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London Film Festival 2020: Ammonite

One of the final films for this year’s London Film Festival comes in the form of Francis Lee’s Ammonite. Written and directed by Lee, the film follows Victorian palaeontologist Mary Anning and her time spent with Charlotte Murchison who would eventually become a palaeontologist herself. Starring Oscar winner Kate Winslet and Oscar nominee Saoirse Ronan as Anning and Murchison, respectively, Ammonite is a slow burning romance filled with beautiful cinematography and boasting a host of stellar performances. It premiered at Toronto Film Festival and was one of the most talked about films coming into London Film Festival so I was excited to have a chance to watch it.

Shot on location at the Jurassic Coast at Lyme Regis, Ammonite is just as hard and cold as its surroundings with Anning’s character specifically being chipped away at like one her fossils until we see her true self revealed. Francis Lee brings in a unique perspective by adding in a lesbian storyline due to Anning’s privacy regarding her personal life and with the knowledge that she never married or had children. There is no proof to say she was a lesbian but there isn’t any proof to say otherwise and the film hasn’t been written as confirmed history. What is fact, however, is that Anning’s life was full of injustices. From the offset, Anning’s injustices are seen as the fossil she uncovered is placed in the British Museum and her name is replaced by a man’s. This happens before we even see her onscreen. Our introduction to Anning is quite literally the science community erasing women from the narrative.

As expected, Kate Winslet is perfect casting as Mary Anning. Stubborn and guarded, Anning sees through the grandeur and spectacle of the male dominated science community. Bringing her best performance in years, Winslet’s Anning longs for happiness but shuts herself away from it, deciding to focus on her work. Even when she initially meets Roderick and Charlotte Murchison, she is reluctant and unhappy to give them a private audience as she prefers her own company. However, we see her facade fade away as she nurses Charlotte back to health after she contracts a fever. Anning longs to be among the elite in society but knows that she never will. Charlotte has everything she wants and even when presented with the opportunity to join her, Anning doesn’t want to be in a submissive position. Winslet plays Anning with strength and resilience that both aids and damages the character.

Saoirse Ronan’s performance as Charlotte Murchison puts her back in the familiar period setting that she excels in. Murchison is consumed by mental illness following the loss of her baby and is sent to shadow Anning at the insistence of her husband who goes travelling for five months. She is timid and quiet and quickly clashes with Anning’s brash character. After falling ill, Charlotte has a new outlook on life and grows attached Mary which slowly blossoms into a romance between them. As the film’s focus is mainly on Anning, I would say Ronan doesn’t shine as much as Winslet because we don’t get to know Charlotte to the same extent. I would have loved to have seen a more developed character arc for her or perhaps a note at the end of the film to confirm her own successful career as a palaeontologist. Ronan does the best with the material she has, however, and is a great onscreen match with Winslet. It’s hard to believe that it has taken so long to have these two powerhouses acting alongside each other.

The costume design by Michael O’Connor is a highlight in the film, particularly the handmade knit pieces the two leads wear. Anning’s weave and rib knit jumper is a beautiful and practical piece that has the robustness to reflect her profession and personality. On the other hand, Murchison’s delicate white knitted shawl is so fragile it could be lace. It is so fresh and clean which contrasts with the mud laden beach. Anning’s clothes are predominantly dark greys and blues and reflect the bleak coastal scenery with Murchison’s more bright and lavish outfits commanding the centre of attention in all of her scenes.

Overall, Ammonite shows Francis Lee’s skill with colour and vision, giving a voice to an overlooked woman in science. His boldness and imagination to suggest a different narrative doesn’t take away from Anning’s confirmed achievements. Lee has cemented himself as a director to watch with this strong follow-up to his 2017 debut, God’s Own Country.

Ammonite is screening at the London Film Festival on the 17th October and will be released in the United Kingdom in 2021.

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London Film Festival 2020: Farewell Amor

Ntare Guma Mbaho Mwine, Zainab Jah, and Jayme Lawson appear in Farewell Amor by Ekwa Msangi, an official selection of the U.S. Dramatic Competition program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Bruce Francis Cole. 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.

The next film that I viewed was Ekwa Msangi’s Farewell Amor. Written and directed by Msangi, Farewell Amor is a 101 minute drama following an Angolan family who are reunited in New York City after seventeen years apart. Walter (Ntare Guma Mbaho Mwine) has been working as a taxi driver in New York and living in a one bedroom flat in Brooklyn. The opening of the film sees his reunion with wife, Esther (Zainab Jah) and daughter, Sylvia (Jayme Lawson) before the film splits each act to follow each character. As suspected, the relationship between husband and wife and father and daughter is strained and in the case of the latter, Walter and Sylvia seem to be complete strangers.

