Tag: music

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The Prom (2020)

One of the pleasant surprises of the year for me is Ryan Murphy’s The Prom. Adapted from the musical of the same name, The Prom follows a group of Broadway actors who try to reclaim some positive PR by protesting the decision a high school in Indiana made to cancel prom after student Emma (Jo Ellen Pellman), expressed her desire to take a female date. Featuring the starriest cast of the year led by Meryl Streep and Nicole Kidman, The Prom is a hilarious showstopping event that isn’t afraid to poke fun at the world it inhabits while simultaneously delivering a sincere message on equality and the comparisons between the two worlds.

Ryan Murphy is one of busiest men in Hollywood as he is always bringing out projects, mainly on TV and there is a common theme within all of them. His desire to put LGBT+ actors onscreen and tell their stories is clearly a passion of his and has helped create incredible shows such as American Horror Story, The Politician and my favourite, Pose. Now branching into film and it is clear that Murphy’s mission isn’t slowing down. Making sure that any LGBT+ characters are played by actors in the community is important and it has resulted in one of the best finds of the year. Also, the fact that he managed to get Streep and Kidman in one film is only a credit to his power and influence in pushing Hollywood in a more inclusive direction.

The personal highlight of this film for me goes to newcomer Jo Ellen Pellman as school outcast, Emma. Berated for her sexual orientation in a town that tries to oppress her identity, Emma has to deal with hate coming from all directions, especially because her girlfriend Alyssa is too afraid to come out. This puts Emma in a hugely isolating position where the only support she receives is from her grandmother and Principal Hawkins (Keegan-Michael Key). Not only does Pellman having the acting and singing chops needed for this role, but she really delves into Emma’s struggle to become the face for those who aren’t able to express who they are.

In support we have Meryl Streep as Broadway veteran, Dee Dee Allen, a narcissistic two time Tony winner who struggles to put anyone else before herself. There isn’t much else to say except that Streep is a force of nature and as expected, pulls off an incredible performance. Just when you think she has shown you range, she goes off and adds even more strings to her bow. Her singing is brilliant and the unpredictability of her character makes for some of the film’s funniest moments as well as keeping you on edge for what she will do next.

In a small but important role is Andrew Rannells as struggling actor, Trent Oliver. Rannells usually stars on stage and small screen and has made the jump onto film with his signature charisma. One of the best numbers in the film is a song called “Love Thy Neighbor” in which Trent teaches Emma’s school peers about how people pick and choose what to take from the Bible. It’s a turning point in the film as the general opinion towards Emma starts to change. Funnily enough, the townspeople only recognise Trent from the showbiz group from his past tenure on a tacky sitcom which he loathes and doesn’t think goes with his Julliard education.

Overall, The Prom is a wonderful film that is entertaining as well as poignant for this day and age. Featuring a cast that is among the best on stage and screen, The Prom was much better than I had anticipated. There is a lot going on a times making it hard to focus on specific characters but when the glitter has settled and the characters are given their moment in the spotlight, the film really shines. Emma’s song “Unruly Heart” which consists simply of Emma with a guitar performing her song which is being watched by fellow LGBT+ teens who are inspired by her story. The tender tone of the song and sincere message it holds makes for a hugely emotional sigh of relief for Emma’s character. This is the moment where she is unashamedly herself and isn’t afraid for everyone to know.

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

The Prom is available to watch on Netflix now.

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The Snowman (1982)

One of the most beautiful animated short films ever made, The Snowman is a silent adaptation of the picture book illustrated by Raymond Briggs. Telling the story of James, a young boy who lives with his parents in the Brighton countryside. After a heavy night of snow, James makes a Snowman and wraps it in a scarf, a hat giving him a face and some buttons. He sneaks downstairs at midnight and sees the Snowman come to life and an adventure begins with James showing the Snowman around the house before the two take flight and soar to the Northern Lights.

Winner of a BAFTA TV award and nominated for the Academy Award for Best Animated Short, The Snowman has become a staple for British TV come Christmas time, commonly shown on Christmas Day alongside other Raymond Briggs adaptations. The Snowman was directed by Dianne Jackson who also worked on the animation as well which is lovely to see. Knowing that the film has been directed by someone who has the passion and knowledge for animation and knows what works and what doesn’t really enhances the love and care that has gone into this film. Despite its short running time of 27 minutes, Jackson successfully conveys the journey and developing friendship between James and the Snowman. After 27 minutes, we have been presented with two fully developed characters and really feel the heart-break that comes at the end.

