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House of Gucci (2021)

Awards season sees the release of star-studded films and there are few films released this year that have an Oscar count as high as Ridley Scott’s House of Gucci. Following the true story of the assassination of Gucci heir, Maurizio Gucci (Adam Driver) at the hands of his estranged wife, Patrizia (Lady Gaga), House of Gucci is a two and a half-hour look into the public and private familial struggles of one of the most well-known brands in the world and the scandal that surrounds them. The film has garnered much discussion due to its American casting as opposed to an Italian cast as well as the tone of the writing which injects a lot of humour into a film that is based on a tragic true story. Boasting a cast that is led by Lady Gaga, Adam Driver, Jared Leto, Jeremy Irons, and Al Pacino, House of Gucci may not be perfect but it is a highly entertaining watch that keeps you gripped from beginning to end.

The film is Ridley Scott’s second feature to be released this year following The Last Duel which also starred Adam Driver. Scott’s directions feed into the melodramatic qualities of the story and the result is a film that is extremely camp, gripping, and filled to the brim with twists and turns as each member of the Gucci family has their own roles and motives. The screenplay was written by Becky Johnston and Roberto Bentivegna and was adapted from the novel The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden. The two and a half hour running time is a bit excessive as there are scenes that could have been edited or cut out without compromising the story but what this screenplay does well is show how Patrizia was more than just Maurizio’s wife and delving into her character so we see her side of the story. It is clear that this story has so many moving parts and different elements that bringing every detail in a feature-length film would be impossible but we are treated to a film that has a distinct tonal shift as the comedy-led first act soon takes a downwards spiral into the darker themes as Patrizia and Maurizio’s marriage begins to crack and fall apart.

Leading the incredible ensemble is Lady Gaga in her follow-up to her turn in A Star is Born which saw her nominated for an Academy Award for her performance and winning one for co-writing the song “Shallow” which became a huge hit. There has been a lot of discussion regarding Gaga’s accent in the trailer for House of Gucci with some people commenting that it sounded Russian rather than Italian; however, her accent throughout the film sounds more Italian. What is more important than the accent is the actual performance itself and there is no doubt that Gaga has done extensive research and provided a lot of dedication to become Patrizia. Where it was more difficult to differentiate Gaga from her character, Ally, in A Star is Born, there are points in House of Gucci where you forget that you are watching Gaga as she fully becomes Patrizia. Not only does this show Gaga’s ability to act against type but it shows that she is worthy of garnering the leading lady status that she has and proves her talent as an actress. Her ability to showcase the many sides of Patrizia is impressive, especially since there is a tonal shift in the film. Where Patrizia is initially charming and confident, she becomes desperate and troubled in the second half of the film as she wants to save her marriage and life from falling apart. This performance will undoubtedly bring Gaga a lot of attention during awards season and may see her receive her second Academy Award acting nomination.

Playing Maurizio Gucci is Adam Driver who turns on the charm as the heir to the Gucci Empire. Initially seeming reluctant to join the family business, Maurizio risks being cut off from the family when he falls in love with Patrizia, a woman who doesn’t have the same affluent background. However, as the film shifts into darker territory, we begin to see Maurizio lose his initial sense of self and individuality as he becomes the person he swore he would never be. Driver conveys Maurizio’s shift from aspiring lawyer to manipulative businessman perfectly as it doesn’t happen all of a sudden as he is pushed to carry out various schemes alongside Patrizia in a bid to control the Gucci brand. What is great about Driver is that he is a performer who can say so much without many words and this is important when it comes to Maurizio’s characterisation as he is a lot quieter and more observant than Patrizia.

One of the most conflicting aspects of the film is the supporting performances provided by Jared Leto and Al Pacino who play Paolo and Aldo Gucci, respectively. Paolo and Aldo are often used as comic relief throughout the film, especially aspiring designer Paolo whose fashion taste is questionable as Leto’s portrayal paints Paolo as someone who is completely oblivious while Aldo deals with the finances of the Gucci brand. Leto’s performance, in particular, has garnered a lot of love and hate thanks to its eccentric and over-the-top portrayal which feels brilliant in the context of the film but when taking into consideration the accuracy of the real Paolo Gucci and his life story, it appears as though the film is laughing at him and mocking his misfortune. Leto feeds into the camp and comic aspects of the film thanks to his use of physical comedy that saw him have a complete makeover for the role while Pacino feeds into the darker and dramatic aspects of the film as his version of Aldo fears about losing power and will do anything to hold onto it.