Msangi’s script acts as an outline to showing the immigrant experience in America and the richness of African and African-American culture within New York. With each segment, Msangi paints the picture of these three characters and how dance brings them together. The Angolan culture is transferred over and felt despite the film solely taking place in New York. There is also an undercurrent of religious conflict as Walter’s religious distance is clear as he is uncomfortable at Esther’s insistence of worship. This starts with a simple prayer at meal time but becomes clear at Walter’s dislike of the religious ornaments and going to Church. The distance between Walter and Esther is clear as the former has clearly changed since living in America.

Mwine’s lead performance as Walter is filled with conflict as he faces his new life with Esther and Sylvia while mourning the loss of his relationship with nurse Linda. Walter’s mistakes and unfaithfulness bubble to the surface and provide the tension throughout the film but he isn’t necessarily a villain. Even when drawn to Linda at a club, he thanks her for rejecting him because he knows it’s the wrong thing. Whereas his wife was completely faithful to him all these years, Walter’s unfaithfulness sprouts from the uncertainty that he would see his family again. His relationship with Esther only spanned a short while and took place during the Angolan Civil War in which Esther fell pregnant with Sylvia. Msangi doesn’t want the audience to view Walter as a completely terrible character but one who has faced peculiar circumstance and he eventually learns through the film that he needs to get to know his family all over again.

The second segment follows Sylvia. Jayme Lawson’s performance as the quiet teen is filled with ambition as she strives to use the opportunity she has in America to dance. Discouraged by her mother and encouraged by her father, Sylvia longs to break free of her mother’s strict lifestyle. The first act sees Sylvia giving one word responses but as she practices her dancing, she grows more vocal and confident in herself. Dance is used as the common denominator between her and her father. As her relationship with him seems to grow, Esther becomes more ostracised and cannot handle the American lifestyle. Sylvia doesn’t like her new home initially but grows to it with the help of DJ, a boy from her school who encourages her to join a dance group for a competition. From there she begins to find herself and adjusts to her new life.

The last segment looks at Esther’s experience. Zainab Jah does a fantastic job of balancing the strictly religious Esther and her fear of being in a new country. Up until this segment, her insecurities have been brewing and we see it reach the boiling point as Walter’s affair comes to light. What Jah does so brilliantly in her performance is show us the slow deterioration of Esther’s strength and confidence. Living with Walter was all Esther wanted but the American Dream wasn’t all it lived up to be. They live in a tiny apartment and barely scrape by with Walter working long hours. These little details build up inside Esther until she can’t handle it anymore.

The result of Farewell Amor is an amazingly structured film that shows the contrast between cultures and how the two can be merged together. The family unit is fragmented but by embracing the American culture, they are able to come together to show their love for Angola. It’s a beautiful and subtle film highlighting the power of the arts and expression and one that I think will resonate with a lot of viewers.

Farewell Amor is showing at London Film Festival on 9th October. You can purchase tickets on the BFI website.

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London Film Festival 2020: Siberia

The third film on my viewing list was auteur Abel Ferrara’s film Siberia based on a script co-written by Ferrara and Christ Zois. Marking Ferrara’s sixth collaboration with Willem Dafoe, the film follows bar owner, Clint (Dafoe) who lives in the wilderness of Siberia. Starting with a simple voice over over the opening credits with Clint recalling a memory with his father when he was younger, Siberia soons delves inwards with hallucinations, chance meetings and confrontation with his memories. He encounters his father, brother and ex-wife in a bid to find and understand himself. Ferrara’s direction is distinct and rich in his vision. His use of lighting and contrast is brilliant, particularly the scene in the cave where Clint encounters his brother. It’s a film that leaves a lot to interpretation and it seems that Ferrara is not making any judgement on Clint or his choices.

The best way to describe the script is on that spirals inwards. The opening act on the film focuses largely on the Siberian landscape and Clint’s existence in this vast space before entering into his own mind as he tries to puzzle out his life. The isolated wintery wonderland is soon replaced with various settings including deserts and woodlands, taking us on a geographical journey as well as an emotional and mental one. The script is motivated by the journey rather than the dialogue and in the first act, Clint doesn’t really speak and the writing is about how he occupies the space. As his customers in the bar speak to him in various languages, Clint briefly responds and nods as long as though he understands. Whether or not he does is up to viewer interpretation but he is a good reader of people. It then envelopes into him not being a good reader of himself.