The animation in the film looks like they have brought the beautiful illustrations from the book to life. Without any words, the audience can immediately capture the wonder and excitement that James is looking for. The character designs are simple yet extremely detailed and the mix of colours is captivating, especially when the Snowman and James visit the Northern Lights. The Snowman is proof that you don’t need the biggest budget and most advanced animation available to create something that is beautiful and timeless. The handdrawn style that The Snowman adapts never feels dated or old and perfectly captures the magic that story contains.

The score composed by Peter Blake and performed by the Sinfonia of London is the perfect partner with the film. Usually the music provides the backdrop but in the case of The Snowman, the music works alongside the animation. The Snowman is often categorised as a Symphonic Poem which is when the music dictates the story and vice versa. This kinship between music and film is what makes The Snowman feel like an experience or an event whenever its on. Alongside Blake’s beautiful score, there is also his iconic song “Walking in the Air” which is performed by choir boy, Peter Auty, in the film and then popularised by Aled Jones. The only “spoken” words in the film, the song is from James’ perspective as he embarks on his adventure through the skies with the Snowman.

The Snowman remains one of my favourite shorts and has been since childhood and it’s easy to see why. A beautiful story about love, friendship and grief, it’s a film that packs a punch and lingers after the credits roll. It’s a must watch every year at Christmas in my household and is a firm Christmas favourite that holds strong competition against feature length classics.

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

The Snowman is available on 4oD so make sure you have it scheduled to watch on or around Christmas day!

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The Muppet Christmas Carol (1992)

Carrying on with the Christmas film viewings and I have watched another that makes my annual list. The Muppet Christmas Carol tends to be a film that splits the audience. Some people absolutely love it and others class it as one of the worst films they have ever seen. Considering I own a giant cinema poster for the film that was from its release, it’s safe to say that I am definitely in the former and nothing gets me in the Christmas spirit more than singing along to the songs from the film. But more on that later! The Muppet Christmas Carol is an adaptation of Charles Dickens’ A Christmas Carol which follows the miserable bookkeeper, Ebenezer Scrooge, a man hellbent on misery especially during the Christmas season. On Christmas Eve night, he is visited by the ghost of his former business partner, Bob Marley who is bound in chains as punishment for how he treated people and subsequent Ghosts of his Past, Present and Future, who show him the kind of person he was, is and will be. By doing this, they allow Scrooge to evaluate his behaviour and turn it around before he is doomed to the same fate as Marley.

The Muppet Christmas Carol features all of your favourite Muppet characters with Kermit the Frog as Bob Cratchit, Gonzo as Dickens and Miss Piggy as Mrs Cratchit. Topping off the bill is Michael Caine as Scrooge and it works so well. Caine’s approach to filming was to treat his Muppet costars as if they were dramatic human actors and the result is a performance that feels completely sincere and moral, getting in touch with the message of the original story. Not only is this a fantastic adaptation of the Dickens material but it is done in a way that is fun and accessible for audiences of all ages.

Caine’s performance as Scrooge is actually among my favourites of his career. This may seem a bit odd considering the wide variety of “serious” films Caine has starred in over the decades but as stated before, his approach and the result is worthy to be up there. We really feel Scrooge’s emotional journey as he starts off as someone incapable of empathy and ends as someone who embraces their community. The turning point for his performance comes during his time with the Ghost of Christmas Present. This also happens to be my favourite segment in the film as it features the best song, “It Feels Like Christmas”, and is where the film begins to shift in tone from dark and gritty to uplifting and festive. Scrooge begins to truly see the ripple effect of his actions as we looks on at his nephew’s household as well as the Cratchit family where he becomes drawn by the youngest member, the sickly Tiny Tim.

Another highlight in this film is definitely the music and songs. I have already touched on this with “It Feels Like Christmas” but the opening number “Scrooge” really sets up the film fantastically as well. We follow behind Scrooge as he makes his way to work as everyday people sing about his miserable and selfish nature. Even before we see his face, we get a clear and well-rounded image of his character while watching lots of cute Muppets in adorable costumes harmonising in their signature way. The score composed by Miles Goodman is clearly inspired by Christmas Carol tunes, Victorian sounds and the uplifting Muppet music. The result is something that sounds timeless and fits well within the Muppet discography while maintaining a distinct and unique score. The same can be said about the songs written by Paul Williams. Using the text by Dickens for much of the lyrical inspiration, he really captures Dickens’ London while maintaining that Muppet feel.

