Tag: Oscar

Categories
Review

Parallel Mothers (2021)

One of the best films to come out of this year’s awards season is Pedro Almodóvar’s latest feature, Parallel Mothers which sees him reunite with Penélope Cruz for the seventh time. The film follows photographer, Janis (Cruz) and her parallel experiences of motherhood with teenage mother, Ana (Milena Smit). What follows is a series of event that are unpredictable as the main characters lives start out the same, but veer off into different directions. Receiving two Oscar nominations for Cruz’s lead performance and Alberto Iglesias’ magnetic score, Parallel Mothers is a film that sees Almodóvar at his best. The film opened the Venice Film Festival where Cruz was awarded the Volpi Cup for Best Actress.

The film is written and directed by Pedro Almodóvar, who showcases yet again how fearless he is as a filmmaker. What Almodóvar does so well is his ability to merge various genres, while also bringing in various layers that make his films so rewarding to watch. In Parallel Mothers, there is an ongoing plot as Janis campaigns for a local mass grave to be excavated as it contains the remains of her great-grandfather and other men who are unlawfully killed during the Spanish Civil War. This fight for freedom and local identity parallels her own struggles to find herself and her place in the world, while also serving as a plot point that drives the film forward.

Undoubtedly the beating heart in the film, Penélope Cruz provides one of 2021’s best performances as Janis. Janis is a successful photographer who lives in a beautiful apartment in the heart of Madrid. When she unexpectedly falls pregnant, her life begins to change and after encountering a teenage mother, Ana, in the hospital, she begins to see that they share more in common than she originally thought. Cruz is absolutely excellent in the film and deservedly won the Volpi Cup for Best Actress at Venice Film Festival for her troubles, as well as receiving an Oscar nomination for Best Leading Actress. Cruz and Almodóvar have proven yet again how well they work together as Cruz is able to bring forth Janis’ complexities and strength.

The role of Ana is equally important as Janis because she serves as Janis’ parallel and counterpart throughout the film. Playing Ana is Milena Smit, a relative newcomer, who does a fantastic job in the role of complex Ana, a teenage mother who struggles in her new role as caregiver. Smit works brilliantly with Cruz as the two share a natural chemistry that makes the characters’ relationship authentic and believable from beginning to end. Throughout the film, we learn more about Ana and the more tragic it becomes in terms of her background. Smit’s performance therefore becomes more rewarding as we can see that sadness and struggle that Ana has been faced with and begin to understand why she makes the decisions that she does.

When it comes to the cinematography, Almodóvar relies on his regular collaborator José Luis Alcaine. What Alcaine does so well is allowing the audience to see the world from the character’s eyes. Janis’ perspective serves as a microcosm for the experiences of motherhood, while also remaining beautiful to look at. One poignant location used throughout the film is Janis’ kitchen. The kitchen is often referred to as the “heart of the home”, and in this instance, it is the “heart of the film” as Janis has many meaningful encounters there. Alcaine makes use of the space by shooting the kitchen from various angles to make it feel claustrophobic in scenes of tension and confrontation, while using wider shots to make it feel more spacious and free when used in scenes of joy and bonding.

One of the best elements of the film is the score composed by Alberto Iglesias. Iglesias was nominated for an Oscar for his work, and it’s easy to see why. Some tracks such as “El visillo volante” feel reminiscent of classic thrillers as the fast strings feel like a quickened heartbeat. What makes the score so effective is that Iglesias knows when to keep the music quiet and subtle in the background and when to allow the music to be loud and drawn out.

What makes Almodóvar one of the best filmmakers working today is his ability to craft beautiful characters, while also bringing in a wider view of the world. In Parallel Mothers, we follow Janis and her struggle to find her own identity, while simultaneously trying to fight for a local mass grave to be dug up that is believed to contain her great-grandfather and others who were killed during the Spanish Civil War. Almodóvar always makes films that are thoughtful and gripping and Parallel Mothers is no exception. It’s a film that doesn’t need all the bells and whistles as Almodóvar allows his actors to bring forth the tension in the script with Cruz providing her best performance in years, and one that I believe she should have won the Oscar for.

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

Categories
Review

The Tragedy of Macbeth (2021)

Shakespeare film adaptations are nothing new, as there have been an abundance of adaptations throughout the years. One of the most popular Shakespeare plays that has been adapted to film is Macbeth, which has had many film adaptations starting with the 1908 silent film. The newest addition to the Macbeth adaptation pile is Joel Coen’s The Tragedy of Macbeth. For those unfamiliar with Macbeth, the play (and this film), follows the titular character (Denzel Washington) and his ascent to the throne with the help of his Lady (Frances McDormand) of Scotland. Once he is King, Macbeth descends into madness and becomes a tyrant, causing a huge mutiny and attack from both England and Scotland, resulting in his downfall and eventual death.

The film is directed and written by Joel Coen and is arguably one of the best Macbeth cinematic adaptations that has ever been made thanks to Coen’s minimalist approach. The film is shot in black and white, but not only does this serve as a stylistic decision, it also ensures that the focus is on the text rather than the opulence. Coen’s adaptation is faithful to the play and his direction has clear focus on the characters. His respect for the source material is abundantly clear and the decision to have the actors speak in their original accents was a great choice as it means that more focus can be put on the words.

Denzel Washington leads as the titular character and completely embodies Macbeth through his rise and fall. What makes Washington such an effective Macbeth is that he provides the intensity and command required in such a role. Washington’s performance has been grossly overlooked this awards season with most award bodies only focusing on Will Smith in King Richard and Benedict Cumberbatch in The Power of the Dog. What Washington manages to achieve in this film is a deeply gravitating performance that draws you in from the moment he appears until the character’s eventual demise. The scene in which Macbeth ponders whether to go through with the murder of the King is among the highlights in the film.

