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Oppenheimer (2023)

Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan

The Best Picture favourite going into awards season is none other than Chrostopher Nolan’s nuclear epic, Oppenheimer. Spanning the life and career of Robert J. Oppenheimer, the “Father of the Atomic Bomb”. Starring Cillian Murphy in the titular role, Oppenheimer is a three-hour insight into the work and personal life of one of the most controversial figures in modern history.

Written and directed by Christopher Nolan, Oppenheimer is based on the biography, American Prometheus by Kai Bird and Martin J. Sherwin. Nolan’s unique perspective stemmed from the writing process as the entire screenplay is written from the first-person. This exacerbates the fact that Oppenheimer provides a limited view as the titular character is in almost every scene. The film flits between key points in Oppenheimer’s life spanning his beginnings as a budding physicist to the aftermath of the nuclear bombings on Hiroshima and Nagasaki. Nolan’s direction feels controlled and focused, his passion for the project coming through in every frame.

As the titular character, it can be argued that Oppenheimer lives or dies from the Cillian Murphy performance. Murphy can always be trusted to bring a nuanced performance. His turn as Oppenheimer is so intimate and yet always holding the audience at a distance. Seeing his internal conflict between the scientific achievements and the ethics rise to the surface in the final act is gripping. The scene in which Hiroshima has been been bombed and Oppenheimer begins to envision corpses on the follow among the ruptuous applause from his colleagues is one of the best scenes in any Nolan film.

Providing a standout performance in support is Robert Downey Jr. Having dominated cinema screens for the past decade as Iron Man in Marvel Cinematic Universe, Oppenheimer may be the first project a lot of people have seen Downey Jr outside of the franchise. The performances couldn’t be more different and sees Downey Jr return to form. Playing the antagonistic Rear Admiral Lewis Strauss who is hellbent on taking Oppenheimer down, he commands every scene he is in. His scenes with Murphy are among the best in the film and it’s up there with his other phenomenal turns in films such as Chaplin and Tropic Thunder.

Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.

There are a plethora of supporting turns in the film that are impressive. Another that is garnering a lot of attention is Emily Blunt as Katherine “Kitty” Oppenheimer. One consistent critique of Nolan’s previous films are the lack of female characters. When there are female characters, they tend to be underwritten. Kitty is probably the most in-depth female character that Nolan had included in his filmography. Blunt’s performance is subtle and brilliant, especially towards the end when her anger at the government is evident following their dismissal of her husband.

The score by Ludwig Gorrenson captures in the inevitability of the bomb. Filled with dramatic crescendo and loud bombastic sounds, Gorrenson’s music becomes a dominant force during the film’s climactic scenes. The opening track “Fission” really highlights the anticipation and inevitable change in history. Gorrenson isn’t afraid to change the tone and pacing of tracks to emphasise the unpredictability and shift in dynamics and events.

The cinematography by Hoyte van Hoytema is stunning. The standout scene in the film is when the Trinity Test is carried out and this is thanks to van Hoytema’s incredible work. The focus on Oppenheimer as he waits for the results swiftly followed by blinding light marks a visual change in the film. The scenery in Oppenheimer consists largely of open spaces but there is such a pinpointed focus on the characters that it really closes the environment in towards Murphy and his performance.

Overall, Oppenheimer does have a runtime that could have been edited down ever so slightly, especially in the first act. However, it is also one of Nolan’s best films as director. His passion and knowledge on its subject piercing through every frame from beginning to end. It is a film filled to the brim with details and nuanced performances that makes it easy to see why it is garnering so much critical and commercial praise.

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

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Review

The Holdovers (2023)

One of the most competitive films coming into awards season is The Holdovers. While a lot of awards talk has been surrounding Barbie and Oppenheimer, Alexander Payne’s modern fable is a Christmas classic in the making. The film follows disgruntled boarding school teacher, Paul Hunham (Paul Giamatti) who must stay at the school over the Christmas break. Stuck with a rebellious but brilliant student (Dominic Sessa) and a cook grieving her son who died in Vietnam (Da’Vine Joy Randolph), the film sees a friendship develop between these characters.

Directed by Alexander Payne from a script written by David Hemingson, The Holdovers is simple yet extraordinary. In true Payne style, we are immersed into the surroundings. The minimalism of snowy Boston and the regal halls of the boarding school give an immediate sense of space. Hemingson’s screenplay is a masterclass in writing. Providing plenty of characterisation for its three main characters, The Holdovers gives Giamatti in particular a lot to play with in a relatively short run time.

