Tag: movies

Categories
Uncategorised

Frances Ha (2012)

Watching this for the first time during university was truly revolutionary. Noah Baumbach’s film follows the titular character (played flawlessly by Greta Gerwig), a contemporary dancer who struggles to maintain a secure lifestyle in New York after her best friend Sophie (Mickey Sumner) moves out of their apartment. Filmed in black and white, stripping back the New York background in a way that feels like an homage to Woody Allen’s Manhatten, Frances Ha is witty and heartbreaking while creating a brilliantly developed character who feels real and leaves you thinking long after the credits roll. Directed by Baumbach and co-written by him and Gerwig, Frances Ha has earned its place among the great indie films of the 21st century for its mix of quick wit and improvisation. Following Frances and told from her perspective, Frances Ha is a seemingly simple film in that it doesn’t explore a specific plot but it demonstrates the struggle young people have and what they will do in order to achieve their dreams.

Frances Halladay is enigmatic and fiery. She has an array of bad habits such as smoking and bad money management but she has a passion for life and sees the magic in the everyday. This love for life is magnetic and we begin to see New York from Frances’ perspective. Her New York is an entirely different place. She has plenty of struggles but somehow she is able to bounce back and flit from place to place knowing that everything will figure itself out in the end. Despite not having a “real” plot, the film sees Frances become reliant on herself. Her initial identity is completely tied to Sophie but when Sophie moves, Frances is forced to carve her own path. She’s one of my favourite characters in film with good reason. She’s quirky, doesn’t let go off her dreams and importantly, doesn’t allow a man to dictate or motivate any action unless she wants it to. For all her flaws, Frances brings her strength subtly and isn’t aware of her own power.

Frances Ha allows a deeper focus on characters rather than plot. The natural approach the actors bring mean that the audience forgets that they are watching a film rather than a documentary. Mainly set and filmed in New York, there are also scenes that take us to Sacramento and Paris. No matter where Frances goes, she doesn’t change and the world remains just as black and white as ever. We see Frances at a turning point in her life. At 27 years old she is starting to lose a grip on her dream as a dancer and begins to understand that she will have to compromise to maintain security. Because it’s not plot driven, it feels as though the audience has stepped into this moment in her life and that there will be a big breakthrough for her but Baumbach is a grounded visualist brings a more realistic approach and finds a more believable solution.

I have touched on the cinematography before but it deserves its own observation. Baumbach’s New York feels like it doesn’t belong in a specific time or place. The decision to film in black and white definitely contributes to it but also Frances’ ability to largely avoid modern culture and do her own thing gives the film a detachment and allows it to become immersed in its own universe. The decision to make it black and white added a quirky aesthetic to the film and made it a talking point but ultimately, it is a film that relies heavily on its actors and Gerwig in particular who is in the majority of the film. Inspired by the French New Wave, the film is minimalist and brings a European style to the US. Although it doesn’t bring whistles and bells, it is contrasted by Frances’ extroverted personality. Without Baumbach or Gerwig, Frances Ha would not be the film it is and would not be the indie success that it is.

There is something that continuously draws me in with Frances Ha. Every time I watch it I notice something new whether it is a particular performance, the cinematography or the writing. It’s a film that maintains its topics and place in the mumblecore movement. As both Gerwig and Baumbach’s careers have skyrocketed to new heights with both releasing two of the best films of the year with Little Women and Marriage Story respectively, it’ll be great to see them collaborate again. Their 2015 film Mistress America which was their last collaboration was also a fun watch but for me, it is Frances Ha that remains my favourite. It’s a film that is strongly feminist and feels relatable as someone who aspires to make a living in the creative industry.