There is no doubt that Jim Henson was a genius and this film marks the end of an era. Made in his memory, it is the perfect swansong to an illustrious career that was defined by bringing happiness and imagination to audiences of all ages. The Muppet Christmas Carol remains one of the best Muppet outputs of all time as well as a memorable and beautiful project of passion.

What do you think of The Muppet Christmas Carol? Let me know in the comments below!

The Muppet Christmas Carol is streaming on Disney+ so be sure to catch it as soon as you can.

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The Nightmare Before Christmas (1993)

For those who enjoy alternative Christmas films, there’s Tim Burton’s marvellous creation The Nightmare Before Christmas. Based on characters created by Burton and directed by Henry Selick, the film follows the residents of Halloween Town and popular figure Jack Skellington on his quest to bring Christmas joy in a bid to change things up. A mash up of Halloween and Christmas films that also flits across various genres such as light horror, musical, drama and comedy. The Nightmare Before Christmas also has the added bonus of being a great choice for family viewing as well which I have discussed in a previous post that you can read here.

The screenplay by Caroline Thompson perfectly encompasses Tim Burton’s vision with Selick’s direction perfectly complimenting the darkly comic tones of the writing. As we shift between the two worlds, we really get the inner struggle Jack has as he remains loyal to Halloween Town but also wants to explore the Christmas traditions. The Nightmare Before Christmas feels like a collaborate effort between its various creators in production and is clearly a labour of love. The stopmotion animation is perfect for the film as it brings something new to the Disney animation catalogue. Full of amazing sequences throughout, the contrast between the darker, murkier tones of Halloween Town and the bright dazzling colours of Christmas Town keep the audience attention as the two eventually merge together.

The voice acting in this film is among the best in animation with Chris Sarandon and Catherine O’Hara doing brilliant performances as Jack and Sally. Elfman provides Jack’s singing voice and does a superb job as well. Sarandon’s voice is hugely energetic and charismatic and captures that childlike wonder that Jack has when venturing into Christmas Town and bringing the Christmas cheer to Halloween Town. Likewise, Elfman’s vocal performances are all stellar and particularly in “What’s This?” when Jack is exploring Christmas Town. O’Hara’s take on Sally is a contrast, however, as she is melancholy and longing for freedom and Jack’s affection. There are so many beautiful sequences in this film but few get as iconic as the image of Jack and Sally on the whirly tree in the graveyard (you know which one I mean).

The star of the film comes in the form of the amazing Ken Page as antagonist, Oogie Boogie. A character that is literally a sack of bugs, Oogie Boogie is hellbent on taking Jack Skellington down with the help of his three minions: Shock (O’Hara), Lock (Paul Reubens) and Barrel (Elfman). Page’s voice is full of power and his performance of the appropriately named “Oogie Boogie Song” is fantastic. You can also sense how much fun Page is having with the role. Everytime I watch this film, I am always in awe of his performance. It is definitely among my favourite voice performances of all time.

Danny Elfman’s score and songwriting is a wonder to behold and his signature whimsical sound marks another amazing collaboration between him and Burton. In many ways, this feels like Elfman’s film as much as Burton’s with Elfman providing his usual genius score and songs as well as his singing voice for various characters. The soundtrack is full of many highlights from the instantly memorable “This Is Halloween” that opens the film to the sinister “Kidnap the Sandy Claws” in which Oogie Boogie’s henchmen, Shock, Lock and Barrel plan various ways to kidnap Santa Claus.

Overall, The Nightmare Before Christmas is a film that demands to be watched time and time again. It can be watched at Halloween and certainly at Christmas, making it a perfect film to crossover between the two. Despite not being directed by Burton, it remains a key part of his filmography and has become synonymous with his image. Burton’s vision is so strong that people tend to forget that it was Henry Selick that directed the film. The resulting film is a fantastic look into the dark side of imagination that manages to be both creepy and fun at the same time.

What do you think of The Nightmare Before Christmas? Let me know in the comments below!

The Nightmare Before Christmas is streaming on Disney+.