You can’t have an effective adaptation of Macbeth without choosing a brilliant actress to portray Lady Macbeth. Who else was Joel Coen going to select except the incomparable Frances McDormand? McDormand is no stranger to Shakespeare, having played Lady Macbeth in 2016. Due to the dynamic shifts between Macbeth and Lady Macbeth, it is essential to have two actors who are able to carry off commanding and controlled performances. McDormand proves to be a perfect pairing for Washington’s Macbeth as she has an all-knowing presence about her. She perfectly encapsulates Lady Macbeth’s story arc from her manipulative methods in order to gain power through her husband through to her descent into madness. The scene in which she is sleepwalking around the castle and discussing the murder is eerie and ventures into horror territory thanks to the unpredictability of McDormand’s performance.

In one of the most captivating performances is Kathryn Hunter, who plays all three Witches and the Old Man. Hunter is a phenomenal actress who embodies the weirdness and otherness in the characters. Macbeth contains some of the most well-known Shakespeare quotes and a lot of them are delivered by Hunter. The scene in which the Witches visit Macbeth for the second time perfectly encapsulates the subtly and brilliance of Hunter’s performance, not relying on the bells and whistles that come with a lot of cinematic Shakespeare adaptations. Hunter’s acting ability comes through without any extra help, and it’s such a shame that her performance was overlooked during the mainstream awards.

The cinematography by Bruno Delbonnel is stunning and makes use of the various locations in the film. Despite the minimalism in the production design, Delbonnel manages to capture the world perfectly. Despite the use of numerous locations, there are many scenes in which there is a pinpoint focus on the characters themselves rather than their surroundings in order to draw in that focus. However, this doesn’t mean that Delbonnel isn’t able to incorporate innovative shots that make the film beautiful to watch. The scene in which Lady Macbeth is reciting a letter that Macbeth has sent her before setting fire to it is brilliantly shot, ending with the letter in flames as it floats away in the sky. The scenes in which the Witches visit Macbeth are both among the best scenes in the film thanks to their eeriness and simplicity, especially the second visit.

One of the best aspects of the film is the production design by Stefan Dechant, who has been nominated for an Oscar for his beautiful work on the film. The production design is innovative and works beautifully in the film, making use of the space and light in the film. Macbeth’s castle is large and empty, showing off the affluence and regality of the character’s station, while emphasising the emptiness and lack of fulfilment in the character’s life. Dechant’s production design is striking and clearly inspired by the stage, without feeling too “stage-like”. The scene in which Macbeth is visited by the Witches the second time has phenomenal production design as the Witches sit on beams above Macbeth as the character sits beside a pool of water and awaits to hear his fate. What makes the production design so effective is how simple it looks, but actually conveys the vastness of the land that Macbeth wishes to rule over.

The Tragedy of Macbeth may mark Joel Coen’s first solo project, but hopefully it won’t be his last. Coen’s minimalist approach allows the performances to shine, while also boasting innovative production design, wonderful cinematography, and a striking score. What makes the film so effective is how stripped back it is in its approach, meaning that the focus is on the text. It may not have the same level of flourish as other Oscar contenders, but it’s definitely worth the watch and marks one of Washington’s career-best performances.

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

The Tragedy of Macbeth is available to watch on Apple TV!

Categories
Review

CODA (2021)

There are some films that have humble begins and then grow in publicity and popularity unexpectedly. This year’s dark horse is undoubtedly, comedy-drama CODA, which has had a huge awards’ presence, and even been grabbing some unexpected wins. The film follows Ruby Rossi (Emilia Jones), who is a CODA (Child of Deaf Adults), and her experiences as the only hearing person in her family. As Ruby discovers that she loves music and singing, complexities arise, especially as her family set up their own fishing business. CODA’s achievements shouldn’t be ignored as 40% of the film is American Sign Language, which is a brilliant way of raising awareness and promoting inclusion within the film industry. The cast of Ruby’s family consists of Daniel Durant (who plays Ruby’s brother, Leo), Troy Kotsur (who plays Ruby’s father, Frank), and Oscar winner Marlee Matline (who plays Ruby’s mother, Jackie).

The film is written and directed by Siân Heder and is her second feature following her 2016 debut, Tallulah. CODA is a remake of the 2014 French film, La Famille Bélier, which did exceptionally well in the French box office on release and was nominated for numerous César Awards. Heder’s script relocates the story to a fishing community in Massachusetts, but maintains the main story element that the protagonist discovers that she loves singing and wants to audition for a place at a prestigious music school. What Heder’s script does really well is bring a great level of characterisation to each member of the Rossi family as the film chronicles the familial relationships and conflicts that Ruby has with each member. The direction shows life through Ruby’s eyes and rarely diverts from this with only a handful of scenes not involving Ruby included in the film.

Emilia Jones takes on the lead role of Ruby and proves to be the perfect casting choice. Jones has been slowly adding to her resume in recent years, providing brilliant performances such as the lead character in Catherine Linstrum’s 2019 film, Nuclear. It is this film, however, that has proven to be her big breakout performance and even garnered Jones a BAFTA nomination for Best Leading Actress. Ruby is a great central character thanks to her relatability as an awkward teenager trying to fit in, but her situation as a CODA makes her the prime target for bullies in school. When she realises that she can sing and wants to embark on a music career, familial conflict ensues as she won’t be able to act as her family’s interpreter. Jones perfectly captures Ruby’s dilemmas and internal conflict as she strives to follow her own dreams.

One of the big reasons why CODA was able to secure financing was thanks to Marlee Matlin, who stars as Ruby’s mother, Jackie. Matlin made history as the youngest winner of the Best Leading Actress Oscar in the 1986 film Children of a Lesser God and her career has proven to be vast, spanning across film and TV. Jackie and Ruby’s relationship is highly turbulent throughout the film, as they don’t seem to have a lot in common. When Ruby realises that she loves to sing, Jackie can’t understand as she had planned Ruby’s role in the family business. Although the role is fairly small, Matlin makes the most of every second she is onscreen, and it’s clear that she is having a lot of fun in the role. What is great is how developed Jackie’s characterisation is as the mother-daughter relationship goes through highs and lows.