Willem Dafoe can always be relied on to bring a great performance and Siberia is no exception. As Clint is faced with various faces from his past and present, we begin to paint a picture on why Clint has settled into his lifestyle. Clint isn’t a character that necessarily has to be liked nor is he particularly special or interesting. His hallucinations are a result of his choice to live alone and refusal to face his past. The memories are what shape Clint’s character and give a more rounded portrait. The scene in which is talk to his ex-wife, he refuses to take full responsibility for the failure of their marriage. His hardness seems unbreakable and is also elevated by the fact that he doesn’t interact with people as much anymore. Dafoe’s performance is quiet and subdued but powerful all the same. He is the perfect fit for this character.

The quick shift in locations give this film a dreamlike quality with its fluidity and exaggerates the visceral nature of the film. The film explores a whole spectrum of genre and music alike. In its genre, the film brings out drama, horror and satire whilst indulging in explicit sex scenes and gun violence. The music choices also shift from the beautiful score composed by Joe Delia to song choices that range from folk songs to heavy metal. Despite its inward approach to exploring a singular character, Ferrara contrasts this with widely vast technical and creative choices. It allows the different sides of Clint to emerge, peeling off the layers one by one.

Overall, Siberia is a film that demands complete audience attention otherwise it won’t make much sense. It is a film rich in visuals and settings and makes for an intriguing character insight. I’m not sure if it is a film for everyone as the film doesn’t follow any conventional structure or explain the shifts in scenes which can be off-putting but I think it is definitely a film worth watching, particularly for the direction and Dafoe’s performance. It’s a thought-provoking piece that explores a lot of ideas despite its short running time of 92 minutes and I am looking forward to seeing what Ferrara and Dafoe’s seventh collaboration will be already.

Siberia is showing at the London Film Festival on the 10th October. You can book your tickets on the BFI website.

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The Farewell (2019)

Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.

Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.

In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.

There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.

Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.

What did you think of The Farewell? Let me know in the comments

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Top 5 Jim Carrey Performances

Jim Carrey is an actor who time and time again demonstrates the range that he has, despite his solidified reputation as a brilliant comedian. He has been playing leading roles since his meteoric rise to fame in the 90s that have become classics such as Ace Ventura and The Mask. There is a reason why he was Hollywood’s highest paid actor at one point, he has such charisma that his films are incredibly fun to watch. It is unbelievable to think that he has never been nominated for an Academy Award despite winning two Golden Globes and showing that he is capable of pulling off performances that are memorable and impactful.

Carrey was one of my favourite actors growing up. I loved watching his films thanks to his larger than life characters and his hilarious physical comedy, particularly his dramatic expressions. What has been wonderful about Carrey’s career is seeing him evolve and taking part in a variety of differing roles from his mid-90s expressive comedy to his more serious roles in the late 90s and early 2000s. Like marmite, people tend to either love or hate Carrey’s work and I am definitely in the former.

Here are my top 5 Jim Carrey performances in chronological order:

Ace Ventura: When Nature Calls (1995)

One of those rare instances where I enjoy the sequel much more than the original, Carrey reprises his role as the titular pet detective which sees Ventura recruited for a mission to retrieve a rare white bat that belongs to the native Wachati tribe. The film is an explosion of signature Carrey jokes and the film is my personal highlight of the mid-90s period where Carrey was all the rage. His unpredictability still remains the main point of attention for audiences as we watch him knock out a man and wear him on his shoulders to make a point on the fur trade as well as numerous musical moments including a hilarious rendition of “Chitty Chitty Bang Bang”. My personal highlight, however, is the seen in which he encounters the bats for the first time bringing us great lines such as “take that, you winged spawn of Satan” and “die, devil bird”. His filmography at thie point in his career wasn’t for everyone as it is so over the top but personally, I love it and it’s interesting watching this film back and watching it from an animal rights point of view.

The Truman Show (1998)

The film that showed an entirely different side to Carrey’s range, The Truman Show sees Carrey play Truman, a man who believes he is living a regular suburban life when in fact it is a reality show filled with actors that is broadcast to the world. Truman begins to suspect that something isn’t quite right and tries to escape the edge of his town where he hasn’t been before. It’s a poignant film about identity and finding that sense of belonging. Truman’s life has always unknowingly been synonomous with a global audience who share his journey. Truman has always been controlled by the show’s creator, Christoph (Ed Harris) who acts like the puppet master. He adds in drama and conflict if Truman’s life is going swimmingly. Carrey’s performance is a true tour de force thanks to his naive and subtle approach to the role. He is able to detract from the typecast view that he has created in his filmography thus far. It is because of his ability to switch between ranges so well that won him a Golden Globe for his troubles.

