Tag: hereditary

London Film Festival 2021: Mass

Post author By Nicola
Post date 12 October 2021
2 Comments on London Film Festival 2021: Mass

One film that has a great reception at this year’s Sundance Film Festival is Mass which has subsequently generated a lot of buzz among critics at various film festivals since. Making an appearance at this year’s London Film Festival, Mass shows the meeting between the parents of a high school shooter (Reed Birney and Ann Dowd) and the parents of one of the shooter’s victims (Jason Isaacs and Martha Plimpton). What follows is a beautiful film that allows each actor to showcase their emotional range as the characters attempt to come to some sort of resolution by recalling memories of their respective sons and question why the events happened. The film explores a variety of topics from universal issues such as grief and loss to more timely issues such as gun control but at no point does the script feel weighed down or forced as the conversations flow naturally.

Written and directed by Fran Kranz in his directorial debut, Mass feels reminiscent of an onscreen stage adaptation but what is interesting is that it is a completely original screenplay. Despite the entire film taking place within a Church, we can sense the outside world and don’t feel claustrophobic or bored at any point. This is thanks to the intensity in Kranz’s direction and how well the plot points unfold. We don’t know why these people are meeting initially which makes the situation more natural as Kranz does not force feed the audience. This leaves us wanting to learn as much as we can about the situation and we feel the pain and anguish that each parent is feeling and the different reasons why this is the case. Kranz’s decision to cast veteran actors who have performed on stage a lot means that the characters are fully realised in a way that sometimes can be missed by actors who have never acted on stage before.

Playing the parents of the high school shooter are Reed Birney and Ann Dowd who portray Richard and Linda, respectively. The first thing we notice about Richard and Linda is the differences in body language. Linda is very forthcoming, offers a pot of freshly grown flowers, and very eager to start a conversation whereas Richard is much more guarded and reserved. We can see that Richard has a lot to say but is biding his time and biting his tongue until the time is right. Dowd’s performance in particular is arguably the driving force in the film as her character begins the majority of conversations and brings out the reactions out of the other couple, especially when she bursts into tears at the start. What makes Dowd such a fascinating actress is her ability to bring out a humanity in her characters. Linda is a woman who has clearly struggled in her role as a mother and she is now facing the consequences of her son’s actions and wears her heart on her sleeve. Her forthcoming nature may come across as unsettling and uncomfortable, especially as we learn more about the situation, but this serves to help Jay and Gail open up.

Jason Isaacs and Martha Plimpton portray Jay and Gail, the parents of one of the shooter’s victims. We see them arrive at the church first and the trauma of the past events is evident, even if we don’t know why at this point. Isaacs, in particular, brings out a career best performance which will no doubt result in much awards acclaim and even possible wins. Jay tries to remain level-headed, but unlike Richard, he is unable to move his emotions to the side and eventually we see him breakdown. The monologue in which Richard recalls his visit to the scene is absolutely harrowing to watch and Isaacs paces the story beautifully so we can really picture the story without actually seeing it ourselves. Gail on the other hand is initially more reserved and less open than Jay but she is determined to ensure that this meeting will help them find some resolve and allow them to move on. Plimpton has proven herself to be incredibly varied in her performances having acted in comedy such as Raising Hope as well as dramatic roles such as The Good Wife. Her turn as Gail is deeply complex as we see her wanting to open up but feeling uncomfortable about the situation.

Mass is an absolute masterclass in acting and boasts career best performances from its cast, especially from Dowd and Isaacs who I think will see success come awards season. Kranz has achieved a lot in his debut as he has delivered a film that is fantastically written and beautifully directed and showing that you can provide a gripping drama with deep storytelling in a restricted location. Mass is definitely a film that stays with you long after it ends.

Mass is showing at this year’s London Film Festival!

