door. There is so much to look into beyond Kansas representing the normal and dreary everyday and Oz being somewhere completely different. The location and setting for Kansas is natural with realistic looking prop whereas Oz is crammed full of fake creations. Munchkinland in particular is the epitome of the Oz aesthetic. It makes for a fantastically striking entrance into the land of Oz. Maybe it’s because we’re adjusted to the black and white set up that makes the colour pop out the screen even more, the design of Oz is truly spectacular. Also, the use of colour for the characters is beautifully done. From the contrast between the ruby red slippers that Dorothy wears with the Wicked Witch’s green skin and the metallic hue of the Tin Man’s paint with the Cowardly Lion’s golden mane. Oz is a land that although entirely built from imagination, also includes a multitude of texture.

I’ve already touched on the music before but it deserves a section on its own. The film is crammed full of brilliant songs that have stood the test of time. Undoubtedly, “Over the Rainbow” is the most popular but most people would also be able to sing or hum along to the likes of “Ding-Dong! The Witch is Dead” and “If I Only Had a Brain”. It is undeniable that Garland’s voice is beautiful and flawless, striking the perfect amount of emotion in her songs. Looking through the soundtrack, it is amazing to think that so many songs have gone down in cinema history as classics. A lot of the legacy from The Wizard of Oz comes from its Academy Award winning score by Herbert Stothart. Not to forget that “Over the Rainbow” also won the Oscar for Best Original Song for Harold Arlen and Yip Harburg. It’s a whimsical soundtrack that allows its audience to escape to Oz with Dorothy.

I am sure given that I love films like Snow White and the Seven Dwarfs and The Red Shoes that I am just as fond of this one. The Wizard of Oz is an outstandingly beautiful cinematic achievement and a prime example of a film that is suitable for all ages and all cinematic tastes. It is a film that combines drama, comedy and musical while also not fearing to delving into themes of loss and friendship. Dorothy is ultimately on a journey to finding out who she is and discovering her place of belonging. It’s this relatability that makes the film so identifiable with audiences around the globe.

What do you think of The Wizard of Oz? Let me know in the comments below!

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Moonlight (2016)

One of the best Best Picture winners in Oscar history, Barry Jenkins’ coming of age tale follows Chiron, a young black man coming to terms with his homosexuality through three key stages in his life. Split into three segments: Little (Alex Hibbert), Chiron (Ashton Sanders) and Black (Trevante Rhodes), we follow Chiron’s ascendence from bullied child to a successful drug dealer. Sadly, the infamous confusion between the true winner of the Best Picture award when La La Land was wrongly announced. Moonlight’s win was monumental for being the first film to openly discuss themes of homosexuality as well as featuring a predominantly black cast. Aside from its record-breaking and importance in film history, it holds merit as a captivating piece of cinema with innovative direction, emotionally charged writing and characters that hold influence for the entirety of the film despite limited screen time. This is a film that will be remembered for the ages.

It’s incredible that this is Barry Jenkins’ debut feature. It is one of the best debuts in film history and caused a lot of hype going into awards season. Jenkins’ vision comes across fantastically by presenting Chiron as an outsider in his own community. This is important because Chiron’s story is ultimately about being in a minority within a minority (gay within the black community). Moonlight is made up of shorter scenes that give us a glimpse into Chiron’s life. Following Chiron limits our view of the world at large but we still get the struggles across as we see him attending high school and being badly bullied. Jenkins doesn’t feel the need to explain a character’s absence and allows this to come out naturally in the script. Jenkins co-wrote the play with Tarell Alvin McCraney based on the latter’s unperformed play, In Moonlight Black Boys Look Blue. Together they reflected on their upbringings in Miami and were able to apply their own experiences into the script to ensure that it was as real and human as can be. Because of the authenticity and the knowledge of the area and its people, Moonlight doesn’t fall into the trap of including stereotypes that are often seen in films.