Man on the Moon (1999)

Following on from his critical and commercial success as Truman in The Truman Show, Carrey knocks it out of the park again in this biopic that seems him play Andy Kaufman, a man who redefined comedy in the 1970s. This film sees Carrey join forces with the brillint director Milos Forman and gives him the chance to show that The Truman Show performance wasn’t a stroke of luck. His portrayal of Kaufman is fantastic as we follow his rise in comedy and his stints on Saturday Night Live as well as the TV show Taxi which he starred in. The film overall isn’t the best but usually biopics allow for the actor portraying the subject to really standout as Carrey does here. He is the major draw and highlight but this isn’t a bad thing because he has such command on the role. Also hearing how he stayed in character offset shows his commitment and dedication to getting his performance right shows that he does take his roles seriously. His impersonation strikes the right tone, it is never over the top in classic Jim Carrey style and eventually the audience forgets that we are watching an actor rather than Kaufman himself.

Eternal Sunshine of the Spotless Mind (2004)

My favourite Jim Carrey performance comes in the form of this career-defining film following Joel (Carrey), a man unhappy with his life who finds out that his ex-girlfriend Clementine (Kate Winslet) has had her memory wiped off him by the mysterious Lacuna Incorporated and shows him undergoing the same treatment to get rid of his memories of Clementine. Charlie Kaufman’s script is fantastic and won him a well-deserved Oscar that has redefined original screenplay writing in the 21st century. The concept is so bizarre and yet the humour is subdued within a darker context making way for the film to focus on the drama within Joel and Clementine’s relationship. Carrey’s performance should have garnered him an Academy Award nomination but sadly it wasn’t to be. His portrayal of Joel is tinged with sadness throughout. The idea of not being with Clementine initially to the realisation that he will lose all memories of her while he is being forced to relive the memories during his procedure. It’s a heartbreaking film about the breakdown of a relationship and is made real by the strength of Carrey and WInslet’s performance.

Lemony Snicket’s A Series of Unfortunate Events (2004)

2004 was a resounding success for Carrey who made an unforgettable appearance in this popular adaptation of the best-selling series of the same name. Playing the villainous Count Olaf, Carrey channels his signature overtly expressive humour as his figuratively and literally towers over the three bauldelaire orphans who are subject to his care after the tragic death of their parents. The film is littered with stars including Joan Cusack, Timothy Spall and Meryl Streep but it is Carrey who shines the most. His performance was exactly how I envisioned Count Olaf would be when reading the books. The film overall strikes a completely different tone but Carrey’s performance is overly dramatic, unapologetically obnoxious and loud but most importantly, he has charisma which is crucial for the role. The film does have its flaws but Carrey’s performance is definitely not one. He is clearly having fun being in such a menacing role and it makes the film enjoyable to watch.

There are so many performances that could have been included in this list such as How the Grinch Stole Christmas (2000) and Bruce Almighty (2003) but I think that the films I have listed above really demonstrate Carrey at his best. Although he hasn’t done many major roles in recent years, i hope he does make a comeback because it’ll be interesting to see what kinds of roles he would take on.

Do you agree with the films I have picked? Which Jim Carrey performance and/or film is your favourite? Let me know in the comments below!

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Parasite (2019)

The most original film to come out of this year’s award season, Bong Joon-ho’s Korean masterpiece Parasite which can only be described as brilliantly bizarre. Since its premiere at Cannes Film Festival, the film world has been abuzz for this film. It subsequently took home the prestigious Palme d’Or beating out Quentin Tarantino’s mainstream favourite Once Upon a Time in Hollywood (you can read my review here) and has become a huge favourite this awards season, breaking the mold by being the first Korean film nominated for major awards. Particularly for non-English language films, Parasite has managed to achieve the impossible but it has done so for a reason. Joon-ho’s flawless mix of genres means that you cannot really place Parasite within a particular set. It is a perfect mix of drama, comedy, horror and thriller while also discussing a variety of topics including classism and gender. Parasite refuses to conform and because of this, it stands out as one of the most original pieces of the 21st century.