House of Gucci is a film that promises plenty of drama with twists and turns as character alliances shift in a bid to gain control over the family business. In the midst of the drama, it is quite easy to forget that this is based on a true story that had real and tragic consequences which have caused conversation among critics over whether the overall tone is appropriate for the subject matter. Regardless, it is a film that is filled to the brim with fantastic performances, especially from Gaga and Driver, while Yates’ costume design helps to bring the period to life and gives us a visual insight into how the characters express themselves.

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

House of Gucci is out in cinemas now!

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Spencer (2021)

One of the most anticipated biopics to be released this year was Pablo Larraín’s Spencer which is a new take on the biopic genre. Inspired by Diana, Princess of Wales and her life in the Royal Family before her divorce, Spencer is a fictional account of Diana’s time at Sandringham during Christmas where she spends time with the Firm, including the Queen. Starring Kristen Stewart as Diana as well as a slew of stars in supporting roles such as Timothy Spall as the fictional Equerry Major Alistair Gregory and Sally Hawkins as Maggie, a fictional Dresser, Spencer may not follow the conventions of biopics but the events are not what Larraín wants us to focus on and rather the emotions as well as physical and mental trauma that comes from Diana’s rare circumstance. Just like Larraín’s previous film, Jackie which explores Jackie Kennedy’s life a week following the assassination of her husband, President Kennedy, Spencer takes place over a short period of time and allows us to view the subject when thrown in uncomfortable situations as well as what she is like behind the scenes.

It is no secret that Spencer has generated a lot of controversy due to its approach as well as the accuracy of the events. The first words that appear on the screen is “A fable from a true tragedy” immediately striking a subtle, darker undertone that seeks to foreshadow Diana’s life and tragic death. Directed by Larraín and based on a script written by Steven Knight, Spencer is happy to venture into its otherworldly elements as it incorporates visions of Anne Boleyn, one of Diana’s ancestors as well as an astonishing dream sequence that runs through some of Diana’s most iconic outfits. Although it may not be an accurate account, we get a sense of Diana’s past and present as well as the glooming undertones of the future that awaits her.

Kristen Stewart is nothing short of spectacular as Diana and this performance will most likely see Stewart gain her first Oscar nomination. Stewart’s performance feels much more than a basic impression. Even when Diana thinks she is alone, there is always a sense that there is someone listening to her and watching her at all times. The performance is a reaction to the claustrophobia that Diana feels as every move she makes is closely observed even down to the clothes she wears and the way she walks when in public. Stewart encapsulates the hopelessness and claustrophobia that Diana feels when among the Firm as well as showing that hopeful side when she is with her children and dreaming of a life away from the Royals. Diana’s story has become a hugely popular source of inspiration as of late as she has been incorporated into the hit Netflix series The Crown and a newly released Broadway musical looks into her life as the “People’s Princess”. Spencer provides us with glimpses of Diana’s personal and private struggles including her experiences with bulimia as well as the mental and physical toll that being a Royal has. Stewart’s Diana aims to find an escape as she reflects on who she was before her marriage and looks ahead to the future where she can forge her own identity.

In support we see Timothy Spall as Equerry Major Alistair Gregory who is loosely based on David Walker. Having been tasked with keeping a close eye on Diana due to the amount of publicity and attention she has been receiving from the media, Alistair grows fond of her and tries to steer her down the right path without compromising himself. Initially it seems that Alistair is just a tool for the Firm but he sees Diana for the human she is and goes out of his way to try and stop her from going down the same path as her ancestor, Anne Boleyn. Spall’s performance is gripping and unpredictable and the scenes he shares with Stewart are full of tension as he keeps her in line against her wishes.

Sally Hawkins is endearing as Diana’s Dresser, Maggie, and it’s such a shame that she isn’t in the film more. Maggie seems to be the only person that Diana can trust and express herself with. Even in such a small role, Hawkins has such a presence that clearly impacts the main character in such a way that her sudden absence brings out fear in Diana. The scene in which Maggie and Diana sit on the beach and reflect on whether the former spoke ill of the latter is a clear display of how claustrophobic life in the Firm can be, even for those who simply work for them.

When it comes to cinematography, Claire Mathon has knocked it out of the park this year providing the camera work for Spencer as well as Céline Sciamma’s 2020 beautiful coming of age film, Petite Maman (you can read the review here). Despite these films being completely different in tone and topic, Mathon adapts accordingly while still providing a dreamlike quality in both that elevates the film from its reality-driven roots. Mathon’s approach feels as though the camera is moving naturally and doesn’t feel forced while also allowing the audience to really see these different sides to Diana in such a short space of time. It is thanks to Mathon’s ability to blend reality and fiction that Diana’s own reality and fiction become blended into one as she begins to feel the pressure and claustrophobia. The contrasts between the dark and trapped settings of the house with the natural light and openness of the outdoors further displays Diana’s inner conflict.