The cast all do a superb job of telling Chiron’s story, particularly Mahershala Ali as Juan, a drug dealer who takes Chiron under his wing at a young age. Juan is living with his girlfriend Teresa (Janelle Monae) and the two act as surrogate parents as Chiron’s mother becomes more abusive and neglectful. Juan subverts the tropes that drug dealers are given in film. He is wise, thoughtful and considerate. More importantly, he is sensitive and completely understanding Chiron’s situation almost immediately. Despite only featuring in the first part of the film before his untimely death, Juan’s presence is felt through the film. Ali’s performance is one of tenderness and paternity. What also comes across is Juan’s confidence in himself and his identity. Jenkins is subverting stereotypes and showing a perspective that is needed and long overdue.

The score by Nicholas Britell is among the best of the century so far. The soundtrack is brilliant mix of rap, classical excerpts from composers such as Mozart and original music. The original music is truly stunning with beautiful use of single violin solos to exemplify Chiron’s loneliness. What Britell does is give a separate theme for the three Chirons we see in the film. The themes aren’t distinctly different but feel like an evolution through the film until we get to Black’s theme much like Chiron’s development and understanding of his own self. At times it feels as if the music reflects Chiron himself in the specific scenes as the pace quickens in moments of adrenaline and then eases off in moments of relaxation. Chiron and the music go hand in hand making the music an entire experience through Chiron’s eyes.

Moonlight is a film that stays with you and one that is difficult to forget. It doesn’t shy away from showing the brutality of modern society and the struggles that minorities face. Jenkins solidified himself as one to watch with this film and followed it up with the excellent If Beale Street Could Talk. Moonlight is truly in a league of its own and has brought a new voice to cinema that is needed and valid. Scenes in which Chiron is rejected by his own mother (Naomie Harris), an abusive drug-addict, are revealed bit by bit as they coincide with Chiron’s own understanding of the situation. As his mother uses homophobic slurs against him, Chiron too becomes accustomed to that way of thinking and distances himself from his desires as an adult. Moonlight is one of those films that you can watch time and time again and find something to admire while reaping in the rewards of this cinematic masterpiece. It’s not often when smaller films are exposed to high levels of publicity but Moonlight thoroughly deserves it and is such an important film to note in the way of diversity in its cast and crew, providing a new perspective and a new wave of films that make way for different cultures told by those from those cultures.

What do you think about Moonlight? Let me know in the comments below!

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Mustang (2015)

A gem of a film you may have missed this past decade comes in the form of this Oscar-nominated Turkish-French film. Mustang is the debut feature by filmmaker Deniz Gamze Ergüven and follows five young sisters who are forced into arranged marriages after they are caught innocently playing in the sea with male classmates. Told from the perspective of the youngest sister, Lale (Güneş Şensoy), Mustang shows the struggles of being a woman in an oppressive society, the loss of innocence and the importance of sisterhood. Ergüven’s direction and script is drawn from aspects of her own life and this authenticity and knowledge can certainly be felt. The film uses limited locations which exemplifies the situation the sisters are in. The opening scenes show them leaving school and the freedom on the beach as they play. When their activities are discovered, they are trapped within the family home and forced to practice chores expected from women such as cooking and cleaning. The house is in the middle of nowhere and the girls are allowed limited access into the town due to the shame that they brought to the family. What Ergüven does so well by showing the film from Lale’s perspective is making the space seem bigger than what it is.

All five sisters have their own distinct personalities and outlook on life. As each one is married off one by one from eldest to youngest, we view their differing circumstances. This is mostly noticeable in the wedding scene where we see the two older sisters wed their husbands. Older sister, Sonay (İlayda Akdoğan) marries a man of her own choice and dances happily but second oldest sister Selma (Tuğba Sunguroğlu) sits forlorn at the table as she is forced to marry someone she does not care for. There isn’t a heavy focus on either sister as we are viewing this from Lale’s perspective and so the attention flits between various partygoers as well as Lale’s grandmother and Uncle. The writing in this scene is absolutely phenomenal and poignant as it marks the last time the five sisters are altogether and alive. It is in the wedding scene when you realise the seriousness of the plot. It is one thing for underage and arranged marriage to be discussed but it is an entirely different scenario when you see it actually happening. Especially the aftermath scene in which Selma’s bedsheets are inspected for blood the morning after and her in-laws claim she isn’t a virgin. The life-threatening undertones make this one of the terrifying scenes in film. The protagonist of the film, however, comes in the form of the youngest sister Lale. Şensoy brings a fantastic performance that is fearless and powerful. Lale isn’t afraid of what others think nor is she afraid of angering her elders when they are in the wrong. Her natural ability to resist is evident throughout the whole film and the concluding rebellion that she carries out with her sister, Nur (Doğa Doğuşlu) only shows how brilliant a character she is.