The film follows the Kim family made up of father Kim Ki-taek (Song Kang-ho), mother Chung-sook (Chang Hyae-jin), son Kim Ki-woo (Choi Woo-shik) and daughter Kim Ki-jeong (Park So-dam) as they struggle to make ends meet by working temporary jobs that pay little and are living in a semi-basement that is constantly subject to flooding, public urination and fumigation. When Ki-woo is given the opportunity to work as an English tutor to a daughter of the affluent Park family, the Kim family concoct a plan to create jobs for themselves in the stylish household thus earning a decent wage and living the high life themselves as the Park family’s household grows evermore unstable. On the other side, there is the Park family consisting of father Park Dong-ik (Lee Sun-kyun), mother Yeon-gyo (Cho Yeo-jeong), daughter Park Da-hye (Jeong Ji-so) and son Park Da-song (Jung Hyeon-jun) and their housekeeper Gook Moon-gwang (Lee Jung-eun). It is a film that presents the extreme balance of classism from either side with the housekeeper acting as the literal and figurative gatekeeper in the middle.

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Joon-ho’s direction feels unique and innovative as he manipulates setting and space to create an alternative universe within a very grounded and real place. The physical placement of the Kim family’s house being below the ground and the Park’s mansion placed high up on a hill creates a physical hierarchy. The airy, spacious setting and architectural minimalism of the Park home screams luxury and relaxation which is a stark contrast to the crammed and narrow corridors of the Kim basement where the toilet sits on a higher level to the rest of the bathroom. Joon-ho’s decision to only show the two homes as primary location only exemplifies the issues of class and belonging even more. It is no surprise that it is the smell of the basement that lingers with the Kim family and creates a separation between the two families. Despite being treated as such, they can never truly be equals. Joon-ho’s script, co-written with Han Jin-won is sharp and natural. They know when the film benefits from minimal dialogue and when to create chaos as the two families clash. As mentioned before, the film is a mix of many genres and doesn’t really have a place within one category. This isn’t a bad thing at all because in a way, it has shown Joon-ho’s skill as a filmmaker.

The main cast capture the film perfectly. One particular highlight is Song Kang-ho who brings a phenomenal performance as the Kim patriarch Kim Ki-taek who finds work as the Park family driver, mainly working for the family patriarch Park Dong-ik. He doesn’t hesitate to manipulate the Park family and take advantage of the luxury lifestyle but becomes deeply affected and paranoid when the comments of the Kim family smell arise. It is these moments that ground Ki-taek and make him realise that the lifestyle they think they are living is only an illusion. Despite their hardest efforts, they cannot rid the stench of the basement. Aside from being a film that explores the differences in class, it also does a great job at showing acceptance and place of belonging. Ki-taek doesn’t wish to change anything really and eventually begins to despise Dong-ik. Choi Woo-shik also brings his A game as Ki-woo, a young man who aspires to get out of his current situation. Working as Da-Hye’s English tutor gives him an insight into the life that he wants but not all is as it seems. Ki-woo starts a web of lies as he manages to coerce his employers to hire members of his family without them realising.

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Parasite is a fantastically bonkers film bursting to the seams with originality and I hope it triumphs at the Oscars and wins the major awards. As much as I did enjoy Sam Mendes’ frontrunner 1917 (you can read my review here), Parasite is a film that brought more to the table and something different. Not only would it be an incredible moment for film history to see a Korean film sweep some major awards that are often excluded to English-language films only (insert Roma snub here). The hype that Parasite has generated is truly deserving and it’s great to see that it is connecting with a global audience.

What do you think of Parasite? 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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Dolemite Is My Name (2019)

Dolemite Is My Name is a brilliant look into the life of African-American icon Rudy Ray Moore played by Eddie Murphy in a career best performance. Moore is a man of many talents: acting, singing and stand-up. His comedy routines are his way into fame as he channels an alter ego Dolemite, a pimp style man of the 70s who speaks in rhyme and quickly builds up a fan base within the African-American community across the US. The film specifically follows his rise to stardom and the production of his first film Dolemite, a blaxploitation feature in which he plays his comedic alter ego. Directed by Craig Brewer and written by Scott Alexander and Larry Karaszewski, Dolemite is my Name marks a welcome return to Eddie Murphy as a leading man on the big screen and also boasts a brilliant supporting cast with Craig Robinson, Tituss Burgess, Keegan-Michael Key and Snoop Dogg. It’s brash and upfront, unafraid of its subject and showing just how far one will go for their time in the spotlight. The writing is spectacular and even the scenes where Moore isn’t speaking in rhyme almost have a poetic quality to them. Every pause and interaction has a flow that works brilliantly in the film and the characters interact naturally. You completely believe and engage with the characters and at no point are drawn away from the film. The direction is quick and sharp with eye-catching colour palettes that exemplify Moore’s even more colourful personality. Everything about this film was completely wonderful to watch.