The score is another brilliant aspect of the film and is composed by no other than the incredible Jonny Greenwood. Greenwood’s score provides an underlayer of horror and tension to the film that highlights the darker undertones of the film’s subject. The piece that plays during dinner as Diana imagines herself eating the pearls from a necklace that Charles bought for both her and Camilla speaks volumes to the trauma that she is facing and the hopelessness that Diana feels as there is no solution to the problem that would benefit her.

Spencer is not a film that should be taken as a literal account but as a “fable” that perfectly displays the emotional turmoil and physical and mental struggle that Diana faced. Larraín and Stewart are a match made in heaven as their Diana is one that sees a silver lining amongst the hopelessness. It is sure to receive a fair amount of attention this awards season, especially for Stewart’s performance and Mathon’s cinematography. Visually stunning and filled with captivating performances and direction, Spencer is much more than a standard biopic and dares to look deeper into the subject’s psyche with great results.

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

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London Film Festival 2021: Titane

There is always a film every year that pushes the boundaries of violence and taste beyond question. While these films generate a lot of publicity thanks to polarising reviews from critics and cinemagoers alike, these films never seem to win a lot of major awards. This year is different. Julia Ducournau’s sophomore feature, Titane, took critics’ breath away at Cannes Film Festival where Ducournau won the top prize, the Palme d’Or with a film that follows serial killer, Alexia (Agathe Rousselle), who has sex with (and is subsequently impregnated by) a car. If this isn’t complicated enough, Alexia disguises herself as a teenage boy, Adrien, who has been missing for ten years and is taken in by his fire captain father, Vincent (Vincent Lindon) who has developed an addiction for steroids in a bid to become the man he once was. Both characters then explore differing issues with the body as they are individually manipulated by their desire to be someone else.

Directed and written by Julia Ducournau, Titane is a film that holds no punches in its plot as well as the filmmaking approach. What Ducournau does so well is allow the camera to linger as though it is an observer which serves into the horror aspect well as it makes the film completely unpredictable. As with her debut feature, Raw, Ducournau isn’t afraid to push boundaries and incorporate universal issues in her film, specifically exploring gender through the female gaze in a way that feels distinguishable among a genre that is dominated by the male perspective. There is no “final girl” in Ducournau’s films as she completely subverts the traditional horror template and instead uses body horror as a way to instigate discussions on the human body.

Newcomer Agathe Rousselle makes her mark as Alexia in a role that requires a lot of physical and emotional range. The daughter of doctors, Alexia spends her free time modelling in car shows and murdering people. When her murderous ways begin to catch up with her, she has to physically manipulate her body to disguise herself as a teenage boy, all while pregnant from a sexual encounter with a car. Rousselle is absolutely relentless in her performance and pushes herself to ensure that Alexia’s physical and mental struggle is perfectly pur across to audiences. We see the character in her prime scantily clad as she dances on the classic cars with plenty of admiring spectators waiting for her autograph. This contrasts greatly as she covers herself in bulky clothing whilst taping down her breasts and stomach to hide her pregnancy in a bid to eliminate any trace of the feminine body. Alexia is a character of little words but she doesn’t need speeches to convey how or what she is feeling and Rousselle pulls this off brilliantly in what feels the breakout performance of the year.

In support is acting veteran Vincent Lindon as Adrien’s father, Vincent, who works as a fire captain. Vincent is a man who has spent the last ten years of his life plagued by grief due to the loss of his son and dedicated his life to work, injecting himself daily with steroids in a bid to maintain a traditionally masculine body. Acting as Alexia’s pilar opposite, Lindon is vocal and emotionally vulnerable, wearing his heart on his sleeve in a bid to get his son to open up to him. His protection over Adrien threatens to be his downfall as he begins to lose respect of the fellow firefighters, even venturing down violent avenues to stop them from speculating about Alexia. Where Alexia has to disguise as the opposite gender in a bid to stay hidden, Vincent hides behind the illusion of toxic masculinity, believing that the steroids will allow him to eventually become the man he once was before his son went missing.

One of the most striking elements in Titane is the cinematography which is handled by Ruben Impens. Having worked on the cinematography for Raw, Impens was the perfect choice for Ducournau’s follow-up and the results are fantastic. Impens’ approach seems effortless while also relentless as he allows the camera to sit and show us everything where most horrors would cut away. One sequence that is particularly brilliant is when we see Alexia walk through the car showroom and observe her fellow dancers, the spectators, and the cars as she makes her way to the dressing room only for the camera to pan to a car where she is already on top doing her dance. It is this kind of seamless unpredictability that makes the film such a thrill to watch.