The highlight of the film is undoubtedly Troy Kotsur in the role of Ruby’s father, Frank. Every time Kotsur is onscreen, he commands attention thanks to the amount of heart and depth that he brings to the character. Frank’s financial and social turmoil are brilliantly chronicled in the film. What makes Frank such a brilliant character is the mix between humour and drama that he goes through, and his scenes are among the most memorable in the entire film. The scene in which Frank lectures Ruby and Miles (Ferdia Walsh-Peelo) on safe sex is among the funniest moment in the film. The scene following Ruby’s school performance, in which Frank asks her to sing the song from her recital while feeling her vocal cords. Through doing this, he is able to experience the emotions of the song, and it’s one of the best scenes in this Oscar race and is why he is deserving of the Best Supporting Actor Oscar.

One important aspect of CODA is its soundtrack. The score is composed by Marius de Vries who incorporates calming, whimsical instrumental tracks that invoke the small fishing community which is then contrasted by an array of song covers that are beautifully sung by Emilia Jones and fellow members of the choir. The film’s climactic moment, in which Jones sings a cover of Joni Mitchell’s “Both Sides, Now” as part of her audition for college will bring tears to your eyes as she notices her family in the audience and begins to sign the lyrics for them. The music is imperative to the plot of the film and in the end, is made inclusive for all characters and the way that this is done helps to bring the family together.

CODA has proven itself to be The Power of the Dog’s main competition and may even cause a huge shock by taking home the Best Picture Oscar next Sunday. Heder’s film is one that is filled with a lot of heart and amazing performances, especially by Kotsur, who is the favourite to bring home the Best Supporting Actor Oscar, and Matlin. Although some may find that the feel-good nature of this film is overwhelming, CODA has the performances and writing to back up a great story with a wonderful message. Although Ruby’s situation is not experienced by the majority of families, the familial conflicts and way that the relationships are portrayed feel universal and relatable.

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

CODA is available to watch on Apple TV+ now!

Categories
Review

Belfast (2021)

When it comes to award season, there are a few films that make their way into the majority of nomination fields and acquire a high number of Oscar nominations. Kenneth Branagh’s autobiographical drama, Belfast is one of those films this year and follows Branagh’s experience as a child in the titular city during the late 1960s when The Troubles began. The film focuses on protagonist, Buddy (Jude Hill), based on Branagh himself, and the period in his life when Protestant loyalists begin to target the homes and businesses of the Catholics on Buddy’s street. We see Buddy in all aspects of his life, but mostly the time that he spends with his Ma (Caitríona Balfe), Pa (Jamie Dornan), Granny (Judi Dench), and Pop (Ciarán Hinds) as the political turmoil in Ireland begins to grow increasingly dangerous and resulting in a potential move to England to escape. It’s a unique look at a tragic period of time through the eyes of a child, so we see The Troubles in glimpses and glances.

The film is both written and directed by Kenneth Branagh, and it is clear from the offset that this is his most personal project to date as we are introduced to a montage of present-day Belfast before we are transported to the same area in the past in black and white. The film is undoubtedly autobiographical, but Branagh chose to change names and even calls the protagonist, Buddy, who is based on himself. The screenplay is written from Buddy’s perspective as a young boy, meaning that the audience is provided with snippets of the real life chaos that was taking place. This serves to hinder and serve the film as on one hand, it provides a unique perspective on the topic while also meaning that we are not introduced to the full threats that were drawing closer and closer if the film had a more generalised viewpoint.

Despite the long list of stars in Belfast’s line-up, the cast is actually led by newcomer Jude Hill who plays protagonist, Buddy. It could be understandable for a newcomer, even more so a nine-year-old, to be intimidated by a slew of stars as well as Branagh, but Hill takes it all in his stride. From the moment he appears onscreen, it’s clear that the film is in safe hands as he is deeply entertaining while maintaining the innocence to the political conflict that is happening around him. The opening scene in which we see the Protestant militants attacking the Catholic homes on his street perfectly demonstrates the end of innocence as Buddy has to deal with the real-life problems that he and his family face, especially as his Pa is increasingly pressured to join the Protestants in their fight. Despite the problems going on around him, Buddy is just like any other child and has his interests, mainly his love for films and there are scenes dotted through the film of his trips to the cinema, which is clearly drawn from Branagh’s own love for cinema and Belfast is clearly a love letter to his childhood and the place that helped him to develop this passion.

There is an abundance of supporting characters in the film and one of the best performances goes to Caitríona Balfe who is magnificent as Buddy’s mother. There is a lot of unspoken characterisation to “Ma” and Balfe brings this forth perfectly. Buddy idolizes his father who works away for long periods of time while his mother has to run the household and raise Buddy and his brother, while simultaneously dealing with the political conflicts going on. There are glimpses of her struggles as Buddy listens in on her desperate calls to her husband while he is working, and we see her facade begin to crack as she has to remain strong for her boys. What makes Balfe’s performance so brilliant is how resonant and relatable it is and the fact that she has been snubbed in the Best Supporting Actress category at the Oscars is one of the biggest snubs, especially since Judi Dench’s performance doesn’t have the same level of impact.

When it comes to the supporting male actors, the best performance easily goes to Ciarán Hinds who portrays Buddy’s grandfather, “Pop”. His performance is the perfect example of a small role that has huge influence over the film and its storyline. From his first scene through to his health deterioration, Pop is the foundation of Buddy’s family and acts as Buddy’s father-in-lieu when his father is working away in England. Hinds is charming and lovable as Pop, serving as Buddy’s life coach when the latter is unsure how to approach a girl he likes in class while also providing plenty of wisdom during the turbulent times by helping Buddy to understand what is going on around him. Hinds’ final scene is by far the highlight of the film as this is when the story is brought to its emotional climax and the family foundation is broken and begins to fall apart, reflecting the surrounding society.