In a sea of biopics, it would be easy to miss this one which seemed to sneak onto Netflix without fanfare but that would be your loss. Moore is a man who loves the limelight and will do anything to get it. He will do whatever it takes to become famous even if it means nudity, violence or strong language. He isn’t afraid of vulgarity and thrives on the offensive nature of his content. Who better to play such a controversial figure than Eddie Murphy? Murphy allows himself to embrace all aspects of Moore’s personality from his strong bravado to his insecurities and flaws. He has left no stone unturned in his preparation and the result is a captivating and stunning performance that does the Moore legacy proud. I hope Murphy continues releasing films like this that show his talent and range as an actor. In this film alone, he has to sing, act and perform stand-up as a man who is himself portraying a character. That is tricky to pull off and yet Murphy seems to do this effortlessly. This is a film that has a big cast list and yet Murphy is the draw and the centre of attention at all times. There aren’t many moments when he isn’t onscreen and yet his presence is anticipated and felt. Of course, this is only natural since it is a biopic on his character but it really is a magnetic performance.

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As mentioned before, the supporting cast is crammed full of amazing talent. If I had to choose one that stands out from the rest, it is probably Keegan-Michael Key as screenwriter and actor Jerry Jones. Jones is an earnest playwright who makes films that explore racism in modern society. When initially approached by Moore to write the screenplay for the Dolemite movie, he is reluctant to jump onboard but is eventually taken in by the scope of Moore’s fanbase. His reactions during and after filming the sex scene for the movie is priceless. Jones is a character who is taken way out of his comfort and it initially makes him seem like the only sane person in a crazy bunch but eventually he allows himself to have fun with it. I also really enjoyed Craig Robinson’s appearance as Moore’s friend, Ben Taylor, who provides the theme song for the Dolemite movie. His role is only small but when he is onscreen, it’s wonderful to watch. The character of Taylor is great to watch as it shows his support from before Moore’s fame and ascension. The supporting characters really do support one another. It is a film that, although centred around one individual, tells the stories of multiple people. One touching story is Lady Reed (Da’Vine Joy Randolph) who is cheated on by her husband and doesn’t know what to do with her life. Alongside Moore, she stars in the film and joins him on the stage for stand-up. Although she is assisted by Moore, Lady Reed is strongly independent and isn’t afraid of sticking up for herself and her beliefs. The scene in which she thanks Moore for putting a plus size woman of colour onscreen allows Moore to realise that his project goes beyond entertaining people.

Although it has grabbed the attention of awards panels, particularly Eddie Murphy’s performance, it feels as though Dolemite Is My Name has been swept under the carpet. This could be due to Netflix’s loyalty to its other release, The Irishman, and so they have pushed that far more. In truth, I prefer Dolmite Is My Name as a film because it feels like something new and unique whereas The Irishman brings out what Scorsese does best but nothing that we haven’t seen before. I hope that if anything Murphy gets an Oscar nomination because it would be a real shame not to acknowledge the brilliant work he does on this film.

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In a climate that has seen a rise in racism and extremist politics taking hold, Dolemite Is My Name is a film that is desperately needed. It is thoroughly entertaining and provides plenty of laughs but it equally holds no punches in its subject matter and isn’t afraid to explore the darker truths of society. It’s interesting to think that such a diverse figure such as Moore was renowned and accepted in the 70s but the struggle and work he had to put in to get there is testament to the struggles that African-Americans face on a regular basis. I hope that there are more films like this released in coming years as it is so important to present stories from all walks of life.

What did you think of Dolemite Is My Name? Let me know in the comments below!

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Jojo Rabbit (2019)

One of the most controversial films to come out this awards season is Taika Waititi’s World War II comedy, Jojo Rabbit. Set in Germany during the last years of the War and follows 10 year-old Jojo Betzler (Roman Griffin Davis), a Nazi fanatic whose imaginary friend is Adolf Hitler (Taika Waititi). He lives with his mum Rosie (Scarlett Johansson) who is anti-Nazi and Jojo discovers that his mum has hidden a Jewish girl called Elsa (Thomasin McKenzie) in the attic. In true Waititi fashion, the film is full of dark humour and quirkiness galore and if you’re a fan of his previous films then you shouldn’t be disappointed. That being said, I understand the negative reaction this film received and wasn’t sure that I would find it funny myself but Waititi’s Hitler is portrayed as a spoilt and childish brat who is the butt of the joke throughout the film. We are laughing at Hitler rather than with him. I was surprised at how little Waititi is in the film and I think this is a smart choice. There is more focus on Jojo and his relationship with Elsa. Waititi’s direction and screenplay are as kooky as ever as he makes the best use of the film’s star power and big budget. It’s a film with numerous moving parts but a heavy focus on its two leads, Jojo and Elsa and does a brilliant job in showing their development.