Paul Giamatti leads the film as miserable teacher, Paul Hunham. The role was written with Giamatti in mind and it’s easy to see why. Hunham’s arc from cynical disciplinarian to vulnerable rule-breaker is not a role that just anyone can play. Having previously been snubbed for his leading performance in Sideways (another Alexander Payne film no less), Giamatti has managed to craft an incredible career playing predominantly supporting characters. This even includes an Oscar nomination for his supporting turn in Cinderella Man. However, it is undoubtedly his magnificent turn in The Holdovers that will be his crowning glory in a truly stunning career.

The most exciting breakout this award season Da’Vine Joy Randolph as Mary Lamb. Her performance is quiet, subtle, and completely heartbreaking. Her presence can be felt in each scene like a raincloud looming that is waiting to burst. The party scene in which we see Mary breakdown over the loss of her son packs an emotional punch. If Giamatti is the soul of the film, then Randolph’s is definitely the heart. It’s incredible to see such a wonderful performance sweeping various major and critic awards.

Providing an exceptional film debut is Dominic Sessa as student, Angus Tully. It’s difficult to believe that this is Sessa’s first ever role. He fits into the role of Angus fantastically, working excellently against Giamatti. It’s evident that he is having fun in the role and the bickering scenes between him and Giamatti are hysterical to watch.

One of the most striking and underrated parts of The Holdovers is the cinematography by Eigil Bryld. Bryld’s understated approach allows the natural beauty of each location to shine through. The dimly lit corridors of the boarding school allow the antiquity and traditional mindset to come to life while the snowy weather is framed in a bleak way due to the baroness of the town.

The music by Mark Orton provides a tranquil backdrop to the film. Never faltering, the music blends with the snowy scenery and exacerbates the heartwarming emotions at the core of the film. Filled with 1970s sounds, Orton does a phenomenal job of capturing the characters’ essence in each track.

Overall, The Holdovers is a Christmas classic in the making. While it may not be family-friendly, this is a feel-good film that is filled with heart-warming characters and backed with an excellent script. This marks Giamatti’s career-best performance, a stunning breakthrough for Randolph and Sessa, and outstanding direction from Payne.

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

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Review

Past Lives (2023)

Past Lives is a beautiful film that presents two intricate character studies. Bringing the minimalist approach, it is a film that speaks volumes and weaves its non-linear narrative to create a heart-wrenching story of identity, love, and the loss of love. The film follows Nora Moon, a New-York based playwright who moved to Toronto from Korea as a child. By chance, she sees a comment on Facebook from childhood friend from Korea, Hae Sung, who is looking for her. They reconnect and the film follows the dybamics between the two as well as Nora’s husband, Arthur. Starring Greta Lee as Nora, John Magaro as her husband, Arthur, and Teo Yoo as childhood friend, Hae Sung, Past Lives is captivating from its opening shot.

Celine Song is undoubtedly the breakthrough writer and director of the year and it’s easy to see why. The film serves as a character study for Nora’s character as we see the entire film from her perspective. With lingering shots and thoughtful dialogue, Past Lives is a film that isn’t afraid to take its time. The screenplay is beautifully laid out following a non-linear structure as we begin to piece Nora’s life together like a puzzle. Song’s direction is equally intense as there is a significant focus on the characters, showcasing a film that looks sleek and excellent whilst also backing it up with plenty of substance.

Greta Lee provides one of the best performances of the year as Nora. Lee has been making her mark in shows like The Morning Show and Russian Doll, but here she is given the lead performance and what a breakthrough it is. Having won the Best Actress Award at Sundance Film Festival earlier this year, there was a lot of anticipation. Her turn as Nora is a beautifully subtle character study. Nora grew up in Seoul, South Korea and moved to Canada with her family as a child. We begin to learn about her experience as a Korean-immigrant and her perspective as someone who has spent of their life in North America.

The supporting turns by Teo Yoo and John Magaro are both fantastic, especially Yoo playing Nora’s childhood friend, Hae Sung. Yoo captures the downward spiral that Hae finds himself in. As he reconnects with Nora, it’s clear that he feels an inkling of hope. It’s as though Nora is a missing piece in his life. In Nora, he sees a life that he aspires to live as his own hasn’t panned out in the way he had hoped. The scenes between Yoo and Lee are beautifully to watch from their initial awkward encounter to their melancholy final scene. Magaro’s performance as Arthur is equally emotional as he sees Nora begin to reconnect with her Korean roots and has to watch as her chemistry with Hae Sung begins to spark.