Belfast is sure to be a crowd-pleaser and shows a different side to Branagh’s creative output that we haven’t really seen from him before, while also giving him the chance to be vulnerable as a filmmaker. It may not always pack the punch that it wants to, but there are some really beautiful scenes and with Balfe and Hinds’ exceptional performances, Belfast is a film that definitely deserves a watch.

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

Categories
Review

The Worst Person in the World (2021)

One of the most successful films from 2021’a Cannes Film Festival was the Norweigian film, The Worst Person in the World. The film follows protagonist, Julie (Renate Reinsve) and runs through her life as she tries to find her passion in a world that expects too much of younger generations. The film is split into a prologue, 12 chapters and an epilogue in which we learn more about Julie and the people who are in her life. Boasting one of the best screenplays of 2021, a performance for the ages and direction that is captivating and personal, The Worst Person in the World is a film that explores societal expectations and treatment of women and generational differences while also including discussions on climate change and legacy. With so much scope in terms of themes, there is a lot that can be dissected in The World Person in the World meaning that people can take different messages and interpretations, while remaining hilarious and gripping throughout. With plenty of critical and commercial acclaim, The Worst Person in the World has been able to make a mark on awards season and has been nominated for Best Original Screenplay as well as Best International Feature Film.

The film was directed by Joachim Trier who co-wrote the script with Eskil Vogt and marks the final installment of Trier’s “Oslo Trilogy”. The direction is absolutely stunning with plenty of appreciation for the natural landscape and the city. The Worst Person in the World is very much a singular character study but has such a beautiful tapestry of characters that it helps to communicate the complexity of this one person’s life thanks to the sharpness of the script. Trier and Vogt waste no line of dialogue and ensure that each second contributes something meaningful to the overall story. This means that not only does the film have longevity and a timelessness about it, but it also makes it rewarding to watch time and time again. Trier’s direction is nothing short of spectacular with plenty of innovative decisions to showcase Oslo from Julie’s perspective to such a degree that we really feel as though it is her universe thanks to the level of concentration.

Given the nature of the film, its success lies heavily on lead actress, Renate Reinsve’s shoulders who provides an absolutely transplendent performance as Julie. From the opening shot of her smoking her cigarette, Reinsve immediately pulls you in with her confidence and depth of character. Julie is deeply flawed, curious to a fault and makes awful choices throughout the film, but this doesn’t make her a bad person. The Worst Person in the World is ultimately an extensive singular character study that allows us to see every side of Julie through her failures and successes as she tries to figure her way through life. What is truly magnificent is how Reinsve maintains her energy through the whole film as she becomes Julie. There are plenty of monologues and speeches dotted throughout, but the moments of silence and contemplation are where Reinsve really shines. The emotional weight of the character means that the role of Julie is not easy to take on, but Reinsve proves she is more than capable and was even awarded the Cannes Award for Best Actress and received a BAFTA nomination for Best Leading Actress which she will hopefully win.

Even though the film is dominated by Julie’s characterisation and Reinsve’s star-making performance, there are plenty of excellent supporting turns. The best of these goes to Anders Danielsen Lie who plays Julie’s ex, Aksel. Aksel’s journey is an intriguing one as he starts off by being a provocative comic artist whose work is extremely popular but incorporates plenty of misogyny with the final chapters of the film chronicling his terminal illness as he succumbs to cancer. There is a sense throughout the film that Aksel and Julie are truly destined for each other and will eventually get back together since they seem to fit well as a couple. The scene in which Julie visits Aksel in hospital and he tries to reassure her when she finds out she is pregnant allows Danielsen Lie to channel Aksel’s vulnerability, especially as the character’s mortality begins to close in.

Playing Julie’s eventual boyfriend is Herbert Nordrum as Eivind. Where Aksel wants to settle down and start a family, Eivind shuns that lifestyle and is content with his job as a barista. Initially it seems that Eivind and Julie have a lot in common thanks to their relaxed personalities, their differences soon emerge as Aksel’s illness comes to light. Nordrum’s performance as Eivind is fun and the chemistry he has with Reinsve is evident, especially in the second chapter when they first meet one another. The scene in which Eivind unsuccessfully reassures Julie over a story she had written and thrown away is incredibly intense thanks to Nordrum’s controlled responses and calculating nature that comes through subtly through the film.

One of the best elements in the film outside the acting is Kasper Tuxen’s cinematography which helps to elevate the locations thanks to the beautiful use of natural light and innovative shots such as Julie running through the street where the world has stood still. The cinematography goes hand in hand with Trier’s vision thanks to its focus on Julie and Tuxen’s ability to show the audience Julie’s world almost as though it is directly from her perspective. The scene when Julie is tripping on magic mushrooms is both crazy and claustrophobic at the same time as we delve into Julie’s psyche and see the situation from her perspective followed by the reality of what has happened the next day when the flat has been messed up.

There is a reason why The Worst Person in the World has gained as much traction as it has. Not only does it combine flawless elements into one film, but Reinsve’s performance is deeply affecting and feels like a real tour de force. Blending a perfect mix of daring comedy and hard-hitting drama, The Worst Person in the World is a film that demands conversation and can be enjoyed on a surface level thanks to its entertaining comedy and heartbreaking moments, while also allowing for plenty of thematic analysis for those who want to dig a bit deeper. Trier has proven himself a true visionary while Reinsve has delivered a suckerpunch of a performance.

What did you think of The Worst Person in the World? Let me know in the comments below!

Categories
Uncategorised

Flee (2021)

This awards season has the regular frontrunners and blockbusters included in the mix, but one film that has taken critics and cinema goers by storm is animated docudrama, Flee. Executive produced by Oscar-nominee, Riz Ahmed and Nikolaj Coster-Waldau, Flee is the true story of Amin Nawabi, an Afghan man living in Demark who was forced to flee his native country when extremist militants begin to attack “non-believers” in Kabul. Not only does Amin have to grapple with the challenges of being a refugee and seeking asylum in a safe country, but he also comes to terms with his sexuality as a gay man. Flee marks itself as both a statement on the trials and tribulations that come with fleeing war-torn homelands and having to find a new place to call home, while also serving as a complex character study as Amin’s unique perspective is one that has clearly touched and resonated with many viewers.