Davis does a fantastic job as Jojo. Not only does he have brilliant comedic timing in his line delivery, but the confusion as Jojo questions his own extremist beliefs. When he first encounters Elsa, he is surprised at how normal she looks. Because of the lies spouted by Nazi officials, Jojo is convinced that she is a monster and is reluctant to trust her. He equally cannot let his mum or anyone else know that he is aware of her presence because he doesn’t want his mum to get in trouble. Immediately his fanatic morals are conflicted with personal interest and it is because of this that allows him to get to know Elsa as a person and begin to realise that he has been fed lies. There are many moments of true maturity in Jojo but he is 10 years old at the end of the day and the script reflects this. When repeating anti-Semitic remarks and insults that he has heard from Nazi adults, it doesn’t sound true because he doesn’t really understand what he is saying. Jojo begins to realise this himself as he develops feelings for Elsa and he finds it hard to justify his blinded hate when applying the mindset to an actual human. Jojo doesn’t understand why he feels the way he does but manages to do what he believes is right, even if it puts himself at risk. 

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Thomasin McKenzie is one of film’s highlights as Elsa, the Jewish girl hiding in Jojo’s attic. Elsa is a secretive and feisty character who lets Jojo go off on his tangents and enjoys making fun of him and his beliefs. Eventually, she is more open to Jojo when he begins writing letters pretending to be her fiancé in Paris. She realises that there is more to him than his hatred and that he can change. Her initial scene shows her in complete defensive mode both physically and mentally as she fights with Jojo and steals his knife. She drops her guard down and stays in her hiding place less and less. McKenzie portrays the loss and gain of freedom perfectly as Elsa doesn’t know how to react when she steps outside in the final scene. It seems strange watching her stand in the street as a free woman because we have become so used to seeing her hiding. Her scenes with Johansson demonstrate her range as we see her without the bravado. Her fears for the future and admiration for Rosie come across in a few short minutes which gives us a different perspective to how she acts around Jojo. McKenzie is definitely one to watch and has a promising career ahead of her.

Leading the supporting cast is Scarlett Johansson who is spectacular in what can only be described as a fantastic year for her career. Johansson caps off a phenomenal year in film with her take on Jojo’s mum, Rosie. Rosie is confident, bonkers and brilliantly outspoken. She doesn’t allow men to treat her how they want and spends her time empowering Jojo and allowing his imagination to run off with him. She disagrees with his Nazi fantasies and spends a lot of her screen time trying to capture the child in him by acting childlike herself. The character is also one of much complexity as she misses her husband as he has been missing in Italy for two years but keeps a strong front for Jojo’s sake. In one such dramatic scene, Rosie acts as both mother and father to distinguish how each one treats Jojo. With a simple smear of ash from the fireplace, Johansson becomes Jojo’s father. Her performance in Marriage Story is more defined but this shouldn’t detract from the brilliant work that she does here. Also in support is Waititi as Hitler which is the most controversial character for obvious reasons. His Hitler is clingy and desperate for attention and adoration. Seeing him in his final scenes as a pathetic man begging a child to show him some admiration is the nail in the coffin for his character and solidifies him as the punchline. Waititi is cartoonish and a complete buffoon in this role and at times is completely over the top to the point of ridicule but that’s what makes the balance work in the film. Waititi’s Hitler is created from the perspective of a child who has viewed him from the media. Because of this, Hitler’s personality is magnified to the max.

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The film was enjoyable and I liked it a lot more than I thought I would. Particularly the performances from the leads as well as the characterisation of Jojo’s best friend Yorkie (Archie Yates) who is oblivious to what is going on and isn’t at all bothered about Jojo hiding Elsa. The film doesn’t pack the same punch that Waititi’s 2016 film, Hunt for the Wilderpeople did but it’s an entertaining watch nevertheless. I’m looking forward to seeing where Waititi takes his career next and hope that Sam Rockwell is in all of his future projects.

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

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Judy (2019)

Based on the last years and concerts of Judy Garland’s life, Judy is one of the most talked about films going into this awards season thanks to the starring turn by Renée Zellweger in the titular role. Biopics have always been a popular go-to for actors who want to subvert casting types and show their range and this seems to be no exception for Zellweger who foregoes her famed reputation as the comedic gem in Bridget Jones. As an avid fan of Judy Garland, I was really interested to see whether Zellweger pulls it off and it truly is a film that revolves around the performance and acts as an Oscar lull for the actress who has mainly stayed out of the spotlight for years. Directed by Rupert Goold, a director renowned for his theatre work with a script written by Tom Edge based on the musical The End of the Rainbow by Peter Quilter, Judy is the heartbreaking reality of a faded star who longs to stay in the spotlight but is plighted by a lifetime of abuse which finally catches up with her in the form drug and alcohol abuse. Flashbacks to her youth which see Darci Shaw play a young Garland (superbly I might add) in which she is constantly berated for her appearance whilst also experiencing harassment, forced drug use and general anxieties in terms of how she must eat and act at all times.