Another highlight in the film is the music which is composed by one of the most exciting composers working today, Jim Williams. Having previously worked on a variety of different horrors such as Ben Wheatley’s Kill List and A Field In England as well as Brandon Cronenberg’s Possessor and Ducournau’s debut film, Raw, Williams proves that he is the right person for the job and uses elements of the machinery and industrialist sounds to create a score that sounds like a new form of horror music. The music never feels like it overwhelms at any point while also timing itself perfectly so it beats in conjunction with the film. One such highlight is the explicitly named “Car Fuck” track which plays through the scene in which Alexia has her sexual encounter with the car. The score intensifies subtly building like a traditional horror track while never feeling melodramatic or parodying the genre or subject.

Titane has become one of the most discussed films of the year and with good reason. Although proving to be too overwhelming for some, Ducournau has shown that she is a filmmaker to pay attention to thanks to her modern take on body horror and how it can play into gender roles and identity. Titane is a complex film that goes much deeper than its controversial subject and is definitely a film that you won’t soon forget.

Titane is released in the UK on 31st December 2021!

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London Film Festival 2021: Lamb

One film that was an intriguing watch was Valdimar Jóhannsson’s Icelandic horror Lamb. The film follows married couple María (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason) who run a small farm where one of the sheep gives birth to a sheep/human hybrid that they affectionately name Ada after a child that they had previously lost and treat her as though she is a human child. What follows is a sequence of unexpected events that explores themes of identity and family whilst also incorporating elements from various genres including horror, thriller and sci-fi. The result is a film that can be unsettling and unconventional while distinguishing Jóhannsson as a director with a unique point of view.

Directed by Valdimar Jóhannsson in his directorial feature debut and based on a script he cowrote with Sjón, Lamb is unlike any other horror film. Subverting the folklore trends so commonly seen in horror today, Lamb is a film that feels as though it may be misunderstood by some and gradually gain popularity as time goes on. Jóhannsson’s vision manipulates you into thinking that the film will take a certain direction and then completely subverting this and throwing in many unpredictable twists and turns. The writing never allows itself to get too close to the protagonists which means that the audience is never spoon-fed and provides a desire to learn more.

Noomi Rapace is great as María, a woman who is completely besotted by Ada following a life plagued by loss and grief. Rapace can always be relied upon to provide a fearless performance and María seems like a character that was written for her. María isn’t always likeable and her motivations aren’t always understood but we still feel sympathy for her despite her flaws. The scene in which Rapace locks Ingvar’s brother, Pétur (Björn Hlynur Haraldsson) in a closet and then plays the piano loudly to drown out his screaming draws her suffering and pain to the surface as we see her attempt to glaze over the negativity with music, a metaphor for her willingness to overlook Ada’s physical differences and accept her as her own.

In support, we see Hilmir Snær Guðnason play María’s husband, Ingvar in a performance that builds as the film unfolds. The decision-making between the couple usually lies in María’s hands in a role that would traditionally fall under a man’s control but Ingvar doesn’t complain or feel emasculated at any point. Content with his life, Ingvar embraces Ada as his own and does his best to provide for his family. Guðnason is a great onscreen partner for Rapace as they compliment each other’s approaches perfectly. Where Rapace’s performance is full of physical emotion, Guðnason has a quieter performance that is full of nuance and subtly, working well against the horror element of the film.

One thing that the film makes use of is the beautiful cinematography by Eli Arenson. Arenson manages to capture a world that is set in an open space whilst contrasting this with a claustrophobic setting as we feel trapped within the home. This isolated feeling makes the characters seem locked and unable to travel beyond their immediate surroundings, feeding into the horror elements of the film. Arenson utilises the natural surroundings to create a realistic approach against a topic that is full of fantasy, driving it away from being a traditional horror. It is this grounded approach that makes Lamb such an unpredictable watch and such a beautiful looking film to behold.

Lamb isn’t a film for everyone but those who enjoy it will be able to appreciate the beautiful scenery, intense writing and raw performances with characters that we never fully understand but keep us gripped from start to finish. It’s a film that will undoubtedly grow in popularity and requires multiple watches due to the various layers, textures and themes that it explores. The unconventional approach this film has is why it has been selected as Iceland’s submission for Best International Feature Film at the Academy Awards which will hopefully bring Lamb to an even larger audience.

Lamb is released in the UK on 10th December 2021!