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

Categories
Uncategorised

Mustang (2015)

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

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

hero_Mustang-2015

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

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

mustang-clip-superJumbo

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

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

Categories
Uncategorised

The Tale of the Princess Kaguya (2013)

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

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

princesskaguya1

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

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

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

princesskaguya

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

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

Categories
Uncategorised

Beasts of the Southern Wild (2012)

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

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

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

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

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

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

Categories
Uncategorised

Princess Mononoke (1997)

Another day, another Ghibli review. Hayao Miyazaki’s Princess Mononoke is a Medieval set fantasy in the ancient land of folklore and Gods and the battle between Mankind and the spirits in the forest. The film follows Prince Ashitaka who is cursed by a dying boar and must venture to the West to find the reasons for his curse. He ventures to Irontown where the residents, led by the greedy Lady Eboshi, are on a mission to rid the forest of its Gods in order to mine up the iron and invade surrounding areas. In between these two parties is a young woman, San (also know as the titular character), who lives with the wolf Gods in the forest and whose mission is to kill Eboshi and put an end to Irontown’s plot to rid the world of the animal Gods. Ashitaka is immediately taken by San and sides with her to put an end to Eboshi while also finding out the meaning of his curse. The film is more violent than most Ghibli films and doesn’t shy away from showing rotting corpses, dismembered limbs and lots of blood but the film needs this to show the corruption within man’s unnecessary fight with nature. The violence that is perpetuated upon the forest and seeing the animal’s rebellion is heartbreaking. Miyazaki’s brilliant vision of contrasting palettes makes this a true fantasy epic as we venture from the deep jewel colours of natures filled with deep greens and blue hues to the abnormal reds and oranges that flare from the furnaces at Irontown.

Princess Mononoke features some of the best known characters in the Ghibli canon from San, the titular character to the various creatures that populate the forest, particularly the adorable Kodama, tiny spirits that guide the way through the forest. In true Ghibli fashion, San is a posterchild for strong female characters. From her first appearance sucking the bullet out of the wolf God and spitting the blood into the water, San doesn’t care how she looks. She doesn’t aim to please anyone and isn’t there to be sexualised or sought after. Ashitaka is drawn to San but San keeps him at arm’s length. She wants to help him but does not care for any romance. San’s reluctance to identify as human makes it easy for the audience to see her as inhuman. Her seemingly superhuman strength and speed makes her seem otherworldly. On the other side of the conflict, Lady Eboshi is a deeply conflict character who isn’t just a regular villain. In true Miyazaki fashion, she has her own understandable methods and a genuine desire to protect her people but she is ultimately on the wrong side of history in this instance. Eboshi is seen as a woman of civility and forward-thinking whereas the people portray San as an animal and treat her like the animals that she lives with. They do not hesitate in their attempts to kill her even though Eboshi confides her sympathies for San to Ashitaka.

The animation and style from this film is quintessential Ghibli. Drawing in on traditional techniques and meshing with this folklore and a modern feel, Princess Mononoke showcases the best of Ghibli and Miyazaki living up to his usual standard. The combination of nature and industrial is deeply satisfying and you are instantly transported to a different time. Despite being sets centuries ago, the technology feels new and unique. The designs of the spirit god’s, particularly the Forest God bring that sense of command and attention that such a character would demand from its audience. One of the best sequences has to include the opening encounter with the boar which is both grotesque and terrifying, setting the tone for the film. Contrast this with later scenes where the forest comes to life to make way for the Forest God.

If you have read my previous Ghibli related posts, you know that I absolutely love the composing genius that is Joe Hisaishi. A longtime Miyazaki collaborator, Ghibli films would not be the same were it not for Hisaishi’s contribution. This is mostly felt in Princess Mononoke, the soundtrack which I listen to everyday. It truly holds its own as an epic in its own right and brings the film’s overall status to epic proportions. Mixing traditional Japanese sounds with fantastical elements, we are thrown into the conflict between man and nature through Hisaishi’s genius use of pace and crescendo. The ending track titled “The Legend of Ashitaka” is easily one of my favourite musical pieces from any film. The piece feels as though it takes you through the emotional span of the entire film in its five minute running time. Starting off quiet and slow and then building with brass and becoming a loud and brash piece showing the tilt in man’s favour. I love how Hisaishi has his own style like Miyazaki and it honestly feels like you can’t have one without the other.