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I’m Thinking of Ending Things (2020)

Post author By Nicola
Post date 4 September 2020
3 Comments on I’m Thinking of Ending Things (2020)

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

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

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

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

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

Kaufman has knocked it out of the park again with his strong direction and distinctive writing and insight into the human condition. I’m Thinking of Ending Things is available on Netflix and I would definitely recommend giving it a watch. The ups and downs of the relationship is reminiscent of Kaufman’s screenplay for the 2004 film Enternal Sunshine of the Spotless Mind while still remaining original and developing its own DNA. I wouldn’t be surprised to see I’m Thinking of Ending Things in discussion when it comes to awards season. Thrilling and indulgent, it is a film that demands to be watched more than once.
Have you seen I’m Thinking of Ending Things yet? Let me know what you think in the comments below!

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Robert Eggers: Double Feature

Post author By Nicola
Post date 18 June 2020
1 Comment on Robert Eggers: Double Feature

In my series where I look at the emerging directors this century, it was only matter of time before I discuss the work of horror director Robert Eggers. Usually associated with his A24 cohort Ari Aster, Eggers’ two films are psychological studies of its characters with a darker colour palette than Aster’s work. His 2015 debut The VVitch was an instant success and a major talking point among the film community on release. There hadn’t been a film quite like it and it’s unapologetic take on the breakdown of a family. His 2019 film The Lighthouse couldn’t be more different. Whereas The VVitch was full of female empowerment and the emergence of a strong young woman finding her place in the world, The Lighthouse is heavily masculine and becomes a double character study rather than the spotlight being on a single character. The overall style of Eggers’ films is a perfect mix of gritty realism with a hint of fantasy and magic. Despite the unrealistic elements, the films are definitely grounded in their realism and the audience reaction is unaffected.

Both of his films were distributed by A24 and are currently discussed alongside Ari Aster’s films Hereditary and Midsommar as they are A24 and horror as well but Aster and Eggers have completely different angles. If anything, each film is a great example of how horror has becoming the best genre to look at current topical issues. I have written on Aster which can be read here and recommend watching his films but here are my mini reviews for Robert Eggers’ films The VVitch and The Lighthouse.

The VVitch (2015)

Eggers’ debut was talked about a lot on release because of its unrelenting dismantling of the family home. Following Thomasin (Anya Taylor-Joy), a young girl on the verge of womanhood struggling with her place in the family home after they are banished to fend for themselves after rejecting a Puritan colony. The family are then convinced there is a witch causing mayhem and won’t stop until the entire unit is killed. Starting with the baffling disappearance of her baby brother, Samuel after playing peekaboo with him, Eggers isn’t afraid of tackling taboos that even classical horrors don’t dare venture. Critics were more favourable towards the film whereas audiences weren’t as convinced although it was still a success at the box office. I think that because it was marketed as a straightforward horror, audiences weren’t expecting the many layers that this film has. It is more about Thomasin’s characterisation than the gruesome death scenes or jump scares. Taylor-Joy is nothing short than spectacular as Thomasin and brings that juxtaposition between childlike innocence and the more adult curiousity. She feeds into the fear to her twin brother and sister innocently at the beginning but then the more sinister intentions underlying the film begin to creep out. It’s definitely a horror film for the 21st century and helped to pave the way for more horrors that have intricate character studies. The VVitch could be viewed as a film exploring female empowerment and rejecting the traditional patriarchal society.

The Lighthouse (2019)

One of the most anticipated films of 2019, The Lighthouse stars Robert Pattinson and Willem Dafoe as warring lighthouse keepers, Winslow and Wake, respectively, who are stranded on an island during the storm. It’s not a horror in the traditional sense but the rising tension and characters’ waning sanity are the perfect combination to making one of the best horrors in recent years. Pattinson and Dafoe are pretty much the only characters for the majority of the film with Valeriia Karaman making an appearance as the Mermaid who seduces Winslow. The Lighthouse is a film unlike any other nevermind a horror film unlike any other. FIlmed in black and white 1.19:1 aspect ratio, the film is reminiscent of a claustrophobic vintage horror, reflective of the era it is trying to portray. Loosely based on the short story “The Light-House” by Edgar Allen-Poe, Eggers and his brother Max Eggers worked the script to a late 19th century setting and wanted to keep the focus on the deterioation of its male protagonists. I have written a more in-depth review of The Lighthouse which can be read here. Every aspect of this film is perfect from the casting to the writing to the set design. It was nominated for one Academy Award for Best Cinematography which was very well-deserved but I really feel that it should have been nominated for more, especially Willem Dafoe for Best Supporting Actor. Dafoe consistently brings his A game and the fact that The Lighthouse is among his best says a lot.