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The Green Knight (2021)

Another film to suffer a delayed release date due to the pandemic, The Green Knight brings a new retelling of the Arthurian legend, David Lowery’s epic sees Oscar nominee Dev Patel lead the cast as Gawain, a man who aspires to be knighted and among the company of King Arthur (Sean Harris) and his knights. Whilst celebrating Christmas with the King, the mysterious Green Knight appears and poses a challenge which Gawain accepts. Garwain than must travel a year later to find the Green Knight and allow the latter to strike a blow against him. Based on the legend by Anonymous, Lowery immerses the viewer into the world through striking imagery and innovative sound mixing to create a film that was well worth the wait and more.

David Lowery directs and writes this stunning epic and has proven yet again that he is a force to be reckoned with. Not only is The Green Knight one of his most anticipated projects to date, it sees him collaborate with A24 yet again after the success of his previous film A Ghost Story. The result of which is a phenomenal film that shows Lowery’s mastery as a storyteller whilst also highlighting his growth as a filmmaker.

Dev Patel gives an exceptional performance as Gawain and shows just how far he has come as an actor. Following an extremely varied career which includes an Oscar nomination for 2016’s Lion, Gawain seems like the kind of role Patel was born to play. Due to the nature of the film following Gawain’s journey, a huge portion of the quality of the film relies heavily on Patel’s shoulders and it is his performance that elevates it to a level where you really feel as though you are with the character throughout. Patel’s Gawain is ambitious to a fault and most importantly inexperienced which becomes more apparent the closer he gets to his final destination. The scenes in which Patel encounters the Green Knight are captivating and leave you on the edge of your seat.

Taking on two roles in the film, Alicia Vikander delivers one of the best performances of her career as Gawain’s lover, Essel, a common woman who lives in a brothel and the Lady who Gawain meets on his journey to his encounter with Green Knight. These performances are so different that you could be forgiven for mistaking the roles for two different actresses, however, Vikander has already proven herself as one of the finest actors working. Her performances in 2014’s Ex Machina and 2015’s The Danish Girl are masterclasses in stunning performances with the latter winning Vikander the Academy Award for Best Supporting Actress. Her performance as Essel is sweet and innocent as she is happy where she is and her place in the world but longs for Gawain to publicly declare her as his lady. This flows in beautifully to her performance as the Lady who is more sinister and corrupt in her encounters with Gawain. Where Essel desires Gawain’s live and affection, the Lady seems to be driven by lust and sex. Despite their mutual fixation on Gawain, both characters have agency and individual motives that allow them to be strong and rounded in their development.

This film smashes every element but for me, the music composed by Daniel Hart is definitely a highlight. Mixing Medieval sounds with fantasy elements makes this score memorable and hauntingly atmospheric. From the use of Medieval instruments to the lingering choral chants, Hart creates music that utilises the time period and the environment that the world inhabits. Tracks such as “The Giant’s Call” are beautifully fitting as they seem to merge natural sounds within the environment with a perfectly crafted score. It’s as though the score goes hand-in-hand with the scenes, managing to accompany the image and stand out without actually overwhelming the film at any point. Perfectly nuanced yet wide in its range of tone, Hart’s score is one of the best of the year by far.

Overall, The Green Knight is spectacular film that deserves to be seen on the big screen. Definitely worth the wait, Lowery manages to tell an Arthurian legend in a way that hasn’t been done before and mixes this with high fantasy imagery. It’s a film that packs both a visual and emotional impact as we feel Gawain’s struggle to complete his journey physically and mentally.

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

The Green Knight is available to watch on Amazon Prime now!

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Luca (2021)

Pixar’s latest film, Luca, takes us all the way to the Italy and follows the life of the titular character, a sea monster, who longs to have adventures on the surface after being introduced to the land by his new friend, Alberto, who is also a sea monster. The two escape to the nearby town of Portorosso in a bid to purchase a Vespa so they can go on many adventures. There have been comparisons made with other films such as Call Me By Your Name and Disney’s own The Little Mermaid but Luca is a distinctly unique film of its own and blends wonderful animation style with an unexpected storyline. Directed by Enrico Casarosa and based on a script by Mike Jones and Jesse Andrews, Luca will leave you breathless thanks to the beautiful animation, engaging characters and heart warming message.

Casarosa’s direction is wonderful and Luca marks his feature directorial debut for Pixar following his beautiful Oscar nominated short, La Luna. What made La Luna such a standout short among the Pixar shorts is how vivid it is in its use of colours as well as how emotional the storytelling is. Casarosa certainly knows how to convey the emotion of storytelling through the differing landscapes. The script also does well in serving this desire for freedom as we are thrust into Luca’s world with very little set up so we become introduced to everything as Luca is. Taking inspiration from the films of Studio Ghibli in terms of the rich scenery, coming of age journeys as well as naming the town Portorosso after Ghibli’s beloved film Porco Rosso which also takes place in Italy. Jones and Andrew have written a film that dives deeper than what’s on the surface.