Princess Mononoke is usually ranked among the favourites and has been a popular choice since its release. It is a film that has mass appeal despite its maturity and content. There is a lot of detail to take in within every scene and such a brilliant use of locations and spaces. The era that it is set in is real but the addition of the Gods allows the creative team to think outside the box and bring their originality to the designs. Even the designs of animals such as the monkeys and the boars have an otherworldly feel to them. They are inspired by animals that exist but they don’t exist in the real world. This is something that Ghibli does best in that it blurs the line between real and fantasy, allowing the imagination to run wild. The film isn’t afraid to delve deep into serious issues with its overwhelming message on environmental destruction, the manifestation of greed in man and the corruption that it builds and the longing for power.

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

Categories
Uncategorised

Marriage Story (2019)

Finally got around to watching this one and boy, was it worth the wait. Noah Baumbach’s tale of a couple coping with the struggles and heartbreak of divorce had received a lot attention and more than deserving of the hype. Scarlett Johansson and Adam Driver play New York based married couple Nicole and Charlie Barber who are pitted against one another by their lawyers when going through their divorce. Directed and written by Baumbach and containing many signature improvised scenes in true Baumbach fashion, he truly has outdone himself with this flick and created a film that is deeply human and resonating on many levels. He does not want the audience to pick sides as each side is justified and wrong in their own ways. Both characters lay out the others’ strengths and weaknesses in the opening monologues, setting the tone for the rest of the film. The film seems more stripped back in direction than Baumbach’s previous endeavours but then this feels like his most personal project and in many respects, the most heartfelt.

Johansson and Driver bring the best performances of their careers to date and both will receive nominations for sure and stand a very good chance at bringing home Oscars. Johansson takes a break from the Marvel franchise and it seems that she revels in being Nicole, an actress who longs to return to her native Los Angeles to make TV shows and films. Nicole is deeply passionate about being an active member of the family unit, particularly when it comes to being a mum to their son, Henry. She plays with him for hours on end and constantly rewards him for completing simple and menial tasks. Driver’s Charlie on the other hand resents rewarding his son for going to the toilet and instead wants to instill maturity and push his son to do his homework and work on his skills. What both parents share is an undying love for their child and the mutual understanding that the divorce outcome must be beneficial to Henry’s needs most of all.

As Nicole’s lawyer Nora, Laura Dern is glamorous, unstoppable and manipulative. She swoops in with compliments for Nicole on their first meeting, decked out in a beautiful outfit and sky high heels that become a signature throughout. She is a hugely intimidating character who begins to create a narrative on behalf of Nicole. In the courtroom scene, Nora refuses to back down and the articulation and intelligence that Dern brings to the role is surely going to bring that overdue Oscar. Dern has always been a reliable actress, wowing time and time again but with Marriage Story, she is able command the control of the scenes that she is in. She is truly mesmerising in her speeches and empowering in her confidence.

There are many scenes in this film that caused me to pause and take in the perfection but the big one has to be Nicole and Charlie’s huge argument as they cannot agree. It’s brutal, real and incredibly improvised. What starts as neutral smalltalk soon turns into a hurtful explosion full of abuse hurled at both sides and Nicole and Charlie both rip into each other for their weaknesses and expose the problems in the marriage that had been bubbling the surface and kept from the audience until this point. This honesty soon makes way for the ridiculous as they begin to insult each other for points and it soon ends with Charlie’s meltdown in which he curse Nicole and hopes she is smited with illness before being run over and wishing she was dead. Immediately, he falls to his knees in defeat as he instantly regrets his words and the two apologise. The exhaustion of the scene radiates off the screen. Before this scene, the tension is clearly brewing but both parties delude themselves and pretend everything is ok and can be relatively normal given the circumstance but here we are presented the reason and the breaking of the foundation.