Eggers is currently working on his upcoming project The Northman which will star mega stars like Nicole Kidman and Alexander Skarsgard as well as reuniting the director with Anya Taylor-Joy and Willem Dafoe so needless to say there are high expectations. From what I can tell, this new film will be the first Eggers film not to be distributed by A24 as 20th Century Studios have locked it in which shows the faith the big budget studios have in him. Hopefully the studio will give him the freedom to follow his vision through like A24 do. There is no doubt that Eggers has a hugely exciting future ahead of him in the film industry and it will be interested to see what else he comes up with.

Which Robert Eggers is your favourite? Let me know in the comments below!

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Ari Aster: Double Feature

Following on from my previous post on Jordan Peele (which you can read here), I thought I would discuss another writer/director whose work in the horror genre has caused waves in recent years. Ari Aster is a writer/director who has used the horror films of the past to inspire and create horror films for modern times. Again his filmography consists of two feature films but both of these have created an impact and have been the basis for much discussion. Both are critical and commercial successes and are among the most profitable films for its distributor, A24.

What Aster does particularly well is how he explores mental health in his protagonists. He isn’t afraid to push his characters to the very edge of breaking point and allow the plot to explode into chaos. I have previously written a post on how anxiety is used in Midsommar and Darren Aronofsky’s mother! that you can read here and the points can be applied to Annie in Hereditary.

Hereditary (2018)
Ari Aster’s feature debut Hereditary released in 2018 and in a similar vein to Get Out has become a classic in modern horror. Toni Collette plays Annie, a miniatures artist and mother of two who believes that her and her family are being haunted after the death of her mother. This film led one of the best marketing strategies in recent years as it completely misled the audience in terms of what it was about. Collette is nothing short of phenomenal as Annie with her unpredictability and hysteria. As well as Collette, Milly Shapiro who plays Annie’s daughter, Charlie, does a fantastic job in her feature debut. Aster’s direction and script is really tight and well-rounded but Collette’s performance elevates the entire film-watching experience and it’s insane that her performance wasn’t recognised on the awards circuit. Annie is a deeply complex character who finds it difficult to live with her family as the hauntings become more severe. The script serves as a boiling pot for Annie that eventually blows up in an argument between her and her son, Peter (Alex Wolff) that is among the best acting of the year.

Midsommar (2019)
Aster’s second film, Midsommar, was released only a year after its predecessor and it is completely different and exciting in every way. Starring Oscar-nominee Florence Pugh as Dani, a student who recently lost her entire family after her sister commits a murder-suicide, who goes to Sweden with her emotionally distant boyfriend and his friends for a summer festival at one of the friend’s commune. I have written a fuller review of Midsommar here which you can read here but in short, I absolutely love this film. It was my favourite film of 2019 and with good reason. The way it explores relationship deterioation and manipulation as well as living with anxiety and depression felt very real. Despite being in an open space, the direction felt claustrophobic to reflect Dani’s mental health and overwhelmed state of mind. There is a lot to be divulged and analysed in this film which makes it enjoyable to watch time and time again. Pugh is exceptional as Dani and the supporting cast lead by Jack Reynor who plays her boyfriend, Christian as well as WIlliam Jackson Harper and Will Poulter as Christian’s friends Josh and Mark, respectively are all fantastic and dynamic.

Aster has done a great job with his two features with both featuring brilliant female protagonists. I am looking forward to seeing what Aster brings out next. Midsommar particularly provided one of my favourite cinema experiences as the attestupa scene was one I did not see coming at all.

What do you think of Aster’s films? Let me know in the comments below!