The film is directed by Jonas Poher Rasmussen who is credited as a writer alongside the film’s subject, Amin Nawabi. It is apparent that the two have known each other for a while, which makes the film lovely to watch as they have a wonderful rapport. Rasmussen doesn’t pressure Nawabi into saying anything he isn’t comfortable saying, and even asks him to reflect on his childhood first before discussing anything that may be uncomfortable for him. The rapport between the two men is great and means that the script itself and the discussions have a natural flow and work well with the animation format, as we are able to see the world through Amin’s eyes. By using animation, Rasmussen is removing his own presence and placing more emphasis on Nawabi and ensuring that the story is at the heart of the film and the main focus, rather than the usual format of following a subject round with a camera.

The animation style is incredible, and it’s great to see the film included in the Best Animated Feature race at the Oscars. What makes the animation such a huge draw for the film is how the animators change the style depending on what is being said. The film opens up with an abstract and minimalist animated segment of people running away. This segment turns out to be the fabricated story that the traffickers told Amin to tell the Danish authorities in order to gain asylum and lends itself to the idea that the animation is not clear and complete. This contrasts to the majority of the film that has bright and vivid animation with clear-cut lines and plenty of vibrancy and movement throughout to indicate the certainty of Amin’s story.

The music is composed by Uno Helmersson and it is so expressive in that it feels as though it reflects the emotions that Amin is going through. Incorporating elements of Afghan-inspired sounds with dramatic pianos and violins, it seems as though Helmersson has used Amin as the inspiration for the music and transferred his identity and his story into the music itself. The track “Running Hiding” plays as Amin and his family desperately try to avoid capture from the militants with fast-paced bells to signal the intensity of the situation. This is immediately followed by the deeply melancholic, “Fleeing Kabul”, which places more of an emphasis on the sadness of having to leave home and not knowing where to go.

Flee has been listed as one of the best films of 2021 and with good reason. The combination of animation and documentary is seldom seen but works beautifully to tell Amin’s story. What Rasmussen and Nawabi achieve is a film that has a powerful message that is also innovative in the way that it is made. The great thing about films is that they allow us to learn from other people and hear their stories, and Amin’s story is one of huge importance in a landscape where so many people struggle to find a safe place to belong.

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

Categories
Uncategorised

My Son (2021)

It’s always exciting when films try to do new things and Christian Carion’s latest film, My Son, has a unique approach that makes it intriguing to watch. The film follows Edmond (James McAvoy), a man whose job takes him all over the globe which has in turn made him an absent father. When his son, Ethan (Max Wilson) is kidnapped, Edmond has to take matters into his own hands to locate Ethan and bring him home safely before it’s too late. It’s not the plot that makes this film intriguing, however, but the approach that Carion took by refusing to supply McAvoy with a script beyond the basic facts regarding his character. This means that McAvoy genuinely had no idea what was going to happen or how the film was going to unfold, adding a layer of genuine emotion to his character. The simplicity of the plot and limited setting helps to aid this to ensure that McAvoy can really delve into his characterisation without feeling overwhelmed by complexity.

The film is written and directed by Christian Carion, who is best known for his Oscar-nominated film, Joyeux Noël, My Son is an English-language remake of his 2017 Mon garçon which also incorporated the experimental aspects of having the lead character make discoveries of his own without having a script to rely on. The direction of the film is highly intense with some brilliant contrasts as Carion blends vast Highland landscapes with close-ups to provide that sense of entrapment and claustrophobia reflecting Edmond’s feelings. The script and story is fairly simple in terms of what happens to Ethan, but this serves in the film’s favour as it never feels overwhelming or overcomplicated as crime films often do. While this means that the film can delve into a predictable nature, the intensity of the direction keeps the audience gripped throughout.

Leading the film is James McAvoy as Edmond and arguably, the film relies on McAvoy’s performance and the conviction that he brings to the character. As ever, he is fantastic in the role and proves to be the perfect choice for Edmond as he is able to play a deeply flawed character that the audience roots for. Edmond is hard-working but neglectful of his family, to the point where his ex-wife has started a new life with her partner, Frank (Tom Cullen), while Edmond rarely visits to see Ethan. It’s a performance that hinders on this heartbreak that he doesn’t spend time with his son, but the love that he has for him knows no bounds. The climactic scene in which Edmond searches a large house for his son and has to kill or injure the kidnappers is deeply intense as the house serves as a claustrophobic labyrinth. While this performance may not show the range that his turn in Split did or be as well-known as his turn in the X-Men franchise, McAvoy demonstrates yet again his ability to play flawed characters that the audience will get behind with ease in a role that seems tailor-made for him.

Supporting McAvoy is the incredible Claire Foy who is best known for her portrayal of Queen Elizabeth II in the first two seasons of Netflix’s The Crown. Her performance as Joan couldn’t be further from her turn as the Queen as she is able to showcase even more versatility. Joan is a character who has been burdened with the duty of bringing up Ethan without Edmond’s help, while also having to be Edmond’s cheerleader when he doesn’t turn up for his son. Foy’s performance provides plenty of nuances and it’s a shame that her character isn’t in the film even more. She perfectly brings all of Joan’s frustrations to the surface in a performance that is powerful and works well against McAvoy’s temperamental Edmond.

Laurent Perez del Mar’s score perfectly undercuts the film and draws out the thriller elements. Just as the film provides many twists and turns, the score is full of swooping strings and drawn-out notes that highlight Edmond’s frustration and confusion. The score feels as though it is in tune with Edmond and his emotions, becoming more intense as the film goes on. However, del Mar knows when to create subtlety such as the scene in which Edmond is sneaking around the lodge to say Ethan from the kidnappers. This contrast between loud, dramatic strings and quieter moments provides an unpredictability to the film.