The transcendent score by Christopher Bear and Daniel Rossen plays into the subtleties. Rather than drowning the visuals, the music works as an accompaniment and works to serve the performances. We feel the tension rising between Nora and Hae Sung in tracks such as “An Immigrant and a Tourist”. There is a whimsical element to the arrangements that feeds into the childhood aspects of the film. The music connects adult Nora and young Nora and the consistent tones serve as a connective thread to her character.

The cinematography by Shabier Kirchner makes Past Lives such a layered film. The wide shots showcase how small Nora is against the city backdrops whilst also remaining incredibly intense and personal to her perspective. The use of lighting in the opening scene quite literally places a spotlight onto the three characters as they are immersed in their own little bubble. Kirchner’s work makes Past Lives so individual to Nora’s perspective while also remaining universal and relatable thanks to these contrasts. The minimalist approach is captivating and makes it one of the most beautiful-looking films of the year.

While it may seem simplistic on the surface, Past Lives is one that allows the emotions and characters to grow gradually. We feel the dynamics shift and change as we learn more about Nora and Hae Sung’s past in Korea. There is a lot to be gained from this film and it whole-heartedly deserves repeat viewings. Past Lives will be looked upon as a classic in years to come.

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

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The Lost Daughter (2021)

One of the big favourites to come out of the 2021 festival season was Maggie Gyllenhaal’s directorial debut, The Lost Daughter. The film follows Leda Caruso (Olivia Colman), a college professor who has ventured to Greece in order to finish her current project. Whilst there, she encounters Nina (Dakota Johnson), a young mother who has come to the resort with her large family, who struggles to deal with the pressures of motherhood and what is expected of her in the role of mother and wife. The film is an intricate look into what it means to be a woman and the pressures that society puts on women. As Leda reflects on her own life, which we see in flashbacks with Young Leda (Jessie Buckley) and the decisions she has made over the years, the film’s dynamic shifts between drama and thriller as Leda begins to become more involved in Nina’s life and finds herself in a compromised situation.

The film is directed by Maggie Gyllenhaal in her debut which she also wrote, with the script based on the novel of the same name by Elena Ferrante. From a technical standpoint, this film is beautifully made with captivating direction from Gyllenhaal, while the screenplay unfolds slowly, so we get to see what lies under Leda’s surface. The film starts in the present day as Leda stumbles on the beach at night and lies unconscious at the water edge before going into a flashback and showing the events that have led to this. Gyllenhaal has a brilliant understanding of the character, and the way that she conveys Leda’s struggles adds plenty of intensity that elevates this film into one that feels threatening and uncomfortable at times. As Leda becomes more involved in Nina’s life to the point where it becomes obsessive, she begins to become reflective and contemplates on her life while the current situation spirals out of control.

Olivia Colman is one of the best actresses working at the moment, and The Lost Daughter showcases her range and her ability to lead a character-driven film. Her performance as Leda is not only one of the best performances of the year and guaranteed to get her a slew of award nominations. The character of Leda is brilliantly written, and Colman proves to be fantastic casting. Colman’s Leda is an accumulation of the decisions that we see through the flashback scenes, so her performance feels more rewarding the more we learn about the character. Colman’s performance is nuanced and makes this film as brilliant as it is. We may not understand why Leda does certain things and why she chooses to do them, but it is this unpredictability that makes The Lost Daughter such a gripping film from beginning to end.

The film revolves around Leda and her life leading up to the present day and beautifully merges flashbacks that show her journey and success. Playing Young Leda is Jessie Buckley, another actress who has risen up the ranks in recent years and another example of perfect casting. Young Leda’s life is inundated with chaos as she tries to juggle her studies with caring for her young daughters, Bianca and Martha, meaning that Buckley’s performance is more expressive as we see the physical and mental strain that her life has taken. Leda’s relationship with her young daughters is highly turbulent, and she begins to enjoy the time she gets to spend away from them, eventually leaving them to pursue her academic career. Buckley’s performance complements Colman’s perfectly as they capture Leda’s personality flawlessly in a way that feels seamless.

Dakota Johnson plays Nina in a role that may be small but has a huge impact on the film. Marking a career best for Johnson, Nina is a woman who struggles between living a life that she wants and the one that is expected of her by her family and society at whole. Nina is on holiday with her daughter, Elena, and family, while her husband flits in and out due to work. When Elena goes missing, things become chaotic and Nina begins to doubt her role as a mother. After Leda finds Elena and returns her, Nina becomes indebted to Leda and wants to get to know her, but is kept at arm’s length. When we see Nina, it is usually from Leda’s standpoint as an observer, as we see her struggle to be a good mother and wife. Johnson really excels in her final scene, in which she confronts Leda as the latter admits that she stole Elena’s doll. What Johnson does excellently in the film is put across Nina’s inexperience and her desire to find control of her own life rather than having others control it.

