Tag: producer

The Love Witch (2016)

Anna Biller’s second feature, The Love Witch is a film I have been eager to watch for a while now. Since its release in 2016, The Love Witch has gained a cult following and become a firm favourite of modern horror thanks to its modern interpretation of 60s horror. The film follows witch, Elaine Parks (Samantha Robinson) who moves to a small town after suffering a breakdown due to the death of her ex-husband. The films acts as an ode to 1960s horror films as well as a technicolour fantasy and is definitely a passion project for Biller who serves as director, writer, producer, editor and composer. If that alone doesn’t impress then the final result is sure to please. Much like the film’s protagonist, The Love Witch is impossible to put into a box. It stands on its own two feet as a brilliant feminist piece that subverts the rules in the filmmaking book to create one of the most original films this century.

Biller’s vision is fully realised thanks to her impeccable direction and writing. The choice to make the actors perform in a presentational style plays in perfectly with the nostalgic side of the film. Also, Biller’s genius use of natural colouring to give the film a technicolour aesthetic is innovative and unique. The dedication Biller put into this film is phenomenal and she is definitely a filmmaker to watch. Her script is among the best original scripts of this century hands down and I am shocked it wasn’t up for some major awards. It’s a shame that this film didn’t receive a wide release because it’s a wonderful representation of women in film. This is very much Biller’s film and its empowering to see a woman take the helm at so many roles in the filmmaking process.

To say Samantha Robinson is hypnotic as Elaine is an understatement. From the first shot when we see Elaine driving to her new home we hear her story in the voice over, it’s clear that the weight of the film lies on Robinson’s shoulders and she carries with ease. Elaine is a tragic character, desperate to find love and will do anything to get it but faces drastic consequences. To write her off as a weak character would be a huge mistake as there is a strength to Elaine that becomes evident as the film unfolds. Unafraid and aware of her sexuality, Elaine tries to find her place in a patriarchal world that has never cared for her. This is a fantastic breakout role for Robinson and proves that she has a promising career as a leading actress. Even when she isn’t onscreen, her presence can be felt because she is so affectice in her role. As Elaine begins to succeed in her quest for love, the mask begins to slip as her self-absorbed nature and lack of empathy leads to her downfall. It soon emerges that maybe Elaine isn’t as naive as we are led to believe. This is thanks to the presentational acting which Robinson pulls off flawlessly.

Biller’s score is inspired by Medieval and Renaissance music injected with synthesised sounds to give it a modern feel. Much like the rest of the film, the score is unpredictable and deeply original. There are so many standout pieces throughout the film but the track playing when Elaine and interior designer, Trish go for tea is a particular highlight. The music numbers really enhance the film and create blur in genres as it flits from horror to musical to comedy in the score alone. There are also pieces that feature childlike singing which I think exemplifies the naivety of the film’s characters and is played at pivotal moments and the transition of naivety to realisation. I really hope that Biller continues to score her films because she perfectly encapsulates the originality of her film.

Overall, The Love Witch is one of the most original films I have seen in a while. Its unique take on nostalgia mixed with the strong female gaze makes it a strong win in my book. Biller’s talent as a filmmaker and visionary is evident from the opening shot and it’s clear that she is a force to be reckoned with. This has quickly become a firm favourite of mine and I can see myself rewatching this many times as it’s a film rich in subtext. I am really looking forward to seeing her next film Bluebeard.

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

Tags actor, actress, Anna biller, comedy, director, editor, female gaze, feminism, feminist, film, films, horror, love witch, movie, movies, producer, review, reviews, Samantha Robinson, satire, technicolour, the love witch, witch, writer

Director Ranking Spotlight

Jordan Peele: Film Ranking

Post author By Nicola
Post date 12 June 2020
2 Comments on Jordan Peele: Film Ranking

When it comes to the best horror visionaries of the 21st century, it is most likely that Jordan Peele’s name will crop up. He rose to fame for his comedic acting alongside Keegan-Michael Key in the hit shows Mad TV and Key & Peele and the two are still often cast together such as their voice work in last year’s Toy Story 4.

Aside from being a comedian, Peele is also an avid horror film fan and turned his attention to writing and directing horror films that have redefined the genre in recent years. He has experienced resounding successes both critically and commercially, which is fantastic for a rising voice in the horror genre especially. His films are original and topical, using the horror genre to explore the African American experience in modern-day America.