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One of my favourite parts of this film is the score by Warren Ellis who does a stellar job of capturing the sisters’ struggle. It’s a quiet and soft score that grows with intensity as the time to find Lale a husband looms. It’s an underrated score by all accounts and should have brought Ellis an Oscar nomination at least. The score is such an important part of a film that can really enhance the overall experience and I think that Ellis captures the heart of the film and the bond between the sisters. The combination of classic sounds with traditional Turkish music used in the wedding scene blurs the lines between the reality and the movie.

One of the best scenes in this film comes when the sisters sneak out of the house to attend a football match where adult men are banned. They are caught on camera during the match and in a bid to avoid their Uncle from seeing, the Grandmother swiftly turns the power off. It’s a small gesture but in this moment, the audience realises that the Grandmother has her sympathies for the girls and doesn’t want them to get into any further trouble. Ironically, the football match is where the girls feel safe and have fun as they are in a stadium surrounded by fellow women and watching men as a spectacle rather than being a spectacle in a male dominated world themselves. They have regained their power as individuals with individual identities in this scene and it is empowering to watch. Another scene which is a standout for me is the downfall of middle sister, Ece (Elit İşcan) who ends up committing suicide when the pain becomes too much. After waiting to be married off, she is molested by her Uncle but keeps this from her sisters so as not to upset them. The burden becomes overwhelming and she eventually takes her own life. This moment brings the trauma from the outside world into the supposedly “safe” confines of the family home. The brief glimpse that Lale sees of her bloodied sister is all the audience see before we are whisked away for the men to get rid of the body.

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Foreign language films always bring the best out of cinema whilst seemingly pushing the envelope in ways that English-language films seem reluctant and scared. Films like Mustang help lift the lid and raise awareness on important issues without caring about their opposing sides feelings. They have a clear point of view and they are films that make the audience think. The year this came out was an extremely strong year in film as you also had the revolutionary Hunagrian Holocaust feature Son of Saul which follows life of a man subject to working the gas chambers. Son of Saul was the film deservingly selected to walk home with the Oscar on awards night but any other year and that would have easily belonged to Mustang. It is a film that brings strength and hope to its female protagonists and also sheds a light on the injustice thrust upon young women in modern society.

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

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The Tale of the Princess Kaguya (2013)

My favourite animation of the past decade hands down belongs to Isao Takahata’s swansong which is a retelling of the Japanese folktale “The Tale of the Bamboo Cutter”. It follows a man who finds a small girl in the centre of a bamboo shoot, he picks her up and she turns into a baby and then quickly grows into a young woman in the blink of an eye. Known as Takenoko (which translates as “Little Bamboo”), the family live a life filled with finery. Takenoko is given the title Princess Kaguya and soon begins the quest to find her a husband. The only problem is that Kaguya does not want a husband. She enjoys her freedom and finds the concept of regality to be horrifyingly restrictive. The film underperformed at the box office but the critical response is overwhelmingly positive with five stars across the board. It’s a shame that this film hasn’t received the mass audience that Spirited Away did because it is such an intricate look into traditional Japanese culture whilst merging in the pressures of being a woman in a man’s world and living up to societal expectations. Its portrayal of depression is one of the most realistic and resonating in film for me, particularly the scene in which Kaguya flees the party and sheds her many kimonos. The significance of this scene cannot be discussed enough. Kaguya is dismissing the life that her parents have decided for her. Her parents are not bad people but they have confused their own wishes with their daughter’s and this is what ultimately tears the family apart. The film was released just after Hayao Miyazaki’s The Wind Rises in a double bill that hasn’t been seen since the 1988 releases for My Neighbor Totoro and Grave of the Fireflies. Just as those films are completely different in subject matter and style, the same could be said of The Wind Rises and The Tale of the Princess Kaguya.

