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Anatomy of a Fall (2023)

One of the most exciting inclusions in the upcoming awards discussion is Anatomy of a Fall. Winner of the Palme d’Or at the 2023 Cannes Film Festival, the film follows novelist Sandra Voyter (Sandra Hüller) who is accused of murdering her husband, Samuel (Samuel Theis). Making use of the French Alps setting, Anatomy of a Fall is a film that perfectly balances open space with a claustrophobic feel.

Directed by Justine Triet who co-wrote the screenplay Arthur Harari, Anatomy of a Fall is captivating from beginning to end. Triet’s direction has a timeless quality, drawing inspiration from classic crime dramas with the use of close-ups. The surface plot regarding Samuel and his death serves as a door into Sandra’s character and her life. Triet’s triumph at Cannes is well-deserved, becoming the third woman to take home the Palme d’Or.

Sandra Hüller provides one of the best performances of the year as Sandra. The role was written with her in mind and this is made clear beyond the name. Hüller slips into the character of Sandra seamlessly, encapsulating every essence of her being. There is a wonderful subtle quality to the performance that leaves the audience unsure as to what she is thinking. It also cannot go unnoticed that Hüller also excels in another 2023 film in Jonathan Glazer’s The Zone of Interest. Both films received top prizes at Cannes (The Zone of Interest received the Grand Prix which is often regarded as second place) and this is thanks in large part to Hüller’s ability to really connect with her characters and provide layers and layers to her performances. The argument scene between Sandra and Samuel in particular is an acting masterclass and should earn Hüller nominations across the board with potential wins.

Swann Arlaud is fantastic as Sandra’s lawyer, Vincent. Anatomy of a Fall is undoubtedly Hüller’s film but the character of Vincent is essential as we learn so much about Sandra’s background through their conversations. Arlaud’s performance feels natural and serves as the audience’s way into understanding the mechanics of both the main plot and also learning more about Sandra and her struggles.

One of the standout performances in the film is Milo Machado Graner as Sandra and Samuel’s son, Daniel. Although his role is relatively small, he does a brilliant job, especially for a child actor. Like Sandra, Daniel keep his cards close to his chest. We see him vent his emotions through piano practice and sense his frustration and upset at the situation. It’s great to see Graner receive recognition for his wonderful performance.

The cinematography by Simon Beaufils is stunning in every setting. From the open landscapes to the chalet interior, Beauflis’ work captures seemingly idyllic and scenic images in a way that subverts these qualities and feels claustrophobic and uncomfortable. The use of natural light allows the vulnerability of the characters to shine through while the openness of the mountain range contrasted with the smallness of the chalet captures the overall mood of the film.

Overall, Anatomy of a Fall is a film that commands your attention. The writing is impeccable and Hüller leaves you hanging on every word. If only France had submitted this film for the Academy Awards it would have been the frontrunner. However, it would be a surprise not to see Anatomy of a Fall included in some major categories on nomination day, especially for Sandra Hüller’a magnificent performance.

What did you think of Anatomy of a Fall? Let me know in the comments below!

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Julia Ducournau: Double Feature

Horror has seen s huge resurgence in recent years, especially when it comes to original ideas. Directors such as Ari Aster and Robert Eggers have helped propel horror into a new era. However, oftentimes, the female perspective is forgotten and just as there are many male horror directors, a number of women have come forward to craft their own visions such as Jennifer Kent’s debut The Babadook and Rose Glass’ debut Saint Maud. Another director who has made waves is French director Julia Ducournau who made her feature debut in 2016 with her coming-of-age horror, Raw, while her followup, Titane is even more brutal and explicit in its gore and walked away with the top prize, the Palme D’Or at the 2021 Cannes Film Festival.

The first thing you may hear when coming about Ducournau’s films for the first time is the controversy that surrounds them. Her films are not for the faint of heart and even hard-core horror fans have been known to flinch once or twice at some of the scenes. However, her approach to “body horror” is not gratuitous in the way that many male directors have done in years past as Ducournau gives power to her female protagonist rather than writing female characters that have been created to be tortured.

Raw (2018)

Ducournau’s feature debut, Raw, could initially be mistaken as a regular coming-of-age story as Justine (Garance Marillier) is about to start veterinary school. However, things take a deep dive into horror territory as lifelong vegetarian Justine discovers that she has a hunger for raw meat, especially human meat. Raw was met with much controversy on release as word spread that people fainted during the screening due to the explicit gore. It is a shocking film to watch and one that can cause upset due to the content, but Raw is an intricate commentary on the female experience and the pressures and expectations that society places on women.