My Son may not have the most complex plot and story, but the strong leading characters and intense direction make this a thrilling watch, even if it does lose a bit of momentum in its closing scenes. McAvoy is brilliant to watch, as always, and it’s great to see him in a film that relies as heavily on his performance as we are able to feel his character’s array of emotions as he figures out what has happened to Ethan. My Son should be commended for its unconventional approach to filming and hopefully, this will inspire even more creative experiments in the filming process.

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

My Son is available to view on Amazon Prime!

Categories
Uncategorised

Top 5 Jennifer Lawrence Performances

Jennifer Lawrence is an actress whose star has risen exponentially since her breakthrough performance in Winter’s Bone in 2010. What has made Lawrence such a success both commercially and critically is her versatility and willingness to push herself by exploring different genres and refusing to be typecast. Her incredibly successful career has seen her nominated for 4 Oscars, winning one for Silver Linings Playbook in 2013, making her the second-youngest recipient of the Best Leading Actress award in Oscar history. After taking a short break between 2018 and 2021, she returned in one of the leading roles in Adam McKay’s star-studded black comedy, Don’t Look Up, starring alongside the likes of Leonardo DiCaprio, Meryl Streep and Jonah Hill to name a few.

As with any top 5 list, it’s always incredibly difficult to narrow it down, especially when discussing someone as diverse and charismatic as Lawrence because there are so many performances to consider. However, this list demonstrates her range and her ability to bring out the strengths and flaws of her character. From leading action franchises to complex dramatic character studies and everything in between, Lawrence has shown so much in her 15-year career and it’s exciting to see where her career will take her in the future now that she has returned from taking a well-deserved short break.

Here are my top 5 performances by Jennifer Lawrence in chronological order:

Winter’s Bone (2010)

Lawrence’s breakthrough came in 2010 when she starred in the independent film, Winter’s Bone. The film follows 17-year-old Ree (Lawrence) who is the main caregiver for her mentally ill mother (Valerie Richards) and also looks after her younger siblings by teaching them how to fend for themselves in the Ozark Mountain wilderness. Winter’s Bone is magical to watch because Lawrence is so magnetic and charismatic that her impending rise to stardom was inevitable. The film is regarded as one of the biggest indie successes as it was made on a $2 million budget and made over $16 million in the box office, resulting in a slew of Oscar nominations, including Lawrence’s first nomination for Best Leading Actor. Even though she didn’t win, she was constantly viewed as one to watch, and with the upcoming Hunger Games due to be released, Winter’s Bone is an excellent beginning for what can only be described as an incredible career.

Silver Linings Playbook (2013)

The film that won Lawrence her Oscar and cemented her place as a Hollywood staple was Silver Linings Playbook. Marking the first of three collaborations with David O’Russell as well as the first of six collaborations with co-star Bradley Cooper, Lawrence plays Tiffany, a widow who struggles with her mental health following the death of her husband and finds herself unemployed after sleeping with everyone in her office. Silver Linings Playbook is one of the best films when it comes to discussing mental health and this is thanks to the nuanced performances by Lawrence and Cooper, whose character Pat has been diagnosed with bipolar. What makes this performance special and incredible is considering how young Lawrence was when the film was made and released as the character of Tiffany was 40 in the book but was re-written to be younger to suit Lawrence’s age. Despite this age difference, Lawrence still provides the depth to the character and while the specific nature of Tiffany’s diagnosis is not discussed in the film, Lawrence’s nuanced performance shines through and we still emote and feel Tiffany’s struggles.

The Hunger Games: Catching Fire (2013)

One of the roles that helped Lawrence make her mark in Hollywood was her turn as protagonist Katniss Everdeen in The Hunger Games franchise. The series follows Katniss, a young woman who finds herself in the deadly titular games in which competitors have to fight to the death in a bid to be the last one standing. The Hunger Games: Catching Fire is one of those rare occurrences where the sequel is better than the original and this is partially thanks to Lawrence’s impeccable performance. This isn’t to say that Lawrence’s performance is anything less than brilliant in The Hunger Games, but there is a maturity and nuance that she provides in Catching Fire that could arguably be thanks to the vast experience that she gained between the films. Catching Fire is the strongest book in the series and the film is no exception as we see Katniss conflicted between her role as provider for her family and helping lift her family from the poverty line and her position as the face of the rebellion against the evil President Snow (Donald Sutherland). The opening scene in which she encounters President Snow in District 12 and is threatened is one of the most intense scenes in any young adult adaptation. The Hunger Games: Catching Fire isn’t afraid of exploring more complicated themes such as loss, grief, and internal conflict and Lawrence truly becomes Katniss in this instalment.

mother! (2017)

Lawrence’s most controversial performance is arguably her best. Playing the titular character, Lawrence’s performance delves deep into the psychological trauma presented in the film as her character’s life begins to fall apart. The film was directed and written by Darren Aronofsky who is known for pushing boundaries and while his previous horror, Black Swan was more vast in its locations and scope, mother! is more contained and is set within the one house, adding to the claustrophobia and entrapment that the character feels. Mother lives with Him (Javier Bardem) in a tale that serves as an allegory for the Bible and as Him gains more followers beginning with man (Ed Harris) and woman (Michelle Pfeiffer), life spirals out of control to the point of tragedy and destruction. mother! received a polarised reception on release and is still discussed to this day thanks to its topical discussions and the extreme violence and chaos that ensues. However, Lawrence’s affecting and provoking performance cannot be denied and will go down as a career best. You can read my full review for mother! here.