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Spider-Man: Into the Spider-Verse (2018)

This week’s animation review comes into the form of Spider-Man: Into the Spider-Verse. Constantly renowned as the best animated film of the 2010s, Sony gained their first Oscar for Animated Feature for this unique comic book adaptation that saw Disney take a rare defeat at awards season. The film follows the regular Spider-Man lore as Brooklyn teen, Miles Morales is bitten by a radioactive spider and has to follow in Peter Parker’s footsteps after he is killed by Kingpin. A dangerous device that opens portals to alternate universes and Morales meets various Spider-Man characters from the different comics such as Spider-Ham and The Amazing Spider-Man. Based on a screenplay written by Phil Lord and Rodney Rothman and directed by the latter along with Bob Persichetti and Peter Ramsey, Spider-Man: Into the Spider-Verse is a fantastic and unique animation that brings something new and exciting to the Marvel Cinematic Universe.

Lord and Rothman’s screenplay blends the various Spider-Man comics perfectly as it becomes a mix of drama and satire, poking fun at itself. When bringing in the other Spider-Man variations, it could have easily become too much and the characters not be fully developed and identifiable but the screenplay is so quick and smart that even the supporting characters are given a fair share of screen-time. One of the best characters is by far Spider-Man Noir (voiced incredibly by Nicolas Cage), a parody of the 1930s inspired by the likes of Humphrey Bogart. There are some great puns bringing him into the modern day such as his inability to see the colours in a Rubik’s Cube because he is black and white as well as being unable to understand how it works. It feels like a refreshing take on a comic book adaptation and its bravery killing off Parker early on was really unexpected, particularly for a family film.

The animation was provided by Sony Pictures Animation and the style is something I have not come across before. Combining traditional comic book art and computer animation, the style of Spider-Man: Into the Spider-Verse is both a nostalgic nod to its literal source material whilst using the most advanced animation techniques. Not only is this a welcome break from the usual computer animation that we’ve become used to seeing, but like its protagonist, it gives the film an alternative identity that makes it a standout. It’s understandable that besides its attachment to Marvel, why it would be popular based on the design. The graffiti scene where Miles and his Uncle Aaron spray a wall in a subway is particularly stunning and really brings the environment to life thanks to its mix of bright colour palette in the graffiti combined with the grittiness of the New York subway. Another fantastically designed scene is the climactic fight when the portal is opened and time and space merges and becomes a mesh of various universes.

Featuring a starry cast led by Shameik Moore, who voices Miles, the voicework is hugely impressive. Moore’s performance is great and really gets into the inner conflict Miles faces as he gets to grips with his new identity while trying to fit in at his new elite school. Miles is such a likeable character because of his relatability as well as showing the very realistic issues that would come with becoming a superhero. As well as Moore, other vocal standouts for me were Mahershala Ali as Miles’ Uncle Aaron and Nicolas Cage as Spider-Man Noir. Both really get to the heart of their characters and its clear that they are having fun with it.

Another thing to mention is the score composed by Daniel Pemberton. Atmospheric and unpredictable, there are moments of pure drama, horror and tension scattered throughout in the music. Pemberton’s score is really unique and enhances the film. Mixed with an impressive soundtrack that includes original songs by Post Malone and Nicki Minaj, Pemberton’s ability to shift musical genres that again, like Miles’ character and the animation, gives the film a distinct identity that shows its versatility and uniqueness.

Overall, Spider-Man: Into the Spider-Verse is an impressive feat that pushes boundaries and shows a different direction for animation. Boasting fantastic voice performances and stellar animation design, its cultural and stylistic impact cannot be ignored and only bodes well for the future of the franchise. It’s exciting to see where Marvel and Sony will take the animated franchise in the future but doubtless it will be a huge success and if this film was anything to go by, welcoming even more awards.

What did you think of Spider-Man: Into the Spider-Verse? Let me know in the comments below!

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Raindance Film Festival 2020: Ella es Cristina

Another film on my Raindance schedule that I knew I had to watch was Chilean comedy, Ella es Cristina. Directed by Gonzalo Maza, who co-wrote the brilliant Oscar-winning A Fantastic Woman, Ella es Cristina is about the titular character and her on-off best friend, Susana, two women in their thirties who are trapped in a teenage mindset. As Cristina longs to find inspiration for her drawings to find meaning in her life, Susana is forced to become responsible for her actions when living at her mum’s house alone for six months. Ella es Cristina is a perfect modern comedy that mixes the drama of the millennial’s struggle for identity and the plight of the modern woman in a patriarchal society. Maza’s vision is wonderful and it’s hard to imagine that this is his directorial debut.