This film subverts the usual divorce storyline in that the characters do not get back together at the end. This isn’t to say it isn’t a happy ending. In fact, both characters are much happier for it and we see the positive outcome and newfound respect that the protagonists have for each other. The end scene being a breath of fresh air in the aftermath of their court session. It’s a film that you cannot help but feel affected. The realism and authentic approach makes it seem like you are watching a real marriage fall apart. The genius of Baumbach’s writing is that he makes you sympathise with one party then the other and then you end up feeling sorry for both and wanting the best for them. Nicole and Charlie have done bad things during the course of their marriage but that does not make them bad people.

I think that Marriage Story will be a film discussed for many years and has revolutionised filmmaking for streaming culture. The film does not make any attempts to blend in nor does it want to be trendy. Baumbach is simply delivering quality cinema and making it accessible for everyone. There is an audience for it and I think a simple film like Marriage Story is a perfect way to break the ice further in the same way Roma did. I would give this film some major awards, particularly for its writing and acting. It’s a well-rounded film that is truly captivating from start to end. You feel that you truly get to know Charlie and Nicole equally throughout.

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

Categories
Uncategorised

Ingrid Goes West (2017)

Looking through the many options on Netflix, I stumbled across this 2017 indie that I have been meaning to watch but never got around to. Matt Spicer’s film stars Aubrey Plaza as the titular Ingrid Thorburn, an Instagram stalker who becomes besotted with an LA based influencer, Taylor Sloane (Elizabeth Olsen), and moves to be near her. Ingrid Goes West lifts the filter and reveals the dark side to Instagram, showing the damaging psychological affects that obsessive social media usage can have. Ingrid is already introduced in her obsessive state and we never quite get to the bottom of her issue but that adds to the eeriness that social media dominates lives without reason. Despite being sent to a mental health facility, Ingrid doesn’t change her ways and still flicks through magazines religiously. The opening shot of Ingrid is her crying as she flicks through her former victim’s Instagram as she is barred from the wedding. The irony of the deep emotion that Ingrid feels with the vacuous status that accompany the pictures only serves to highlight how shallow the obsession is. Ingrid is constantly viewed as an outsider but it is purely because she doesn’t naturally conform to the Instagram type that makes her seem a bit weird.

Given the topic for the film, it only makes sense that Spicer would reflect this in his direction. The film runs like a glossy Instagram page filled with a satisfying colour palette and scenery that would need no filter. It was always going to be a challenge because these are characters who are obsessed with their phones. Spicer wants the audience to see what these characters are missing. The beauty of the location is used by the characters for likes and not really appreciated for what it is. Combine this with sharp dialogue that is filled with plenty of small talk and awkwardness and you’re onto a winner. Spicer cowrote the script with David Branson Smith and I think they did a great job of subtly bringing out the darkness in the other characters. When Ingrid has her meltdown at the end and confronts Taylor, the latter seems emotionless to the accusations of her shallowness which only confirms Ingrid’s claims. Ingrid is an obvious victim of social media obsession but Taylor is also a victim of illusion provided by the grandeur of thousands of followers on Instagram. The soundtrack is a Californian daydream mixing Indie songs with RnB classics, Ingrid Goes West is bolstered by it’s music choices. To an extent, the songs are perfectly picked for their scenes like photoshopping the perfect image. Spicer does not want the audience to forget that this is a film about culture and arguably, the downfall of culture.

Aubrey Plaza is nothing less than stunning in this film. A complete 180 from her usual quirky and sarcastic persona, her performance as Ingrid is ironically her most sincere character. Ingrid is deeply flawed and not necessarily likeable from the offset but she is a victim. We can see that Ingrid is filled with disgust for herself as she finds herself diving deeper into obsession but despite her own attempts, she cannot stop this. On the other hand, whether she wants to stop obsessing is another question but then this conflict is what makes her struggle human. The film is primarily a dark comedy and this makes it a perfect fit for Plaza but she plays the role as though it were a drama and this pays off massively. We feel sorry for Ingrid despite her weirdness and crimes. We know what she is doing is wrong and yet we want her to succeed. A character as conflicting as Ingrid doesn’t happen very often and the combination of Spicer’s script with Plaza’s characterisation was perfect.