A four-time Oscar nominee, Peele is one of a few who has been nominated for Best Picture, Best Director and Best Original Screenplay for his debut, winning the latter for 2017’s stellar Get Out. He has received an additional Best Picture nomination for his contribution as Producer for Spike Lee’s incredible BlacKkKlansman (2018). Peele is on course to become a master of the horror genre and it’s exciting to see what films he creates next.

Get Out (2017)

Peele’s directorial debut was a game-changer in many ways. The hype for this film spread like wildfire and it soon became one of the most critical and commercial successes of 2017. Following African-American photographer Chris (Daniel Kaluuya) who sets off with his white girlfriend, Rose (Allison Williams) to meet her family over the weekend which gradually shifts from a nervous first encounter to a nightmare beyond belief. Peele flips the horror genre on its head with Get Out. Horror films in general tend to exaggerate racial stereotypes a lot more than other genres but what Peele absolutely rejects this and gives us an array of characters who are well-rounded with their own background stories and motives thanks to the incredible script. The film is filled with so many layers that you can notice something different every time you watch the film. From the brilliant supporting performances from Lakeith Stanfield and Lil Rel Howery to Michael Abels’ impeccable score. What sets it apart from other horrors is that the villains are white middle-class liberals whereas a lot of racism in horror is at the hands of the right-wing. The film was nominated for a slew of awards including nominations for Academy Awards for Best Picture, Best Director and Best Actor in a Leading Role for Kaluuya, winning Peele the Oscar for Best Original Screenplay in a year that was incredibly strong in competition. Get Out is only 3 years old and yet has already solidified itself as a horror classic and will certainly be marked as a milestone for the genre.

Us (2019)

Peele’s follow up is another demonstration of his talent as a skilled writer and director. Starring Oscar winner Lupita Nyongo’o as Adelaide, a woman who is haunted by a traumatic encounter she experienced as a child, and her family as they go on vacation. Aside from a couple of weird coincidences, everything seems to be going okay until the family are confronted by a family of doppelgangers who attempt to kill their counterparts. Us is a highly intense film filled with puzzle pieces that are eventually placed together. It is a joy to watch and Nyongo’o’s performance particularly is a knockout. To simply compare this film to Get Out would be ridiculous because they are so different in tone. Again, Michael Abels’ score is absolutely brilliant with its classical elements to reflect Adelaide’s ballet background. Gifted with four times the budget Get Out had, Peele takes advtange using multiple locations and the cast as expected is flawless with Winston Duke playing Adelaide’s husband, Gabe and Elisabeth Moss as family friend, Kitty leading the supporting cast. It’s a shame that this film wasn’t included in the awards circuit, especially for Peele’s screenplay and Nyongo’o’s spectacular performance.

Thanks to his genius and contribution, Peele has helped horror become the best genre to explore topical issues. He is clearly inspired and admires horror films but isn’t afraid to reject the stereotypes and add his own voice to the mix. It’s incredible to think how much Peele has achieved in the space of a few years and only serves for further excitement as to what projects he works on next, including as screenwriter and producer for the upcoming Candyman.

What do you think of Jordan Peele’s films? Let me know in the comments below!

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The Lighthouse (2019)

Robert Eggers’ follow-up to 2015’s The VVitch is a mind-bending mesh of chaos, insanity and broken masculinity. Starring Robert Pattinson and Willem Dafoe as two lighthouse keepers who are stranded on the island after a storm hits, The Lighthouse shows the men’s mentality break and crumble in a fashion never before seen on film. Co-written by Eggers and his brother Max Eggers and inspired by the unfinished short story “The Light-House” by Edgar Allan Poe, The Lighthouse is a brilliant look into madness and mayhem from the outset as the protagonists drink themselves into oblivion when a storm hits. Distributed by the illustrious A24, the film has become instantly iconic for it’s beautiful cinematography, brilliant screenplay and magnetic performances. It is a film that commands attention from the outset and despite it’s simple plot, it is sublimely complex and groundbreaking. Eggers has proven yet again that he is a filmmaker to watch. More like his contemporary Ari Aster (Hereditary and Midsommar), Eggers is bringing a new perspective on the horror genre. His films are not afraid to be gory and disgusting in a different way while also bringing in dark humour and aspects of magic realism. Incorporating sea folk such as mermaids and sea monsters in a space where they are clearly fantasy to begin with but slowly slip into the reality and getting to the point where their existence could be argued.