One of the most striking elements of The Lost Daughter is Dickon Hinchliffe’s score, which has a blues sound to it. The opening track “Leda” is a wonderfully dynamic piece that thrusts the audience into the location and escapism of the film. Leda has gone to Greece to finish her work and relax, and this track perfectly accompanies this. What Hinchliffe manages to capture is Leda’s wonderment and the freedom she has, which is then contrasted with quieter pieces that are more drawn out during the flashbacks to capture how Leda is trapped in a life that was expected of her but one that she doesn’t really want. The contrast between musical styles is a great way of portraying the many sides of Leda’s personality, and accompanies her journey perfectly.

The Lost Daughter is a masterclass in subtlety. It doesn’t need to have bells and whistles to show off the craftsmanship of the script and direction, while providing stellar performances all around, especially from Colman. It’s an intricate character study following Leda’s life and the sacrifices she has made to get where she is while also drawing parallels with Nina. The slow pace of the film works beautifully as it goes hand in hand with the vacation aspect. What is really fantastic about The Lost Daughter is that it subtly plays with the thriller tone, without actually exposing any threat, but we feel Leda’s fear. Maggie Gyllenhaal absolutely hit it out of the park with her debut, and it’s exciting to see what she does next.

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

The Lost Daughter is available to stream on Netflix now!

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Palm Springs (2020)

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

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

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

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

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

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

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

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

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

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I Care a Lot (2020)

Another film that reigned victorious was J Blakeson’s dark comedy I Care a Lot. Winning Rosamund Pike the Golden Glibe for Lead Actress in a Musical or Comedy. The film follows con artist Marla (Pike) who acts as a legal guardian for the rich and elderly in order to drain them off their funds and fill her own pockets. Directed and written by Blakeson, I Care a Lot boasts pitch black comedy that may not be to everyone’s taste but its interweaving with other genres such as thriller makes it both gripping and unpredictable. With past films including 2009’s The Disappearance of Alice Creed, Blakeson is clearly a filmmaker who wants to push boundaries and discuss topics that a lot of filmmakers don’t dare say. I Care a Lot in particular is a satirical look not only in the health care legal system in the US but also the hunger and greed to achieve the American Dream and what some people will do to others in order to make money. Filled from wall to wall with horrible characters with even worse motives, this film will keep you on your toes from the first scene.

Marking Rosamund Pike’s best performance since her brilliant turn since David Fincher’s 2014 film Gone Girl. Marla Grayson is one of the most despicable characters I have ever come across. A lot of critics have commented how they couldn’t enjoy the film because Marla is impossible to relate to but I think this is the mark of a brilliant character and works in the film’s favour. Relating to a character is a traditional way of allowing the audience to feel at ease but this film does not want you to feel uncomfortable. Everything Marla does is to serve herself as she rids her wards of their freedom and self-respect. This isn’t easy to watch but the pitch black dark tone has an ironic twist where the audience is left watching and wondering if Marla’s plan will prevail in the end. It would be great to see Pike receive even more award nominations following her win although the Oscars tend to favour dramatic performances over comedy but Pike definitely deserves it.

Peter Dinklage is perfectly cast as gangster, Roman, who stops at nothing to have his mother released from the care home and out of Marla’s guardianship. Working as the polar opposite to Marla, Roman is a member of the Russian mafia and yet his motivation is perfectly understandable as he knows that his mother does not need to be in a care home. Where Marla is menacing and calculating, Roman doesn’t hide his own power. It’s great seeing Dinklage play such a dark role and it shows how adventurous he has been with his role selection since Game of Thrones ended. The scene in which Roman confronts Marla is fantastically written and directed and really shows the similarities between the two and how their greed overtakes everything.

A film rich in its supporting cast as well, the performances by Eiza González as Marla’s partner, Fran and Dianne Wiest as Jennifer Peterson, a rich elderly woman who proves to be hugely problematic when Marla targets her due to her connections to the Russian mafia that her son is prominent in. What is great about this film is how the female characters don’t have to explain why they do what they do. A lot of critics have commented on how despicable the plot is because of how the elderly are manipulated but it is important to note that there are decades of films made of a similar nature where men pull the strings and no one bats an eyelid. It’s about time we have a film filled to the brim with female characters that we’re not supposed to fall in love with or are overtly sexualized.