Ingrid is clearly the film’s villain with Taylor as the traditional victim. But what the film is also suggesting is whether Taylor herself has allowed herself to become equally as obsessed in a different way. She doesn’t care to notice Ingrid’s obsession until there is danger posed and she doesn’t seem trendy anymore. She is consistently narcissistic which Ingrid completely ignores in her admiration. Taylor had also wanted to be the cool kid that Ingrid longs to be but she rejects Ingrid’s attempts in the end. The film doesn’t aim to excuse Ingrid’s behaviour but it aims to shed light on how shallow both sides of the obsession is. Just as Ingrid is tortured and craving a life that cannot be hers, Olsen revels in her role as the self-absorbed Taylor Sloane. Originally coming across intelligent and cultured with a ton of quotes from many favoured writers such as Joan Didion as well as a regular face on the LA art scene, Taylor has everything that Ingrid could want. Taylor is oblivious the world around and everything is material. Even a simple picture with Ingrid turns into a.impromptu photoshoot with a local shop worker forced to get on the floor to get the perfect angle. Taylor is all about control and image and doesn’t want anything negative coming in and bursting the bubble. We are led to believe that Taylor lives a perfect life but this couldn’t be further from the truth as her husband is a failed artist alcoholic and her brother a drug addict.

O’Shea Jackson Jr also makes a welcome appearance as Ingrid’s landlord, Dan, who Ingrid manipulates into a relationship to impress Taylor. Dan is the only honest and traditionally good character in the film. He is aware that Ingrid is deeply flawed from the moment that she brings a dog to her apartment against his rules but he still develops a deep love for her. When she attempts suicide, no one in the house next door tries to help her. In fact it is Dan, who is in hospital because of her, who saves her life by calling an ambulance. Taylor and her husband Ezra were willing to leave Ingrid for dead in her own home. Their shallowness and obsession with online presence overshadowed someone’s real life. It’s the small details in the writing such as this that exploit the darkness in this film.

What do you think of Ingrid Goes West? Let me know in the comments below!

Categories
Uncategorised

Spirited Away (2001)

One of the big ones to come out of Studio Ghibli and with good reason, Spirited Away follows protagonist Chihiro who finds herself in the spirit world where her parents have been turned into pigs. Chihiro must work under the ruthless Yubaba in a bathhouse for spirits where she is forced to take care of the visiting spirits, including the mysterious No-Face. With the help of a young boy called Haku, Chihiro navigates her way around the land of spirits and eventually learns more about herself and what she is capable of in order to return to the human world with her parents. This is commonly seen as Miyazaki’s opus as it brought international acclaim the studio hadn’t experienced before as well as a slew of awards such as the Academy Award for Best Animated Feature. The story of identity and place is one that resonated with the critical commercial audiences and has made Spirited Away an instant classic. In true Miyazaki style, the film is enjoyable for all ages and can be watched time and time again and still be just as rewarding. The film has you laughing, crying and grimacing as we encounter various characters and are thrust into the unknown. 

Ten year old Chihiro is forced to move away as her dad starts a new job. Unhappy about the move, we are first introduced to her as she sulks in the car with a bouquet gifted by her classmates. Chihiro is soon forced to think beyond her years to navigate a way out of the spirit world with her parents. She is a character who finds her own strength and relies on herself to figure this out. On entering the Bathhouse, Chihiro is overwhelmed by all of the creatures but is soon tasked with carrying out there needs. The Stink Spirit is the breakthrough moment as Chihiro passes the test and understands what the spirit needs. Anothe protagonist is dragon/river spirit Haku, who initially takes form as a boy Chihiro’s age. Haku immediately sees Chihiro and helps disguise her from other spirits before she is given permission to reside in the spirit world. At the top of the bathhouse lives Yubaba, a witch who runs the facilities. After failing Chihiro off, she strips Chihiro off her name and gives her the identity Sen. Soon enough Chihiro becomes Sen and forgets who she is as she is enveloped in the spirit world. By losing herself, she loses sight of the mission to get home. Yubaba is a character who has no motive to act for or against Chihiro and simply allows Chihiro to work in the bathhouse while she goes on her journey of self-discovery.