As expected, the script is fantastic and where the film really shines. Maza has a knack for writing three dimensional female characters, as seen in his previous film A Fantastic Woman. The comedy in the film felt akin to Noah Baumbach’s Frances Ha. Not only because they are shot in black and white but the struggle for millennial identity and the aspirations for artistic expression in a male-dominated environment. As well as this, centering the film on the relationship between the two women provides a connective thread through the film even when the women’s plots are not intertwining. The decision to film in black and white is a smart choice as it provides a rawness that allows focus to be solely on the characters. The male characters in the film are set to break the female characters down. Cristina is constantly gaslighted and bossed around by her love interests, used for sex and undermined constantly.

Mariana Derderián is captivating as Cristina, an aspiring artist who longs to find inspiration for her drawings. Derderián has such brilliant screen presence and Cristina is a fascinating character. Unbelievably naive and too trusting of people, Cristina is extremely vulnerable and wears her heart on her sleeve. Initially struggling with the separation and divorce with her ex, Ruben, Cristina is forced to stand on her own two feet and carve out her own identity. Derderián brings out Cristina’s vulnerability while building on the character’s resilience and strengrh throughout the film. One of the most unique female characters I have seen this year, Cristina’s character arc is one of self-realisation and learning self-respect.

In support, or more accurately co-lead, we have Paloma Salas as Cristina’s on-off best friend Susana. Living at her mum’s house rent-free as her mum ventures to Brazil for six months, Susana is forced to become more responsible for her actions. Unapologetically brash and harsh at the best of times, Susana has a tendency to push people away whereas Cristina is too trusting. Desperate to keep connections with her ex and the friends she insults, Susana slowly realises that she needs to emotionally mature. Salas’ performance is brilliant and unpredictable.

The music by Cristobal Carvajal is phenomenal and the opening piece immediately sets the tone for the rest of the film. A stagnant shot of a flight of stairs showing the two leads running up as the powerful drums play. The piece is exciting and filled with anticipation for the rest of the film. After this, most of the pieces in the film are piano led yet carry this quirky and unpredictable nature aligning with Maza’s script. The music feels stripped back yet complex at the same time, just like the characters. It feels as though Carvajal gets into Cristina’s mind and puts her character into music. I look forward to see where Carvajal’s career takes him next.

Overall, Ella es Cristina is a charming and sincere film that explores the uncertainty felt by the millennial generation. Carried by two standout leading performances, Maza manages to draw out an authenticity that explores the modern woman as well as navigating artistic expression in a patriarchal society.

Ella es Cristina is showing at Raindance Film Festival.

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Raindance Film Festival 2020: Nuclear

One of my most anticipated films for Raindance, Nuclear is the directorial debut by Catherine Linstrum. Co-written with David-John Newman, the film follows Emma, a young woman who witnesses her brother attack her mother in the woods. Together, Emma and her mother escape to a nearby town that sits beside a derelict nuclear plant. Whilst venturing around the town, Emma encounters an unnamed Boy and the film follows their blossoming friendship. What was important for me is that this film has connections to Wales and was funded by a variety of Welsh organisations so it definitely was a must-see on my list. A poignant piece on family conflict and the relationships that form in the aftermath of tragedy, Nuclear is a beautiful film that marks the start of a promising directorial career for Linstrum.

The script is phenomenal, chronicling the attack and Emma’s escape, Linstrum and Newman allow the characters to develop through natural encounters. Not allowing Emma to be defined by the tragedy of the beginning, we see her personality blossom through her interactions with the Boy. Despite only being 14, Emma acts much older than her age and longs for tattoos and piercings and a life of adventure far from the life she has had thus far. The writing follows a traditional dramatic route initially before enveloping into a psychological thriller. Through the course of the films we feel Emma’s journey and the anguish that she experiences.

Emilia Jones is a revelation as Emma. At only 18 years of age, she is able to convey the overwhelming fear and despair of the tragic incident that the character witnessed. Hopefully, this is the start of a flourishing career in film as she has made a name for herself on TV shows such as Netflix’s Locke & Key. Automatically assigning herself as her mother’s caregiver, Emma’s journey in the film is one that sees her emotional growth. When she encounters a Boy who lives nearby, she learns not to live in fear. She refuses to allow the incident with her brother define her. Jones’ performance is full of maturity which is rarely seen in an actor so young. Carrying the film on her shoulders, she brings a strength to Emma that makes her both likeable and resilient. Constantly asking questions, Emma wants to know more about the outside world so she has hope for when she escapes the situation she is currently in with her brother.