A real highlight of this film was the music by Marc Canham. A frequent collaborator of Blakeson’s, Canham’s score is fantastic and really underlays the unpredictable nature of the film. Using a variety of different music styles, there are many scenes in which the music is the star as it creates that intensity. The track that was my personal favourite was during the scene in which Marla has to escape a sinking car. With hints of the Goblins’ music for Suspiria, it brings in the thriller and horror of the story as Marla fights for survival. The simplicity of the shot mixed with the intensity of the music creates a moment that will leave you breathless and stunned.

Overall, I Care a Lot was extremely enjoyable with Pike providing another stellar performance. Due to its controversial subject and unconventional tone, it’s unlikely to garner a lot of nominations and accolades but it would be great to see Pike at least recognised and nominated for her performance. Blakeson has clearly made a name for himself on the world stage and it’ll be exciting to see where his career takes him next.

What did you think of I Care a Lot? Let me know in the comments below!

I Care a Lot is available to watch on Amazon Prime now!

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The White Tiger (2021)

Ramin Bahrani’s latest feature premiered on Netflix to international acclaim. The White Tiger tells the story of one man’s ascendancy to success from his humble beginnings. Based on Aravind Adiga’s 2008 novel of the same name with the script written by Bahrani, The White Tiger is an intricate character study that shows the contrast between two worlds and how the two collide. Set against a backdrop where those from poorer backgrounds are led to believe they can achieve greatness without actually receiving the appropriate funds to do so, Balram uses his intuition and determination to rise above his station by getting himself hired as a driver for an extremely wealthy and influential family.

Bahrani’s direction is stunning and perfectly captures the conflict between the two worlds that Balram is exposed to. As Balram becomes accustomed to the way the rich live, he begins to see the corruption that helps to keep them at the top and how this seeps into the government as well. Through his writing, Bahrani forces the audience to read between the lines and look at Balram’s experience as the experience of India on the whole. Even the enveloping narrative structure of the film where Balram recalls his life through an email to the Chinese Premier in itself is an act of the protagonist’s aim of furthering himself both financially and economically.

Adarsh Gourav’s performance as protagonist, Balram, is captivating and hugely impressive for his first leading performance. With the weight of the film resting firmly on his shoulders, Gourav brings Balram to life perfectly combining his determination and ruthlessness to deliver a performance that is truly magnetic. Acting among huge Indian stars, Gourav holds his own and establishes himself as a star in the making. As Balram delves deeper into the world of the rich, his sanity and stability start to become compromised and Gourav really excels during the second half of the film as this happens. It’ll be excited to see where Gourav’s career takes him, especially considering how well he has done in his first leading role. The White Tiger has secured his position as one to watch.

In support we have Rajkummar Rao and Priyanka Chopra Jonas as Balram’s boss, Ashok and Ashok’s wife, Pinky. Ashok is such a fascinating and layered character as he has returned from America and is more liberal and lenient in his approach towards the people who work for him and his family, quickly striking up a friendship with Balram. However, when it comes to mistreatment, he stays quiet as he is indoctrinated by the traditions set out for him. His wife Pinky, Indian born and raised in America is perplexed and disgusted by the mistreatment of Balram at the hands of Ashok’s brother and father. Unapologetically outspoken, Pinky is like Balram as she is an outcast as well and refuses to fulfil the silent, obeying wife that is expected of her. Both Rao and Chopra Jonas are perfectly cast in their roles bringing a sense of unpredictability and fun to the film, especially during middle portion as their relationship with Balram grows.

Overall, The White Tiger is a gripping film filled with unpredictability and keeps your attention thanks to its brilliant character and beautiful aesthetic. With a stellar cast and stunning direction, this is a fantastic film that should be praised for its incredible script and flawless cinematography. This drama is sure to have you gripped from the first scene as the film descends into the chaotic events without feeling clunky or out of place. It’s been left out of the Golden Globe nominations but it would be great to see this film receive Academy Award recognition for its script and cinematography which is where this film really shines.

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

The White Tiger is available to watch on Netflix now!