spiritedaway

The animation is spectacular is on a level that hasn’t been seen before and not really since (The Tale of the Princess Kaguya being another great example). A beautiful mix of Japanese folklore and fantasy, Spirited Away makes use of the scenery and locations. By setting the film in a fantasy universe, it gives the animation team an unlimited scope in design and allows Miyazaki to create a world from scratch. Not only is Miyazaki creating his own version of the spirit world but it also offering an entirely unique perspective on various aspects of Japanese culture. The whole film is crammed full of amazing sequences but among the most iconic in Ghibli history has to be Chihiro running through the garden paths surrounded by rose bushes is simple yet dreamy. It’s only a short moment but the angles and colours are perfect as Chihiro anticipates seeing her parents.  Other brilliantly crafted scenes include the food feast where Chihiro’s parents are turned into pigs. The satisfying layout of the food contrasts with the disgusting design for both her parents when they’re eating the food and consequently the design of the pigs themselves. The detail of the creases in the skin and the sweat is disgusting but then Ghibli isn’t a studio that glosses over the grotesque.

I can’t review a Ghibli film and not discuss the music. The score from Joe Hisaishi is instantly his most recognisable to date, spanning thousands of covers on YouTube and being a prominent inclusion in his concerts. The soundtrack is nothing less than stunning and totally deserving of its praise. The opening number and the main track associated with the film, “One Summer’s Day”, contains a mix of melancholy and hope. It’s slowness reflects the sadness that Chihiro feels about leaving her old life behind but it’s still uplifting and hopeful at the same time. The piece is soft and pretty and immediately brings you into Chihiro’s world. As soon as we enter the spirit world, the score completely shifts. The peaceful slowness is soon replaced with harsh brass and a quickened pace as Chihiro becomes an outsider in a new place and is forced to hide. Tracks such as “The Dragon Boy” are filled with the grandeur that lives up to Spirited Away’s epic feel. Hisaishi’s score helps to transport the audience into Miyazaki’s universe.

haku

A film like Spirited Away doesn’t come often with direction and writing that is filled with such love and passion for storytelling. Miyazaki outdid himself with this one and it’s a film that will go down in history. There are an array of supporting characters who all bring significance, even if it’s a small payoff such as Yubaba’s henchmen or her baby. You could watch this film a million times and still find something new. The film opens itself up for interpretation and analysis and has been widely discussed as such. Scenes that I find particularly striking include the attack on Haku as he thrashes into Chihiro’s dorm bloodied and weak and the scene in which Chihiro is sat on the train. The latter is so still and peaceful that it brings a sigh of relief and calm in a film that has brought so much chaos.

Do you love Spirited Away as much as I do? Let me know in the comments below!

Categories
Uncategorised

Castle in the Sky (1986)

Hayao Miyazaki’s 1986 family action film, Castle in the Sky was the first film made under the Studio Ghibli brand (Nausicaä of the Valley of the Wind was made before Ghibli’s inception although it is now included in the Ghibli catalogue). The film follows young orphan Pazu who catches a girl, Sheeta, after she falls from the sky and their mission to find the mysterious floating island of Laputa. Running up against pirates, the army and government, Pazu and Sheeta are thrust into a world full of corruption, greed and the abuse of nature. The world is crumbling thanks to the adults and it takes their childlike view to right the wrongs. On one level, the film is an engaging action movie that features extensive chase scenes and a variety of exciting locations. On a deeper level, the film can be explored as an analytical portrayal of mankind’s war on nature and the importance of working with nature and not fighting it.