George Mackay is reliable as always as the boy who Emma encounters. Having made a name for himself in indies such as Pride and Captain Fantastic as well as blockbusters such as 1917, Mackay has a knack for choosing interesting projects that showcase his range and challenge him. Unreserved and carefree, the unnamed Boy encourages Emma to go out of her comfort zone. Where Emma’s life is full of fear, the Boy wants to strip away her fear. Mackay has proven himself to be one to watch and his performance in this film is a brilliant addition to his resume. The Boy is wacky and unpredictable but this is what provides an exciting contrast to Emma and makes the rapport between the two a fantastic combination.

Also in support there is Sierra Guillory as Emma’s mother who is brutally attacked. Known for playing Jill Valentine in the Resident Evil series, it is refreshing to see Guillory take on this dramatic role that is the polar opposite of the action packed Resident Evil films. Despite being a supporting turn, the Mother’s character is also deeply developed. Juxtaposing a seemingly happy exterior for her daughter’s sake, it is clear that inside she is broken and unsure what to do. When she repeatedly encounters a Japanese Lady (Noriko Sakura) around the town, the Mother is unsettled and longs to leave whilst knowing that this is nearly impossible as the car is crashed and they have no money. Guillory’s performance allows her to display her dramatic range and I hope that this leads to more serious roles in the future.

Linstrum’s tale of tragedy is one filled with much tragedy and heartbreak. As the characters find themselves in an unpredictable predicament, they learn how to let go of the past and allow themselves to move on. Nuclear is a film that shows the mental anguish and shock that comes from a broken childhood. The score composed by Stephen McKeon is also absolutely enchanting and helps to enhance the various situations that Emma finds herself in. I really look forward to seeing what Linstrum works on next and hope that Wales serves as the setting again.

Nuclear is showing at Raindance Film Festival.

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Raindance Film Festival 2020: My Thoughts Are Silent

The next on my list for Raindance is this quirky Ukrainian comedy-drama film written and directed by Antonio Lukich. Following sound engineer, Vadym (Andriy Lidagovskiy) who is tasked with recording the sound of a rare bird that can only be found in the mountains in Transcarparthia and embarks on this journey with his mother, Galia (Irma Vitovska-Vantsa). If he succeeds in doing this, he will be able to move to Canada where he will work for a huge gaming company as a sound engineer. Visually, the film is absurd, striking and really entertaining to watch. Making the most of the Ukrainian landscapes as Vadym and Galia journey across country, Lukich really thrives at making the ordinary seem extraordinary.

Lukich’s script is well-balanced between its comedy and drama. Never needing to veer into too dark a place, My Thoughts Are Silent shows the contradictions in the mother-son relationships and the differing expectations they have of themselves and each other. Initially, the plot centres around Vadym’s research into the rare bird, known as the “Fussy Mallard” and whether he will be able to record its voice but the film becomes much more than that. The voice that is important is Vadym’s creative voice and knowing what he wants to achieve in life as well as his mother’s wishes. It is a film about their fragmented relationship and them getting to know each other and piecing together the puzzle.

Andriy Lidagovskiy’s performance as Vadym is fantastic. Aspirational and creative, Vadym is headed for success in the gaming industry. His mother, Galia, is less impressed and would like to see him settled with children. The lengths Vadym goes to to capture the sounds of various animals for his game is hilarious with one incident requiring him to seduce an older woman so her parrot will chirp. Lidagovsky has great screen presence and really dives into Vadym’s determination to be creatively fulfilled. The idea of a settled life bores him and the adventure that ensues reflects that. Often donning ridiculous disguises to record the animals and be amongst them, Vadym isn’t bothered by the outward appearances. Lidagovsky’s performance brings an all rounded characterisation that is fantastically developed throughout the film.

In support we see Irma Vitovska-Vantsa as Galia, Vadym’s mother. A woman who refuses to let her age define her, Galia strives to find a partner and settle down. Constantly feeling unwanted and unloved, she urges Vadym to search for the love that she doesn’t have. This isn’t to say that Galia doesn’t have strength as a character. Her arc explores that she doesn’t need anyone else to define who she is. An avid fan of Victoria Beckham, we are introduced to her driving her taxi to pick Vadym up with the CD player blasting “Viva Forever” which I absolutely loved. Vitovska-Vantsa and Lidagovskiy have a striking relationship onscreen which feels authentic and raw. The ups and downs portrayed will resonate with any familiar conflict.