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The Lighthouse (2019)

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

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

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

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

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

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

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Midsommar (2019)

As Summer is coming to an end, I thought it would be apt to write a post on my favourite film of the season. Unsurprisingly enough, it comes in the form of a summertime nightmare with Ari Aster’s second feature Midsommar. Following on from his brilliant debut, Hereditary (2018), Aster has managed to surpass expectations and once again brings us a new and refreshing take on traditional horror. The film follows college student, Dani (Florence Pugh) who joins her boyfriend, Christian (Jack Reynor) and his friends: Mark (Will Poulter), Josh (William Jackson Harper) and Pelle (Vilhelm Blomgren) on a trip to Sweden to observe a rare festival among Pelle’s familial commune. Things quickly turn sour as members of the group begin to disappear without a trace. It’s easy enough to expect a film in the same vein as The Wicker Man when introduced to the pagan style life the commune leads in the Swedish woods.

Florence Pugh’s leading turn only helps to further push her presence as an actress to watch. Dani is one of the most complex female characters to arise from modern cinema. We see her shift from the Westernised world that she lives in where there is no hope for her to the cult where she begins to feel belonging. It’s a haunting portrayal of depression and anxiety and is shown in an explicit way that hasn’t been explored before. The events in the film happen due to other’s people actions but they are always directly in relation to Dani and her welfare. Pugh’s acting chops are really highlighted in the dance scene where she becomes so absorbed in the competition that she finds herself speaking Swedish fluently with her competitors. The scene is transformative for Dani as she allows herself to be open to the ceremony and the community.

The supporting cast also knock it out the park with their performances. Will Poulter in particular gives a career best as the ignorant Mark, who literally and figuratively pisses all over the commune’s celebrations. Whereas Dani’s demons are hidden below the surface, the male characters’ flaws are on show for all to see. Whereas Dani is ridiculed for her struggles in US, the tables are turned for the men in the commune as women dominate the landscape. The film’s goriest scenes are mainly at the cost of the ignorant visitors and yet it doesn’t feel like a slasher film. The audience, like the characters, are outsiders but they are invading the ceremony and evoke little sympathy from the audience because of their ignorance and greed. Jack Reynor also excels as Dani’s emotionally distant boyfriend, Chris. He has allowed himself to become so detached to Dani that he acts emotionless and unsympathetic when tragedy strikes at the beginning of the film. He is unwilling to see how wrong he treats her as she struggles to fight for his love and repair things. During the film, we see Christian’s confidence shaken as he becomes targeted by the cult.

As expected, Aster’s script and direction showcase his talent as an original voice in film and his fearless approach to filmmaking. He isn’t afraid to explore taboo subjects or make the audience uncomfortable. One such scene is during an ättestupa ceremony where two elderly people jump from a high cliff. Aster doesn’t allow the camera to turn away as we see the bodies hit the ground. The reactions that Dani and co feel become all the more real because Aster forces the audience to experience it as well. It’s a film that demands the attention in details from its audience. Every aspect of the costumes and set have been well thought out and serve a purpose that pay off later in the film. The use of striking visual sets make it a memorable film and the immaculate beauty of the cult’s village make the strict lifestyle all the more terrifying. I think this film shows a growth in directorial vision from Aster’s standpoint as he really allows the audience to get into Dani’s psyche. The true brilliance of this film is Aster’s ability to contrast Dani’s claustrophobic feelings to the open space that the commune live in so effectively.

Another aspect I loved about the film was the use of costumes. Not only the ethereal and fresh qualities the commune colours have which seem refreshing when we first see the village. The standout costume, however, comes in a brilliant floral creation worn by Dani in the films final scenes. In any other film, it would seem ridiculous but it makes sense in this film. It both stands out and blends in at the same time and plays a big role in the terrifying climatic scene.

If it were up to me, this film would be a safe contender for various mainstream awards but I am aware that it is too violent and “out there” for some. It is not a film for the faint of heart or easily offended. Between the subtle cannibalism, male frontal nudity and graphic sex scenes, this isn’t a comfortable film to watch but that is what makes it such a brilliant piece of cinema.

What did you think of the film? Did you like it as much? What was your film of the summer? Let me know in the comments below!