Leading the cast as the titular character is Jacob Tremblay, who has had a brilliant career for someone so young. Having his breakthrough aged 9 in the Oscar winning Room, Tremblay has quickly established himself as an actor capable of bringing a variety of strong performances that many adults could only hope to achieve. This makes him perfectly cast as the titular character, Luca, who wants to explore the world against his parents’ wishes. There are a lot of similarities between Luca’s character and Miguel from Coco in that they are both young boys who want to venture away from what is expected from them and express themselves. Where Miguel wishes to create music, Luca wants to travel and learn about the world. At the start of the film, we see how Luca’s life is micromanaged and despite living in the ocean, is confined to a particular amount of space and is not allowed to venture outside of it before his eyes are opened by Alberto who shows him that there is an entire world out there. Tremblay embodies Luca’s adventurous side and enthusiasm for learning really well and makes the film even more enjoyable to watch.

The rest of the cast is full of newer faces as well as established names which provides a freshness and balance which is needed. Sometimes, animated films can be filled to the brim with starry names but this can take away from the magic of the film. Jack Dylan Grazer does a fantastic job as Alberto, the confident know-it-all who introduces Luca to the surface. As he grows closer to Luca, we begin to see Alberto’s deeper layers and his vulnerability begins to show. Grazer portrays this perfectly and, like Tremblay, has demonstrated his ability to act in a wide range of roles. Newcomer Emma Berman brings a wonderfully energetic performance as outgoing Giulia, who is determined to win the local triathlon while acting staples Maya Rudolph and Sacha Baron Cohen are absolutely wonderful in their small roles as Luca’s mother and uncle respectfully.

With the film being set in Italy and showing this big adventure and friendship between Luca, Alberto and eventually Giulia, the music had to be spectacular to match the film’s brilliance. When it comes to superb film composers, there are few that have achieved the emotion and spectacle in their music as Dan Romer. Romer’s score for the phenomenal Beasts of the Southern Wild is one of the best scores this century thanks to his strong control using brass and strings specifically to convey the fine line between emotions. It is no different with Luca. Bringing in signature brass statements when the boys escape to Portorosso and mixing it with softer pieces, Romer adds another successful installment in a filmography that is bursting with so much talent.

Luca does have an abrupt start but once it finds it flow, the film begins to unfold and develop beautifully. Combining lovable characters, a great script and fantastic direction that has become a staple of Pixar creations, Luca brings an important message of accepting one another’s differences and pursuing your passions in a world that is full of sunshine and colour. A brilliant summer blockbuster, it definitely would have been great to see this on the big screen and hopefully Pixar will be coming back to cinemas with their next release.

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

Luca is available to watch on Disney+ now!

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Minari (2020)

One film that has received unanimous praise is Lee Isaac Chung’s beautiful drama, Minari. Starring Steven Yeun as Jacob, the patriarch of the Yi family who have immigrated to America from Korea. Having previously lived in California with wife, Monica (Han Ye-ri), daughter, Anne (Noel Kate Cho) and son, David (Alan Kim), the family moves to rural Arkansas where Jacob hopes to build a farm full of Korean fruit and vegetables for vendors in Dallas. Having to balance his dream to be a successful farmer with the dramas of family life, especially the arrival of his mother-in-law, Soon-ja (Youn Yuh-jung) and the family’s identity as Koreans living in America. Nominated for six Academy Awards and winning one for Best Supporting Actress for Youn Yuh-jung’s stunning performance, Minari landed on many critic’s best film list and it’s easy to see why. 

What Minari does so well is capture that struggle of the American Dream. The Yi family literally and figuratively want to own their small slice of paradise and Steven’s relentless pursuit and determination allows us to see the ups and downs of the struggle. Coinciding with the additional subject of the family being Korean immigrants, there are undertones of racism in the exchanges that they have with their local, predominantly white, church, especially where the children who don’t fully understand are concerned. We see the film through both adult and children’s eyes and are able to get a fully rounded view of the experience. Chung’s screenplay feels deeply personal and it is clear in his direction that this is a subject that he is extremely passionate about. The merging of American and Korean culture is mixed together to create this wonderful film that shows appreciation for the little things in life rather than aiming for the stars. 