The music in the film composed by Sam Kuzel is a huge standout. The synthesised music juxtaposing with the natural noises that Vadym records makes for a great combination. The heavily synthesised pieces assist in elevating the absurdity of the film at times and lighten the dramatic moments. It’s a great rhythmic score that provides the heartbeat for the film. Vadym’s own creative musical aspirations are more in line with the electronic sounds than the animal noises in nature. He is inspired by the written notes of the Fussy Mallard in a museum and this becomes the driving force through the film.

What Lukich achieves in this film is portraying a normal family conflict in an overly eccentric way. Combining serious moments with touches of absurd comedy ensures that your attention is grasped at all times. My Thoughts Are Silent is captivating, beautifully shot and feature great comic performances, particularly its leads Ludagovsky and Vitovska-Vantsa.

My Thoughts Are Silent is showing at Raindance Film Festival.

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Raindance Film Festival 2020: Under My Skin

My second film of Raindance Film Festival is a groundbreaking look at non-binary relationships. Following musician Denny (Liv Hewson) who begins to question their gender which puts a strain on their relationship with lawyer Ryan (Alex Russell). Under My Skin is the directorial debut by Australian filmmaker David O’Donnell and has generated much hype in the run up to Raindance. I knew it was a film I couldn’t miss. Historically, gender and sexuality that don’t fit societal “norms” have been used as punchlines and laughed at in films but O’Donnell’s film really delves into Denny’s mindset and shows a side that hasn’t been looked at much. Under My Skin feels deeply important for our times and brings out some phenomenal performances.

The script for this film is brilliantly tight. The chance meeting at the bar between Ryan and Denny is reminiscent of a traditional romcom but the subject of identifying as non-binary brings the film’s topical points into the 21st century, turning the film into a drama and making a piece that is relevant and poignant for our times. The way O’Donnell’s script handles this makes for a good talking point and we can only hope that this is the start of more films that look at gender and sexuality with sincerity and proper representation. Having different actors play Denny as well is a really interesting choice. Casting actors of different race, build and height shows the various stages of Denny’s struggle to admit and accept who they are.

Liv Hewson excels as the first Denny bringing out the struggle for their identity. I think the casting is important to note as Hewson is non-binary as well which ensures that the film has the correct representation and shows Hewson’s potential as a lead actor. Having already acted in supporting roles in big films such as Bombshell, Hewson is given time to shine in this indie that breaks ground on what it means to be non-binary, delving beneath the surface of discovering who Denny is. The film also gives Hewson a chance to showcase their music skills as they sing and play guitar at a local bar. Hewson proves themselves as a force to be reckoned with and I hope that their performance is recognised as such. Initially a free spirit, the prospect of being settled down with Ryan and moving in makes them feel trapped.

As Denny’s partner Ryan, Alex Russell is a nice pairing with Hewson. More straight-laced and settled in his life as a successful lawyer, the differences between him and Denny are so vast but they click together extremely well. Denny’s creativeness meshes well with Ryan’s logical outlook. As Ryan’s career becomes more and more promising, Denny’s struggle becomes more apparent and unbearable up to the point of the revelation. Just as Denny has her struggle, Ryan has his own struggle as he finds difficulty in accepting Denny for who they are initially. Every aspect of their relationship sees Ryan taking the wheel. He puts the down payment on the house and gives Denny the opportunity to work on their music career. Because everything is set in stone in his life, he isn’t sure how to react when Denny reveals their real identity. His confusion soon turns to anger and rage because he cannot bring himself to understand the situation. One scene in particular that is harrowing and heartbreaking is when he destroys the wall that Denny has painted.

An interesting factor in the film that struck me was the use of artistic expression throughout the film. Even down to their outfit choices, Denny’s artistic output coincides with their journey and struggle. The primary job is songwriting and that is where Denny is able to truly express themselves. When a makeup company wishes to use their music in an advert, Denny is dismayed as they cater to young girls. The same thing happens when they are booked to support Jason Mraz and they decline to play. Denny is hugely expressive but equally is determined to be an artist on their own terms. This is also reflected with the painting on the walls in their house. Denny starts painting in one small spot that grows and grows until images overlap with one another. That strive to succeed is juxtaposed with the fear of being successful.