Titane (2021)

Her second film, Titane, also made waves on release and follows serial killer, Alexia (Agathe Rousselle), who is impregnated by a car and subsequently begins to experience horrific bodily changes. When Alexia goes on a murderous rampage, she disguises herself as a missing boy and finds herself living eith the boy’s father, Vincent (Vincent Lindon), who also has his own fair share of bodily issues. Titane is unflinching and unapologetic in its approach to discussing gender and subverting traditional and stereotyped gender roles. You can read my full review for Titane here, but needless to say, it is a wild ride from start to finish.

What makes Ducournau such an exciting filmmaker is her fearless approach to filmmaking. Not only does this fearlessness relate to the subject matter or the scope of horror involved, but the way that she directs is truly innovative and unique. Ducournau’s ability to capture the essence of femininity and the horrors within are second to none and this makes her a force to be reckoned with. Since making her brutal debut with Raw, Ducournau has garnered a reputation for her unflinching perspective on the female gaze and gender, taking her place among the best horror directors while doing so.

Which Julia Ducournau film is your favourite? 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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Why Parasite’s win is important

Going into the 92nd Academy Awards, it seemed that pretty much every category was a lock. Joaquin Phoenix was favoured to take home the Best Actor gong for Joker, Renee Zellweger winning Best Actress for Judy and Sam Mendes was the strong favourite to win Best Director for 1917 with the latter ultimately winning Best Picture. How much the Academy surprised us then when the Best Director trophy was awarded to Bong Joon-ho for Parasite and then his film won the Best Picture award, beating the odds. Personally I was very happy as I had placed a bet on Parasite to win so there was a monetary reward for myself but the happiness goes to another more serious level. 1917 is a prime example of a quintessential award film. Don’t get me wrong, 1917 is a brilliant film that is full of revolutionary technical achievement, particularly Roger Deakins’ cinematography but it is no secret that the Academy and other Western award bodies have a love affair with war films. So much so that it has become a running joke in the film industry that to win awards, you have to make or star in a war film.

For those who are not in the know, Parasite is a Korean film exploring classism and inequality in a society that only benefits the rich and leaves those poorer to live in the gutter (quite literally). It has been the source of much hype since its premiere at last year’s Cannes Film Festival where it won the top prize, the Palme d’Or, in a rare unanimous vote, marking the first Korean film to win the prestigious award. Korean cinema is among the best in the world and has been a leading institution for years for filmmakers and film lovers and it felt like it was finally getting its due in the mainstream. Bong Joon-ho has previously delved into English-language with Snowpiercer (2013) and Okja (2017) which have become much-loved modern classics and released to acclaim; however, I think it’s poignant that Bong’s ascendance to the global audience has come from a Korean-language film that explores Korean society. It is very much detached from Western society in both its subject matter and filmmaking technique, allowing Bong to direct without the restrictions that Western studios demand. The fact that a film like Parasite, a film that is inherently unique in its style and content can beat a film like 1917 shows that there is an appetite for a different kind of film experience. It also shows a promising step forward in what audiences now expect. Naturally, franchises such as the Marvel and DC films still top the box office but Parasite concrete proof that people want more variety in the cinemas as well. Parasite’s subsequent box office success after its award wins confirms this. Now that it’s been given the chance to screen in more cinemas, it’s been able to demonstrate that there is an audience who want to watch foreign-language films, snubbing the assumption that Western audiences don’t want to watch films with subtitles.

There are many people who dismiss award season as pointless and dim, viewing it as celebrities patting themselves on the back. I don’t think it is as simple as that though. The truth is people do pay attention to awards season and follow the films that are successful. Of course, a lot of time there are the usual suspects who are nominated time and time again, sometimes undeservedly but when you have a film like Parasite that isn’t given the same chance as a mediocre English-language film then the exposure that award season brings is crucial for the film’s box office success.

Overall, there were some brilliant films this award season but Parasite was the clear standout. The fact that it won the major awards is a sign that the Academy is looking at artistic merit and not just succumbing to making it a popularity contest. Parasite’s win may not seem significant but the importance cannot be understated. Hopefully this will spark the beginning of an awards body that seeks to be more inclusive and diverse, giving all films an equal chance.

Here are my reviews for some of the films of the 92nd Academy Awards:

Winners: 1917, Joker, Jojo Rabbit, Judy, Marriage Story, Once Upon a Time in Hollywood, Parasite, Toy Story 4

Nominees: A Beautiful Day in the Neighborhood, Bombshell, The Irishman, The Lighthouse, The Two Popes

Snubs: Dolemite Is My Name, Hustlers, Midsommar, Uncut Gems

What did you think of Parasite’s winning streak at the Oscars? Let me know in the comments below!