What Ghibli achieves brilliantly in all of its films is that the films are never patronising to the audience. There is always something to think about. Even the child-friendly films like My Neighbor Totoro include undercurrent themes of death and loss. With Castle in the Sky, we are following two protagonists who don’t have families of their own but are there for each other throughout. That in itself is a hard fact to swallow as the characters are barely 10 years old and yet they survive with no complaints in this corrupt universe. When thinking of the most iconic Ghibli films, it’s easy to think of the likes of My Neighbour Totoro, Whisper of the Heart and of course the Oscar-winning Spirited Away, but I think somewhere Castle in the Sky has been lost in the conversation. There is something about this film that centres of the childlike vision that Ghibli likes to explore but blurs the lines by incorporating flawed heros and insightful dialogue. Every time I watch this film, I feel equally inspired and affected as the passion behind this film is impossible to ignore.

laputa2

Aside from the two protagonists, there are several parties who aim to find Laputa first. A group of pirates led by matriarch Captain Dola who is a fantastic character. The only female on the ship that includes her husband and multiple sons, Dola smashes the patriarchy and in many ways is a more fearing character than the actual villains. The pirates’ encounter with Pazu and Sheeta shows that they are not your typical blood and guts pirates as the film want you to believe but show that they do have a heart. Although I do prefer to watch the Japanese original with subtitles, I do have to mention the voicework of Cloris Leachman in the English dub. She becomes Dola and gives the character this commanding quality with an undertone of softness that makes the shift in storyline believable. On the other hand, we have Muska, a government agent who is consumed by the idea of power that he is willing to betray all those who work for him to climb to the top. Initially, Muska seems rational and good-natured but his plans are soon revealed as he plans to use Laputa as a military weapon of destruction.

The animation is spectacular and sets the standards for Ghibli films of the future. Incorporating a steampunk aesthetic with classic anime styles, Castle in the Sky becomes an oxymoron in scenery. It is so clearly an alternate universe but not wholly outlandish. The world the film inhabits could be described as a grounded fantasy. This could be because the issues explored in the film are very real issues but through the metaphor of Laputa, a physically and figuratively detached land that represents a country before military invasion. One recurring feature in Ghibli films is the satisfying attention to detail such as the intricate blades of grass, beautiful colour mixtures and palettes and food that makes your mouth water. There are so many beautiful aspects in this film but the most stunning creation has to be the robot and particularly, the robot who lives among the natural world within Laputa. It’s a contrast that flows together seamlessly and has formed one of Ghibli’s most recognisable icons.

My favourite part of any Ghibli film is by far the score and in particular, the scores composed by Joe Hisaishi. I would class Hisaishi as an unsung hero in Ghibli history as his music encompass the magical qualities that the films possess. The music for Castle in the Sky is no different and in fact ranks highly for my all-time favourite scores. Each character has their own unique piece of music and even the crystal has a distinctive piano run that sounds like a twinkling star. Every piece is beautifully crafted but for me, the highlight of this tremendous achievement is the track that follows the Forgotten Robot when Pazu and Sheeta arrive at Laputa. The track is haunting yet full of hope and keeps qualities of the Laputian themed music that has been featured up this point. In the dub, there were improvements and additional tracks included that elevate the experience even more although the original Japanese is still just as beautiful. The music overall is classic and traditional in style until we get to moments of conflict were synthesizers are included and bring a more fantastical element into the mix. The soundtrack reflects the themes of the film.

castle0434.jpg

Picking a highlight scene is difficult for this film because I find it so captivating throughout but in a situation where I am forced to choose, it would be Pazu and Sheeta’s entry into Laputa. Entering the vortex in their tiny glider, they venture into the eye of the hurricane and are forced to endure heavy thunder and lightning. It’s an exhilarating scene to watch as the traditional scenery is stripped away and makes way for a black background with flashes of purples and white. The audience is taken to a different realm and it is reflected in the quick change in pacing, music and perspective as the glider becomes even smaller among giant lightning strikes. It’s a brilliant scene that is then beautifully contrasted with the sudden break as they float down to Laputa and everything seems back to normal. The angry and defensive nature of the weather is a representation of Laputa hiding itself behind the mask and reputation it has gained as a weapon.