Overall, Under My Skin is a heartbreaking and freeing film that shows the conflict and hope that comes with accepting identity. Denny’s journey is one that will resonate with a lot of people and hopefully this will cast out to more films being made that discuss similar issues. It’s a film I will be revisiting for sure and has made me excited to see what else Raindance has in store.

Under My Skin is showing at Raindance Film Festival.

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“Amok, amok, amok, amok, amok”: Halloween Family Fun

“I’m a master of fright, and a demon of light, and I’ll scare you right out of your pants!” 

– Jack Skellington, The Nightmare Before Christmas

Halloween is a favourite time of year for many. The spooky decorations, costumes and sweets galore, Halloween is the perfect time of year to whip out the horror films and have a marathon. Also, given that we’re in a lockdown situation, it seems like a movie night will be the best way to celebrate the scariest night of the year. However, not everyone can stomach the gore of the Saw films or Midsommar but don’t fret, there are so many films available for younger audiences and the faint of heart. But why do people of all ages love to watch scary films? Filled with creepy costumes, unimaginable monsters and black magic, horror has always been relied on to entertain and stretch the imagination to its limits.

The first name that comes to mind when thinking of family horror is Tim Burton. Combining Halloween with a Christmassy texture in his earlier films such as The Nightmare Before Christmas (1993) which features characters he created. His imagination sparked a new wave of gothic childlike films that have gained millions of fans around the world. From the magical music numbers to the vulnerability of his characters, Tim Burton’s vision is undeniably horror but also mixed a variety of genres such as comedy and musical to make it suitable and accessible for all ages. Even in his later films such as 2005’s Corpse Bride, he adapts this approach and it still remains as popular as ever.

Seeing how successful it was on release, Disney have taken ownership of The Nightmare Before Christmas since and before this appeared to channel their Halloween offerings into their live-action films. It’s rare to find someone who isn’t aware of the 1993 hit Hocus Pocus which follows the evil Sanderson sisters, a trio of witches set on killing the children of Salem to regain their youth once more. Led by Bette Midler in one of her best performances, Hocus Pocus follows the same approach at exploring the scary topics through comedy and music. It’s no surprise that, despite being critically panned, dedicated fans watch the film every Halloween. Between the likeable characters and the fantasy aspects introduced through the eyes of a Californian native who has recently moved to Salem with his family. What transpires is the terrifying resurrection of three witches who are hellbent on killing the town’s children before sunrise on Halloween night or they will vanish again. It’s a fun film with quite a bit of adult humour to appeal to older viewers and lots of creative costumes to captivate children. It’s such a great watch. Besides, who doesn’t love to sing along to Midler’s fantastic rendition of “I Put A Spell On You”?

Despite never having made a feature film for them, Burton did work at Disney in the 80s but was fired as his work was deemed too dark for children. However, it cannot be argued that his influence has had an affect on Disney’s approach to scarier films in the years since. This reasoning is odd considering that 1985 saw Disney release their scariest movie to date with The Black Cauldron bringing the Studio’s first PG rating. However, it may be due to the film’s failure at the box office that supported their decision to fire Burton. Aside from The Black Cauldron, the only horror animated films Disney had released by 1990 was The Tales of Ichabod and Mr. Toad (1945) which, despite its dark ending, was much lighter in tone than The Black Cauldron. Needless to say, Disney is not the only studio producing horror content for a younger audiences.

Another popular way that filmmakers integrate horror into their films is through satire. Even if younger audiences don’t understand all of the punchlines or references, there are still plenty of laughs to be had. Take Aardman’s Wallace & Gromit: The Curse of the Were-Rabbit and Laika’s Paranorman, two stopmotion animations that take the horror genre and change the rules. The former taking the classic monster werewolf and turning it to a vegetable-crazed were-rabbit and the latter making its protagonist the “monster” as he is a young boy who can see dead people. What makes these films so successful in their audience outreach is that the visuals and stories are enough to captivate and scare younger audiences and older audiences will understand the deeper context.

Halloween has always been a popular time for film fans with new horrors being released every year. Not only is it fun to watch new films but revisiting old favourites for nostalgia always makes for a great time and although it is entertaining to watch some the more gory offerings, it’s nice to watch a lighter family Halloween film as well. Just because a film doesn’t contain massive amounts of blood and guts doesn’t mean that a film can’t be scary and entertaining. Films like The Nightmare Before Christmas and Paranorman have become modern classics because of their fearlessness in bringing out vulnerability in potentially scary characters. No one has to miss out on the jumpscares and thrills after all.