Since leaving TV’s The Walking Dead, it’s been great to see Yeun starring in lots of interesting films, including Sorry to Both You. However, his performance in Minari has cemented him as a truly Hollywood leading man. Jacob is a deeply flawed character, often putting his American dream before his wife and children’s needs but he does have his family’s interests at heart. Yeun is perfectly cast as Jacob in what is his most dramatic and challenging role to date. Feeling the weight of the family on his shoulders, Jacob works tirelessly to provide for his family as well as securing their future prospects as well. What Yeun does so well is show the resilience of the character as well as that quick change as he shares precious moments with his children, especially David. Well deserving of his Oscar nomination, Yeun has already shown us his ability to act in a variety of genres and mediums showcasing a huge emotional range and it feels as though his performance in Minari is a fine combination of him performing at his very best.

In support, Youn Yuh-jung brings an Oscar winning performance as Soon-ja, the family grandma in what can only be described as a wonderful turn. Youn has been an established name in Korea where she has pulled off decades of phenomenal performances after the other. It’s great to see that success thrust into the global spotlight and even better that the film industry has bestowed her with a slew of major awards. Soon-ja is a character who soon glues the family together, causing friction initially, especially with David as he doesn’t want to embrace his Korean heritage. However, the two soon share an inseparable bond and it is an absolute delight to watch. Soon-ja comes into the film a little while in so we are able to see how her arrival completely shifts the family dynamic. 

One aspect of the film that has been getting a lot of attention is the score, composed by Emile Mosseri which was well deserving of the praise and award nominations it received. Bringing a calmness to the film, the score is delicate and classical in sound whilst also managing not to deter from the action happening on screen. Mosseri’s piano based music feels melancholy at times, especially during scenes in which it seems that Jacob’s dream is out of his hands but there are also moments when it feels like the catalyst for bonding such as the moment when Soon-ja shows David where to grow the minari. 

Overall, Minari is one of the most fulfilling films to come out of this awards season. Whether you’re admiring Chung’s impeccable screenplay and direction or blown away by the stellar performances from the cast, Minari is guaranteed to exceed your expectations. It may not have the bells and whistles that other films have but its humility and minimalism allows the characterisation to take centre stage and is sure to leave you stunned and captivated long after the credits roll. A truly stunning achievement and hopefully marks even more incredible films in the pipeline for Chung. 

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

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Another Round (2020)

Another Round has steadily become the favourite to win the Best International Feature Film Award at tonight’s Oscars thanks to its brilliant mix of comedy and drama. Directed by Thomas Vinterberg, the film follows four uninspired teachers who decide to start an experiment where they retain a certain amount of alcohol in their blood throughout the day and note the effects. With a cast led by Mads Mikkelson, Another Round is bonkers and disorientating as we follow the downwards spiral of the men as their lives descend into chaos as they constantly increase the alcohol intake. The film has garnered a lot of attention thanks to the film’s originality as well as Mikkelson’s perfect leading performance as history teacher, Martin.

Based on a script written by Vinterberg and Tobias Lindholm, Another Round has the perfect balance of comedy and drama. The film is filled with physical comedy as well as an extremely sharp script that gives each of the teachers a clear story and motivations for taking part in the experiment. Combined with Vinterberg’s sharp direction, the film can be disorienting and chaotic to reflect the drunken displays occurring onscreen while at the same time portraying the happiness that the characters are feeling. The final scene in which Martin performs an incredible improvised dance that acts as a release for all of the emotions and events that have happened in the film and is perfectly choreographed and directed. Vinterberg’s inclusion on the Best Director nomination list was an incredibly welcome surprise in what has been a fantastic awards season.

Mads Mikkelson is on top form as history teacher, Martin. His life seems uneventful and unexciting as he goes to work, comes home, goes to sleep and repeats the process. He has clearly broken down as he is distant from his wife and kids and his students are dissatisfied with his teaching. When he partakes in the experiment, it is as though Martin is a completely different man and starts to come out of his shell before the drinking overtakes everything and has a gigantic fall from grace. Mikkelson is on top form from beginning to end. We feel the disorientation that goes with the loss of control as well as the highs that come with his initial success in work and family. With such a complex character in a role that is physically and mentally demanding, it was great to see Mikkelson recognised with a Best Leading Actor nomination at this year’s BAFTAs and it would have been even better to see him among the nominations at the Academy Awards as well but being able to demonstrate his ability to play any genre with ease, this film serves as another great addition to a fantastic filmography.