Goold’s direction is intensely focused on its star. When we see Judy perform for the first time, the camera never leaves her, instead focusing on each movement and mannerism that Zellweger conjures up. There is a distinct use of palette used in the film as the Hollywood scenes of Judy’s youth are bright and playful whereas the London setting for her concerts in the present day is darker and drearier. The illusion of fame has long since faded which Goold brings across. The decision to bring in events that didn’t happen in real life is something that I am unsure about. A life as eventful as Judy Garland’s isn’t in need of any fictionalisation and I feel that the inclusion of these scenes detracts from the film. The main fictionalised event was the inclusion of gay couple, Dan (Andy Nyman) and Stan (Daniel Cerqueira) who wait for Judy at the stage door and have dinner with her in their flat. I understand the inclusion of these characters as it is a way to show Judy’s support for the gay community and the performances from Nyman and Cerqueira are heartfelt and sincere. My only concern is the ending scene in which they start a singalong to “Over the Rainbow” when Judy breaks down on stage. This event didn’t happen and the effect that it had as the theatre audience all joined in made it a bit cringey to watch, knowing that this didn’t happen in reality. Judy’s longing to be remembered and her final lines do pack a punch though as you feel the impending fate that awaits her as she dies 6 months after the concerts. There are plenty of moments in the film, particularly the Hollywood scenes, that are fantastically shot and Goold’s experience as a theatre director comes into play. His focus on the character’s expressions and use of light and shade is phenomenal and it’s exciting to see what he picks as his next cinematic project.

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Now onto the star of the show. Renée Zellweger is nothing less than stellar as Judy. The Judy she plays is one that looks back on past fame and fortune whilst dealing with the reality that she does not have the same financial luxury or influence she once did. The only way she is able to keep herself financially afloat is by performing in London where her fan base is loyal. Garland is a character with many layers and Zellweger manages to communicate this with a melancholy glance. The physicality of the role may not seem demanding at first but particularly when performing, you see the physical struggles Judy has. Zellweger’s Judy is one who cares about her impact and legacy, wanting to ensure that she will be remembered. Her motivation is ensuring financial security so she can spend time with her children who are living in the US with their father, Judy’s ex-husband Sidney Luft (Rufus Sewell). There are so many scenes that are captivating and it’s mainly when she is on stage. The passion that Zellweger throws into the role is spilled out heart and soul into the songs. Offstage, Judy is disabled by her mental health and increased alcohol consumption. Her anxiety overrides everything causing a huge lack of confidence and yet she longs for validation and the applause. Her refusal to allow her younger children to enter the world of showbiz only demonstrates the hatred for her own upbringing and eventual rise to stardom. She longs for the normal life but can never truly have one now.

The supporting cast is led by Michael Gambon and Jessie Buckley as theatre owner, Bernard Delfont and assistant Rosalyn Wilder, respectively. It’s always nice to see veteran actors acting alongside rising stars and both do a wonderful job. At the end of the day, their roles are to support Zellweger’s starring turn. This is a film that has an intense focus on Judy. There are very few scenes that don’t have Judy in them meaning that this makes it hard for other people to truly shine because she does grab the attention. But as I said, in a film like this, we’re not meant to focus on these supporting roles. That being said, there is a scene between Judy and Rosalyn that is particularly fiery when the latter tries to encourage the former to go onstage. Judy lashes out and claims that Rosalyn doesn’t care about her which to an extent is true. She may seem that she does care but at the end of the day, Judy’s wellbeing comes second to her concerts. Rosalyn’s job is to ensure that Judy makes the concerts on time.

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Judy is a film with its flaws but much like the film’s subject, it certainly puts on a show. Zellweger has made herself a serious contender this awards season and definitely could walk away with Oscar number two. I think it’s a film worth watching just for the performance but the direction should not be overlooked either. In a post #metoo world, it’s horrific and tragic to see how Judy was treated from a young age as she was verbally and physically abused and forced to fit an ideal that she did not naturally conform to. She clearly despised and reviled any attempts to change her and yet was forced to hate her background. Comparing the two Judys we see in the film, we see that culmination of abuse from all angles in Zellweger’s.

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