Don’t Look Up (2021)

One of the most talked about films of 2021 was Adam McKay’s black comedy Don’t Look Up, which boasted one of the starriest casts in recent years. Led by Jennifer Lawrence and Leonardo DiCaprio, Don’t Look Up split opinion with audiences responding more positively than critics. While Don’t Look Up has its flaws, one of its strengths lies in Lawrence’s hilarious performance as she appears to have the best lines and even outperforms DiCaprio (which is never an easy feat). Lawrence plays scientist Kate Dibiasky who discovers the comet that threatens to destroy the Earth within months and provides her signature deadpan humour throughout with the best joke in the film being her confusion over a staff member at the White House charging her for food that is actually free. You can read my full review for Don’t Look Up here.

After taking a break for a few years, it seems as though Lawrence is back and better than ever as she has a slew of projects lined up for the future including Adam McKay’s biopic, Bad Blood, in which she plays the fraudulent businesswoman, Elizabeth Holmes and Luca Guadagnino’s adaptation of the novel, Burial Rites, which explores the last woman executed for murder in Iceland to name just a few. Lawrence remains one of the most successful and popular actors in Hollywood regardless of her break, proving just how talented and charismatic she is.

What are your favourite Jennifer Lawrence performances? Let me know in the comments below!

Categories
Uncategorised

Nightmare Alley (2021)

Bradley Cooper in the film NIGHTMARE ALLEY. Photo by Kerry Hayes. © 2021 20th Century Studios All Rights Reserved

Hollywood has been going through a period of nostalgia in recent years. We have seen an abundance of franchises, sequels, prequels, reboots and remakes dominating the cinematic landscape, and it’s easy to understand why. These films provide a sense of comfort and escapism for audiences as they offer a sense of familiarity. One such example is Guillermo del Toro’s latest release, Nightmare Alley, which is based on the 1946 novel of the same name by William Lindsay Gresham and the second film adaptation following the iconic 1946 film noir of the same name that stars Tyrone Power and Joan Blondell. The film follows protagonist Stanton “Stan” Carlisle (Bradley Cooper), a man who becomes a carny after killing his father and burning his house down. During his tenure at the carnival, he becomes interested in Mentalism, eventually falling in love with carny Molly (Rooney Mara) and the two leave the carnival to embark on their own touring act with dire consequences. With a starry cast led by Cooper and Rooney, while also featuring the likes of Cate Blanchett, Toni Collette, Richard Jenkins and Willem Dafoe among many more, Nightmare Alley is a staggering 150-minute mammoth of a film that chronicles the rise and fall of its protagonist is flamboyant fashion that is every bit a carnival attraction in itself.

The film is directed by Guillermo del Toro who co-wrote the screenplay with Kim Morgan. As expected from a del Toro film, the direction is stellar and captivating with meticulous detail and precision in every frame. Where del Toro’s Oscar-winning The Shape of Water has its fixations on the aquatic and incorporates this element into the aesthetic and flowing nature of the film, Nightmare Alley literally opens in flames as Stan sets his father’s house on fire. This fiery nature runs through the entire film as we see Stan revisit this moment time and time again, especially in moments of reflection. Where the film experiences somewhat of a downfall is in the writing as the pacing doesn’t feel as consistent throughout. The audience is thrown into the events as Stan sets fire to the house and immediately boards a bus that takes him to the carnival; however, the film soon slows down in pacing, especially during the final act and there are far too many endings.

Bradley Cooper takes on the lead role of Stan that was originally played by film noir icon, Tyrone Power in the original 1947 film. Cooper has established himself as one of Hollywood’s best leading men having garnered nine Oscar nominations with four of these being in acting. He is the perfect choice for Stan and has that brilliant Southern drawl and charisma needed for the role as the character works his way up the social ladder. What makes Cooper’s performance so captivating is how unpredictable he is and the way that the audience learns more about him throughout the film. It is within the second half of the film that we discover the whole truth about what happened between him and his dad. While Tyrone Power will always be associated with the role of Stan, Cooper doesn’t try to copy or imitate his performance but provides a darker angle that lends to his unpredictability.

Playing Molly is Rooney Mara, who proves that there is a lot to this role than meets the eye. To assume that Molly is simply Stan’s love interest is to dismiss this incredible performance as Molly has plenty of personal freedom and doesn’t feel pressure to take her time in deciding what she wants to do with her life. Mara is the perfect onscreen partner for Cooper because she is always capable of delivering performances that are more subtle but still pack their punch. While Cooper’s performance is big and loud, Mara provides a nuanced and quieter performance that still holds plenty of power and shouldn’t be overlooked. What makes Rooney Mara one of the best actresses working today is her adaptability and ability to steal a scene while also playing well against others when needed.

The second half of the film is dominated by Cate Blanchett who plays the mysterious psychologist Dr. Lilith Ritter. Her first scene comes later in the film as she attends one of Stan and Molly’s shows, attempting to uncover their tricks. Blanchett’s Lilith seems charming and disarming as she manages to seduce Stan over time as they come together to scam wealthy men by pretending that Stan can communicate with the dead when he is using information that Lilith has been feeding him as they were patients of her. Blanchett’s final scene is genuinely terrifying and shows a darker range to her acting that we haven’t really seen before.

Another brilliant performance worth mentioning comes from the always brilliant, Richard Jenkins, who plays the unpredictable and eccentric Ezra Grindle. Grindle is an extremely intimidating man and incredibly wealthy to the point where the money blinds Stan from the blatant threats that are present. Jenkins provides unsettling energy to Grindle and even though he isn’t in a lot of scenes in the film, he steals the scenes that he is in. Despite the limited amount of screen time, we learn so much about Grindle’s character and want to learn more thanks to Jenkins’ impeccable performance.

Nightmare Alley may not have the same level of magic that del Toro brought with The Shape of Water, but it cannot be denied that he is a true visionary and is always capable of creating beautiful aesthetics and drawing out brilliant performances from the star-studded cast. Where Nightmare Alley falls short is its writing as it feels like two completely different films that have been combined yet don’t quite tonally mesh, while the film’s length runs for too long. If there was more tonal connection and consistency throughout and a shorter running time, this would be viewed as a front-runner in the awards season.