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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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Hustlers (2019)

One of the most hyped films of the year comes in the form of Lorene Scafaria’s crime drama, Hustlers. Based on the New York Magazine article that follows a group of strippers who drug and con Wall Street men off their money during the 2008 recession. The film stars Constance Wu as Destiny, a former stripper who is interviewed by Elizabeth (Julia Stiles) who is conducting research for her article. Destiny reflects on her rise to the top with the help of veteran stripper, Ramona (Jennifer Lopez) and together they concoct a plan that sees them milking the Wall Street types for all they’re worth. This film could have easily slipped into a male gaze fantasy that sexualises the women and focuses on their bodies rather than their minds and motivations but luckily, with a female director and female majority clue, this film becomes a poignant reflection on the treatment of women and the recklessness of the rich who exploit the poor.

Lorene Scafaria’s direction and script is brilliant with multiple characters receiving plenty of depth and screen time all while keeping it boxed in within the interview narrative. It’s a simple technique to use to detach the audience from the dramatic events in the film. Aside from these glimpses into the future interview, the flashback follows a linear structure and shows the budding relationship between Destiny and Ramona as well as their falling out. The genius of Scafaria’s direction comes in focusing on the faces of the characters rather than their bodies. As Ramona does her opening dance, the screen flits to Destiny who looks on in awe as well as Ramona herself who clearly knows exactly what she’s doing as she writhes in a pile of money. Another brilliant scene is when Destiny grows tired of being interviewed by Elizabeth and switches off her recorder. What follows is a scene of silence to reflect that Destiny is now protected from this woman who has lived such a different life from her. Constance Wu was the perfect choice for Destiny. The difference between her as an aspiring stripper and the uncomfortable woman who has lived through the experiences at the interview is like viewing two different people. Wu doesn’t hold back in her vulnerability. Destiny is clearly a rookie at her job and to see Ramona take her under her wing rather than set her up for failure is something that a film created for the male gaze would not do. This is an authentic view of womanhood and it’s made all the more empowering knowing that it was made by a woman and features a collection of strong female characters.

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I think it’s only right to give Jennifer Lopez her own section. The triple threat truly comes into her own as Destiny’s mentor, Ramona and has subsequently earned multiple major award nominations so far including Golden Globe and SAG nominations for Best Supporting Actress. It’s pretty inevitable that she will receive an Academy Award nomination at this point also and deservedly so. Ramona is presented as ruthless but caring, mentor and mother. She sees herself in Destiny and only wants to give her the best life that she never had. Despite her many flaws, we are drawn to Ramona and we understand why she thinks the way she does despite the danger in her plans. Her experience as a woman of colour who’s livelihood is dependant on the rich white men of Wall Street is shattered as she decides to take these matters into her own hands. Ramona understands that the only way to achieve the American Dream is to rely on oneself rather than lean on an unreliable patriarchy that is all to happy to kick those less fortunate to the curb. The audience doesn’t see Jennifer Lopez. From the first moment she appears on the screen, she is Ramona.

In terms of the supporting cast, we see Keke Palmer, Lili Reinhart, Cardi B and Lizzo popping up on the screen as fellow strippers. It’s great to see a majority collection of strong women of colour in a film that builds them up rather than knocking them down. Their lifestyle isn’t glorified but it isn’t judged either. It simply is. Cardi B was cast due to her past experience as a stripper before hitting the bigtime and Lizzo is cast due to her positive body message that she likes to convey in her music. This proves how important it was to Scafaria that the female cast have confidence and aren’t ashamed of their characters. Hustlers is a brilliant example of a film by women for women. I look forward to seeing what else Scafaria has up her sleeve as well as Lopez’s next acting ventures. It’s a film that brings a spectrum of emotions while remaining true to its message and true to the characters. Hustlers presents us with the argument that not everything is black and white and although openly flawed, the motivations are not to be glorified or judged. These are events that simply happened as a consequence of context.

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The soundtrack is packed with nostalgia as we are truly thrown back to old school hits that range from Janet Jackson to Britney Spears. There’s even a cameo from Usher as the singer was reported to have visited the club. The film becomes elevated by its music. After all, it provides the literal backtrack to the women’s dance so picking the right songs is key. It is cleverly mixed with classical pieces that help to detach those scenes of adrenaline with the more hard-hitting drama. One aspect of the soundtrack that I thought was genius was not including songs by Jennifer Lopez, Cardi B or Lizzo. Despite the idea of an original collab being incredible and Oscar fodder that everyone would eat up, omitting their musical achievements outside of the film allows them to embrace the characters they are and brings the audience to a higher level of relatability and believability.

In a year that has seen many brilliant films written and directed by women, Hustlers is a great insight into the future of female cinema. If you haven’t seen this yet, I highly recommend that you do. As always, let me know what you think of Hustlers in the comments below!