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Parasite (2019)

The most original film to come out of this year’s award season, Bong Joon-ho’s Korean masterpiece Parasite which can only be described as brilliantly bizarre. Since its premiere at Cannes Film Festival, the film world has been abuzz for this film. It subsequently took home the prestigious Palme d’Or beating out Quentin Tarantino’s mainstream favourite Once Upon a Time in Hollywood (you can read my review here) and has become a huge favourite this awards season, breaking the mold by being the first Korean film nominated for major awards. Particularly for non-English language films, Parasite has managed to achieve the impossible but it has done so for a reason. Joon-ho’s flawless mix of genres means that you cannot really place Parasite within a particular set. It is a perfect mix of drama, comedy, horror and thriller while also discussing a variety of topics including classism and gender. Parasite refuses to conform and because of this, it stands out as one of the most original pieces of the 21st century.

The film follows the Kim family made up of father Kim Ki-taek (Song Kang-ho), mother Chung-sook (Chang Hyae-jin), son Kim Ki-woo (Choi Woo-shik) and daughter Kim Ki-jeong (Park So-dam) as they struggle to make ends meet by working temporary jobs that pay little and are living in a semi-basement that is constantly subject to flooding, public urination and fumigation. When Ki-woo is given the opportunity to work as an English tutor to a daughter of the affluent Park family, the Kim family concoct a plan to create jobs for themselves in the stylish household thus earning a decent wage and living the high life themselves as the Park family’s household grows evermore unstable. On the other side, there is the Park family consisting of father Park Dong-ik (Lee Sun-kyun), mother Yeon-gyo (Cho Yeo-jeong), daughter Park Da-hye (Jeong Ji-so) and son Park Da-song (Jung Hyeon-jun) and their housekeeper Gook Moon-gwang (Lee Jung-eun). It is a film that presents the extreme balance of classism from either side with the housekeeper acting as the literal and figurative gatekeeper in the middle.

parasite2

Joon-ho’s direction feels unique and innovative as he manipulates setting and space to create an alternative universe within a very grounded and real place. The physical placement of the Kim family’s house being below the ground and the Park’s mansion placed high up on a hill creates a physical hierarchy. The airy, spacious setting and architectural minimalism of the Park home screams luxury and relaxation which is a stark contrast to the crammed and narrow corridors of the Kim basement where the toilet sits on a higher level to the rest of the bathroom. Joon-ho’s decision to only show the two homes as primary location only exemplifies the issues of class and belonging even more. It is no surprise that it is the smell of the basement that lingers with the Kim family and creates a separation between the two families. Despite being treated as such, they can never truly be equals. Joon-ho’s script, co-written with Han Jin-won is sharp and natural. They know when the film benefits from minimal dialogue and when to create chaos as the two families clash. As mentioned before, the film is a mix of many genres and doesn’t really have a place within one category. This isn’t a bad thing at all because in a way, it has shown Joon-ho’s skill as a filmmaker.

The main cast capture the film perfectly. One particular highlight is Song Kang-ho who brings a phenomenal performance as the Kim patriarch Kim Ki-taek who finds work as the Park family driver, mainly working for the family patriarch Park Dong-ik. He doesn’t hesitate to manipulate the Park family and take advantage of the luxury lifestyle but becomes deeply affected and paranoid when the comments of the Kim family smell arise. It is these moments that ground Ki-taek and make him realise that the lifestyle they think they are living is only an illusion. Despite their hardest efforts, they cannot rid the stench of the basement. Aside from being a film that explores the differences in class, it also does a great job at showing acceptance and place of belonging. Ki-taek doesn’t wish to change anything really and eventually begins to despise Dong-ik. Choi Woo-shik also brings his A game as Ki-woo, a young man who aspires to get out of his current situation. Working as Da-Hye’s English tutor gives him an insight into the life that he wants but not all is as it seems. Ki-woo starts a web of lies as he manages to coerce his employers to hire members of his family without them realising.

parasite3

Parasite is a fantastically bonkers film bursting to the seams with originality and I hope it triumphs at the Oscars and wins the major awards. As much as I did enjoy Sam Mendes’ frontrunner 1917 (you can read my review here), Parasite is a film that brought more to the table and something different. Not only would it be an incredible moment for film history to see a Korean film sweep some major awards that are often excluded to English-language films only (insert Roma snub here). The hype that Parasite has generated is truly deserving and it’s great to see that it is connecting with a global audience.

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