The supporting cast does a brilliant job of portraying the chaos that surrounds Martin with Thomas Bo Larsen bringing a performance that will have you crying by the end. Larsen plays Tommy, the PE teacher who works with the younger children in the school. When the experiment is underway, it is Tommy whose life begins to spiral out of control almost immediately and it gets to the point where he loses that control and cannot retain it. Hiding numerous bottles of alcohol in the gymnasium equipment room is only the start of the bottle. After the men agree that their alcohol consumption is getting to a point where they are concerned about alcoholism, they stop the experiment but Tommy continues to drink. The scene in which he turns up to a staff meeting inebriated beyond belief is heartbreaking as he has lost all sense of self. The final encounter we see between Tommy and Martin is upsetting and it’s thanks to Larsen’s incredible performance that we really feel the despair for the character.

Another Round is a film that is bold and daring while also remaining a celebration of life. The four men work in the same school and yet lead entirely different lives and the experiment brings forth a common denominator between them as everything is put into perspective. Vinterberg has created a film that feels revolutionary in its fearlessness and the highly charged emotional scenes juxtaposed with literal song and dance in a way that feels real and grounded. Mikkelson proves again that he is capable of performing any role in any genre as he excels and carries off what is easily a career best in a career that is filled to the brim with impeccable performances.

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

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Sound of Metal (2019)

Sound of Metal has been on the minds of many film fans for years now. With images first released a couple of years, it was definitely worth the wait. Darius Marder’s directorial debut is a fantastic study into deafness. Following heavy metal drummer, Ruben Stone (Riz Ahmed), whose life is turned upside down as he loses his hearing and his struggle to adapt to his new life. From a script written by Marder and his brother, Abraham Marder, Sound of Metal will have you feeling the distress and frustration that Ruben experiences as we begin to see and hear the world through his eyes and ears.

The first thing to notice is the brilliance of the script. Starting off at a concert, Ruben plays the drum in a band while his girlfriend, Lou (Olivia Cooke) sings. It’s an overwhelming experience filled with loud music which is then contrasted with the gradual loss of hearing through the subsequent scenes. As Ruben has to accept that his music career is over, he must also adjust to the new situation. As a recovering alcoholic, his sponsor is concerned that he will relapse and sends him to a shelter ran by Joe (Paul Raci) where he can meet fellow people within the deaf community as well as finding a job that can suit him. The screenplay is fantastically paced and doesn’t leave a moment of relaxation as we explore Ruben’s relationships with his new community as well as trying to salvage his relationship with partner, Lou.

Riz Ahmed pulls off a career best performance as Ruben and has received an array of award wins and nominations, including a very well deserved nomination for the Best Leading Actor Award at this year’s Oscars. The film acts as a brilliant character study into Ruben’s life as we begin to learn more about him and his life story as the film develops. At the shelter, Ruben takes on a job as a children’s drum instructor and becomes an inspiration to those around him as well as inspired by the community who has welcomed him with open arms. Despite this, he still feels as though something is missing. With Lou having gone back to France, Ruben cannot feel cometary satisfied or whole without his hearing and he becomes determined to get implants put in that can bring back his hearing. This conflict between retrieving his hearing and learning to accept his deafness is one that resonates throughout the whole film and the results are heartbreaking.

In support, Paul Raci is fantastic as Joe, the owner of the shelter that Ruben is taken to. Having also lost his hearing later in life, Joe is able to lip read and interpret and is the key that Ruben needs to accept his situation. Raci has long worked as an interpreter and his deep knowledge on the subject makes him the perfect choice for this role. His final scene in the film when Ruben tells him about his implants is absolutely heartbreaking as it seems that his work was for nothing. His presence in the film is scattered throughout and he seems to be the missing puzzle piece as Ruben needs to find a consistency that his old life couldn’t afford him. Joe gives him the opportunity to settle down and make a decent living inspiring children to become musicians. Raci’s Supporting Actor nominations this awards season are completely deserved and it’s fantastic to see him receive such recognition for a brilliant performance that will stay with you long after the film finishes.

The sound editing and mixing in this film is second to none. Brilliantly conveying the struggles of Ruben’s deafness through the use of muffled sounds, moments of complete silence which is later juxtaposed by a whirlwind of chaotic noises after Ruben receives his implant. The sound team have done a brilliant job of keeping the audience on edge and capturing their attention by making the film just as important to listen to as it is to watch.

Sound of Metal is an exhilarating watch that will have you feeling the frustration and limitation as the protagonist as he struggles to deal with his new life. With extremely strong and impactful performances from the cast and a stellar script to boot, this a film that commands your attention from the first frame and will hold it until the credits start to roll.

What did you think about Sound of Metal? Let me know in the comments below!

Sound of Metal is available to watch on Amazon Prime!

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Nomadland (2020)

Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.

Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.

Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.

It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.

Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.

What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.

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