What do you think of Castle in the Sky? Which Ghibli film is your favourite? Let me know in the comments below!

Categories
Uncategorised

The Irishman (2019)

A hot contender for the upcoming awards season, Martin Scorsese’s latest brings together a classic Scorsese film that boasts an epic cast, epic direction and an epic time length of 209 minutes. Despite its long running length, this is a film that demands attention throughout due to its numerous plots and characters that cross and interweave revealing layers of motivations and development. What has made this film so compelling for both audiences and critics alike is how quintessentially Scorsese it is, bringing in old and new faces while still bringing something new to the gangster genre. The film stars Robert De Niro as Frank, a delivery driver turned hitman working for local mobster Russell Bufalino (Joe Pesci) before ascending the ranks and working for bigtime union owner, Jimmy Hoffa (Al Pacino). The film also features supporting turns from Ray Romano, Anna Paquin and Stephen Graham, Scorsese goes back to what he does best, exploring the Italian mob underworld with splatters of blood (the alternative title for the film is I Heard you Paint Houses) and excessive language. Scorsese’s popularity has never really diminished but it feels as though The Irishman has resonated with its audience with its brilliant use of nostalgia, mixed with the future in the choice of producing it for streaming titan, Netflix.

Scorsese’s direction is as distinctive as ever. The films flows like the Bible epics he is inspired by and allows the masks of the characters to slip slowly as unexpected alliances are formed and relationships are broken. The Irishman may be a lower age rating in the UK than many other Scorsese offerings but don’t let that fool you into thinking it is anything less. The violence is brutal and there is blood by the bucketload. The key to this film is that The Irishman doesn’t need it and Scorsese knows this. Using present day Frank to reflect on the past gives the film its nostalgia as the audience is looking back at the days of Scorsese’s classic gangster films such as Goodfellas (1990) when they see actors like Pesci and Pacino tapping into what they do so well.

The big guess is predicting who will win the Best Supporting Actor Oscar between Pesci and Pacino. Time will tell whether voters will go for Pacino’s extroverted big time player or Pesci’s subtle plotting locally respected mobster. Either is a deserved winner but if I would have to choose between them, I would probably say Pesci as pulling off such a great performance after a long absence from acting shows his natural talent. Equally, another very real possibility is that voters are split between the two and the award actually goes to Brad Pitt for his impeccable performance in Once Upon a Time in Hollywood. All three are deserving in their own way and I think the Golden Globe will start the trend on which one starts to receive this award at the subsequent shows.

The technical aspects of this film also slot nicely into the Scorsese catalogue with quick-fire editing and a wide scope of locations. Even when the characters are on different sides of the country, it still feels as though the conflicting sides are in neighbouring rooms. One particular scene that I thought was brilliantly shot is when Frank murders a rival in a restaurant. We see him continuously move from the front of the joint to the back, firing his shots before facing his rival on the street at the back and shooting him before escaping in a getaway car.

The Irishman has proved to be Scorsese’s most accomplished film in modern times. Drawing on his strengths and knowing how to push them is expected from someone as experienced. Sure, there could have been more use of female characters as Anna Paquin is sorely underused in this film but this is a story about the 1970s male-dominated Italian American underworld. Contextually, it does make sense and who knows, maybe Martin will make a film in the future with strong female characters and try something new. In the meantime, this is a film that indulges its nostalgia whilst acknowledging its maturity. With this and Noah Baumbach’s Marriage Story being released on Netflix, it seems that streaming services are the future of film and that this isn’t necessarily a bad thing.

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