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

Nightmare Alley is out in cinemas now!

Categories
Uncategorised

Dune (2021)

One of the most hyped films to come out of 2021 was Denis Villeneuve’s Dune which boasted one of the best casts and a huge budget, incorporating plenty of advanced special effects that have given a new sci-fi franchise room to thrive. Dune is based on the 1965 novel of the same name, written by Frank Herbert and was often regarded as “unfilmable” due to the enormous scope of Herbert’s universe. It follows Paul Atreides (Timothée Chalamet), the heir of the House of Atreides, who is gifted with powers bestowed upon him by his mother, Lady Jessica (Rebecca Ferguson), who is a member of the Bene Gesserit, a religious sect that strictly trains the body and mind to achieve things that ordinary people can’t. When the desert planet of Arrakis is under attack by the power-hungry Baron Vladimir Harkonnen (Stellan Skarsgård), Paul must master his powers and team up with the inhabitants of Arrakis, including a young woman called Chani (Zendaya) to overthrow the Baron and restore peace to the planet.

Denis Villeneuve is one of the most talented directors working today and he proves this with Dune. Villeneuve has worked in many other genres in his career but no project has been bigger than Dune. The result is absolutely spectacular despite the many challenges that a story like Dune has. It is a story with many characters and many moving parts, but Villeneuve never overwhelms the viewer with more than they can handle, while also ensuring that enough of the character is brought through. There are lots of star-studded films that feel overwhelmed by the scope of the actors but this isn’t the case with Dune, and this is because of Villeneuve’s impeccable directing. The actors really become their characters and where performances in sci-fi blockbusters are usually grand, the performances in Dune are more subdued and substantial.

Leading the film is Timothée Chalamet. who has proven to be one of the best young actors working today. Ever since his breakthrough performance in the 2017 film, Call Me By Your Name, which brought him an Oscar nomination, Chalamet has been leading all kinds of films from autobiographical dramas (Beautiful Boy) to period dramas (The King) to comedies (The French Dispatch). Dune allows Chalamet to showcase further range within the sci-fi field in the role of the protagonist, Paul Atreides, which he does with ease. What is great about Chalamet’s performance is that he showcases Paul’s struggle to master his powers while also facing pressure as the heir of his house. Despite his young age, there is a lot of responsibility on Paul’s shoulders and Chalamet brings forth Paul’s naivety and flawed nature rather than making him seem like a man who has all the answers. The scene in which Paul is tested by the Reverand Mother of the Bene Gesserit, Gaius Helen Mohiam (Charlotte Rampling), is a masterclass in acting as we feel the physical and mental pain that the character is enduring.

Arguably the most important character in Dune is Chani, the young woman who lives on Arrakis and fights back against those who try to oppress its people. Playing Chani is Zendaya, who is another actor that has proven a huge range at such a young age. The battle for Arrakis is not one that is grounded in power for Chani, but rather the fight for her home and to live a peaceful life. This means that the character’s motives are completely different from the House of Atreides and Paul in particular. However, as events unfold, Chani and Paul find that they have a lot in common and agree to work together in order to overthrow the Baron. The little we see of Zendaya shows a lot of promise for the upcoming films in which Chani has more presence as she showcases the loss that Chani has and her resilience.

In a film as vast and heroic as this, there has to be a villain that steps up to the plate and an excellent performer who can effectively put this across. The role of Baron Vladimir Harkonnen is filled with greed and corruption and is a difficult role to successfully pull off and Villeneuve entrusts none other than the fantastic Stellan Skarsgård to step up to the task. Skarsgård’s performance not only lies in the intimidating physicality of the character, but the unpredictability of his actions and the relentless nature he has in order to get what he wants and successfully reap back the power he believes he wrongly lost. Skarsgård isn’t in the film a lot, but the scenes that include him are among the best in the film, including the scene in which he has captured Duke Leto Atreides (Oscar Isaac). It’s a testament to his performance that his presence is felt throughout the film, even in the scenes that he is not in and it will be exciting to see the Baron and Paul’s eventual standoff in the upcoming films.

Although the film is filled with brilliant performances, the real highlight for me was Hans Zimmer’s score which undeniably contains traces of Zimmer’s signature sounds but also combines a new sound that enhances the overall experience. It’s difficult to pinpoint one track that stands out because the music flows so naturally with the film and works perfectly to highlight the struggles that Paul is facing. What Zimmer has always done brilliantly is incorporating vocals into his tracks, which is what makes the music in Gladiator so entrancing. For Dune, he takes a similar approach with tracks such as “Gom Jabber” boasting aggressive vocals that provide an otherworldly feel, while using instruments such as bagpipes in the track “Arrival on Arrakis” shows the unpredictability and clashing nature that Villeneuve is capturing. Hopefully, Zimmer’s work will get rewarded with a deserved second Oscar win.

It’s difficult to talk about a film like Dune and not discuss the cinematography. What Greig Fraser manages to achieve is astonishing as he captures a world that is vast and seemingly endless, while contrasting it with feelings of entrapment and claustrophobia at the same time. It is thanks to Fraser’s use of the camera that we are able to explore the planet of Arrakis through Paul’s perspective, so it feels as though the audience is on the journey with the protagonist. Despite the abundance of special effects in the film, Fraser makes the landscape seem as natural and real as possible, truly allowing the audience to escape and feel as though Arrakis could be real.

Dune is one of those books that has always proven to be difficult to film, but what Villeneuve does is enhance the grittiness and realism of the story and uses the special effects fantastically to transport us to Arrakis. It’s no surprise that Dune has received so many award nominations and it is certain to swipe the technical categories thanks to the immersive experience. Dune: Part Two is sure to be just as exciting and thrilling as the first installment as it will explore Chani’s character more and follow Paul’s improvements. A star-studded spectacle that works beautifully and showcases blockbusters at their very best.

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