The animation style in this film is what makes it instantly stand out in the Ghibli catalogue. Taking clear inspiration from traditional paint and ink, it veers away from your typical Ghibli and Takahata aesthetic but the result is a beautiful use of technique and colour. It feels as though the film is a fairy-tale jumping from the pages of a book. The pastel colour scheme contrasts beautifully with the strong black strokes. This truly is art in animation and a testament to Takahata’s ability to push the envelope. The film in its entirety is beautiful but the now iconic cherry blossom scene is one of the most wonderful sequences in any film. Kaguya runs and plays as the cherry blossoms fall and the result is a scene of joy and freedom. The mix of deep black outlines filled in with delicate hues of pink are simplistic but resonate the lightness and happiness that the character is feeling. The use of colour is so important in this film as it evokes both material and figurative richness. Contrast the colours of nature as Takenoko ventures in the forests as a child which excites her with the scene in which she is gifted numerous kimonos that are made of unnatural colours in rich jewel tones. Takenoko is taken aback by the gift and loves playing with the material in a scene which is just as beautiful as the cherry blossom scene.

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The character of Princess Kaguya herself is deeply complex and despite her origin as a being from the Moon, is one of the most human characters brought to film. Her journey from bamboo spirit to fully fledged Princess is turbulent and challenging. Content with the humble lifestyle her Earth parents lived before inflicting delusions of grandeur upon her, Takenoko refutes the lifestyle expected of a lady in high society. She is trapped within the walls of her mansion within the city and longs for the wilderness and freedom it brings. The character is not without her flaws. She purposefully manipulates five potential suitors to cross oceans and collect tokens for her affection. She does this knowing that she doesn’t care for any of them and knowing that it isn’t possible to gain these mythical gifts. When falling into her depression, we feel for her because she doesn’t want to let her parents down and appreciates everything they have done while at the same time sacrificing her own happiness. Ultimately, she has to ask herself if her parents happiness is worth exchanging for her own and asks for the Moon to reclaim her. Kaguya is a character who knows what she wants and this progressive outlook does not fit in within a society that has a place for her.

In an unusual move for Takahata, he recruited Joe Hisaishi to compose the music for this film. Hisaishi is known for his frequent collaborations with Miyazaki and had only just delivered a stellar score for The Wind Rises. It’s a credit to Hisaishi that he worked on these scores at the same time and yet both soundtracks have their own style and identity. The score for The Tale of the Princess Kaguya deeply lies in Japanese tradition, utilising traditional instruments such as the Koto which the titular character has a natural affinity for and whimsical woodwind that really brings you into the era and setting. Hisaishi has his own distinct sound as I have discussed in previous posts but this one feels totally unique in its approach. It feels softer and more ingrained in its tradition and heritage than other soundtracks. This could be because despite its fantastical elements, it is a film that is openly set in an ancient Japanese setting.

There are many scenes which stand out in this film for me and I have discussed a few of them in this post but the one that will remain the most heartbreaking is Kaguya’s return to the Moon. It’s a poignant sequence and one that will have you crying. When the procession of beings from the Moon come to collect Kaguya, the love that she has for her parents and vice versa flows through. It’s hard to believe that a children’s film can have such a sad ending but this is Ghibli and they are not afraid to delve into darker themes. Erased of her memories on Earth, Kaguya looks back at her parents and sees their love and smiles. This smile is bittersweet because she recognises the love that they have without understanding who the love is for and what it meant to them.

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The Tale of the Princess Kaguya is tied with Castle in the Sky for first place as my favourite Studio Ghibli film. It’s unlike any film you have ever seen and unlike any film you probably will see in the future. It’s a glorious achievement and worthy of being Takahata’s final film. The love and care that went into this film is so evident. I truly believe that the love for this film will grow in the coming years and it will become just as admired as some of the other popular Ghibli films in the catalogue such as My Neighbor Totoro and Spirited Away. It’s a film that is not an easy watch but it is so captivating and rewarding.

What do you think of The Tale of the Princess Kaguya? Let me know in the comments below!

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Beasts of the Southern Wild (2012)

Benh Zeitlin’s Deep South exploration of classism and racism within a microscopic community called The Bathtub based in the Louisiana Bayou shows the heartbreaking journey a little girl, Hushpuppy (Quvenzhané Wallis) makes to be reunited with her mum after her father falls ill who she hasn’t seen in years. The film is intricate in all of its elements and has become one of the most captivating films of the past decade for its brilliant cinematography, emotionally charged writing and a fantastic performance by Wallis. In fact, Wallis became the youngest nominee at age 9 for the Best Leading Actress Oscar at the 2013 ceremony for her performance. This may have been the big draw for the film as audiences were keen to see what the fuss was about but it is a film that has a big heart and delves into the trials and tribulations of family. It walked away empty-handed from the Oscars that year but so did other worthy films (aka. The Master) so it’s not the end of the world. I don’t think it has received the mass audience it deserves but it is a very small film and is loved by critics and film fans alike so it may grow into a modern classic soon enough.

Zeitlin’s direction is stunning and absolutely incredible for a first feature. His fixation on the community itself and reluctance to show the outside world was a great choice as the consequences and invasion of the outside world feels more impactful than if we saw The Bathtub in a larger context. We get to know similar faces and their way of life in the first half of the act and importantly, their strategies to escape from those who want to split them up. Hushpuppy isn’t raised in a conventional manner. Her education and lifestyle sees her living in her own house, cooking and raising animals at the age of 5. She is self-reliant and mature in many ways but what Zeitlin wants us to remember is that she is still a child. She sets fire to her house when angry at her father because she doesn’t think of the consequences. She screams and throws tantrums but she is also fearless and has a simplistic look on the world that makes it easy to identify the good and the bad. To Hushpuppy, there is no middle ground. Hushpuppy’s development in the script, written by Lucy Alibar and Zeitlin, is depicted beautifully as she begins to understand and comprehend the reality of the situation when she is separated from her dad and the truth about her mum.

Wallis’ performance is among the best of the decade for me. Only five years old when filming this, she truly encapsulates everything about Hushpuppy and pulls it off with ease. Unafraid to be big and proud but also willing to show vulnerability, the emotional spectrum that Hushpuppy goes through means that the role itself is deeply complex, especially for a child. This is because Hushpuppy isn’t a normal child. Wallis seems to understand this and commands attention when onscreen, which she is for the majority of the film. Thematically, Hushpuppy encounters loss, death and grief which are hugely dense topics for a child so young to even comprehend but Wallis is so engaged in her performance that she isn’t afraid of tackling this maturity head on.

The score composed by Dan Romer and director Zeitlin has become somewhat of a modern classic unbeknown to the mass audiences. The main theme has been used in various adverts and trailers alike and it feels like a piece that truly resonates the hope and adventure in the film. The soundtrack can only be described as strong and deep in heritage with Deep South banjos mixed with Cajun vibes creating a sound that feels exclusive to the community. The tracks are all fairly short as the film is made up of lots of smaller scenes rather than fewer elongated ones and this helps with the shift in tone and character. The use of brass in the score is phenomenal and makes the film feel grounded and rooted with nature. We feel Hushpuppy’s perseverance and strength.

What makes this one of my favourite films of the decade is the humility that it brings. Beasts of the Southern Wild is a film that has power in its characters and detail in writing that serves to develop characters, particularly Hushpuppy. It is such a striking film that isn’t afraid to push the realms of realism while simultaneously remaining grounded in very real topics of class and race politics. Because we view the film from Hushpuppy’s point of view predominantly, we too are seeing these issues in a very different manner. As her dad arrives home with a hospital wristband, it is only a minor detail on his outfit as Hushpuppy questions his “dress” (his hospital gown). It’s a film that discusses recurring issues but in a unique way and for that, I think it deserves to be remembered.

What do you think of Beasts of the Southern Wild? Let me know in the comments below!