Robert Pattinson proves that he is on a promising streak of strong performances following his stellar turn in Claire Denis’ erotic sci-fi High Life (you can read my review here). Pattinson plays Ephraim Winslow, a newbie to the lighthouse keeping game who is put to strenuous tasks by the elder Thomas Wake. When he finds a mermaid ornament hidden in his mattress, Winslow becomes fascinated by the eroticism that the sea has and becomes sexually obsessed to the point where his fantasies and realities collide. Even he doesn’t know what is real by the end of the film. The events in the film act as an awakening for Winslow as well as proving to be his demise. He’s a character who never feels settled and is clearly out of place in the job. His inability to understand why what they do is important and Wake’s reluctance to allow him to see the light actually prove to be motivators for Winslow as he doesn’t allow the job to overwhelm him. Pattinson’s character is manic, quiet and calculating at the same time and I think this film is solid proof of how far he has come from his Twilight days. Considering he found fame in a mainstream franchise and will be starring as the titular character in the new Batman film, I think starring in indie films like The Lighthouse shows Pattinson’s passion and his desire for good characterisation and artistic growth.

Willem Dafoe gives a flawless performance as is expected. Undoubtedly one of the best working actors today, Dafoe’s portrayal of the elderly Thomas Wake is a revelation. He is boisterous and unafraid to stand his ground, having no trouble delegating all the hard work to his companion. At the same time, there are many moments when Wake will change his stories and claim that the stories haven’t changed at all. It’s a role that requires fearlessness which is something that Dafoe has in spades. Known for his controversial roles and ability to play any character to perfection, Dafoe manages to reach yet another career best which is amazing considering the performances he has pulled off the past few years, particularly his turn in The Florida Project. What differs with his performance in The Lighthouse, however, is that this role feels more fantastical and removed to how we usually see Dafoe and the result is immense. I firmly believe that he was deserving of Supporting Actor nominations through awards season but it wasn’t to be as The Lighthouse was shut out from most categories. I think what Dafoe does brilliantly is challenging himself and showing time and time again just how much range he has as a performer. Wake is a despicable man who takes advantage of his protegee and yet he is captivating, incomprehensible and misunderstood.

The score by Mark Korven marks his second collaboration with Eggers after providing the eerily fantastic music for The VVitch. Created in a similar vein to the aforementioned, the score for The Lighthouse is clearly inspired by old maritime songs and merged with traditional horror tones. The result is a suspense filled mesh of mayhem that stands out clearly against the black and white backdrop of the film. It feels timeless and yet not suited for any time with its standoffish tone. There are many jarring string pieces that are like the tempting siren but then contrasting with the stormy surrounding and building tension as the relationship between the protagonists becomes more unbearable. Looking back, this has been a fantastic year for movie scores and even among all the best soundtracks, The Lighthouse proves to be equally simple yet effective, heightening the viewing experience.

I think this is a film that has the potential to go down as a horror classic. It feels experimental and brave, pushing the boundaries on film-making through the use of its contrast between simplicity and complexity. It’s a horror in many ways from its gore to its mental abusive nature and the inability to trust in its lonely characters makes it a nail-biting experience. I think it’s a real shame this was locked out of almost all categories but glad that Jarin Blaschke was recognised for his phenomenal cinematography. The Lighthouse has proven to be a marmite film among film lovers but it is a deeply rewarding experience and the vision is executed beautifully. It’s a film that I look forward to viewing again and again as I think I’ll notice even more elements that I admire. It makes me keen to see where Eggers’ career will take him next and eager to see if he continues with his great collaborations.

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

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1917 (2019)

1917 is a World War I epic that seems to be the one to beat when it comes to the Best Picture award. Co-written, directed and produced by Sam Mendes, the film acts as a tribute to his grandfather, Alfred Mendes, based on stories that he would tell about the war. Following two young soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) who are tasked with travelling across enemy lines to warn off a British attack before they fall into a trap set by the Germans. The film has become well-regarded for its flawless editing, designed to look like two continuous shots. As well as beautiful technique, 1917 also boasts a stunning cast that includes well-loved actor of the big screen such as Colin Firth and Benedict Cumberbatch as well as TV favourites such as Daniel Mays and Andrew Scott. As expected, Mendes delivers and the continuous shots and editing only exemplify the non-stop nature of war. There is only one point in which the audience is allowed to relax at the start of the third act of the film. The writing is simple as Mendes lays focus on the physicality and the atmosphere rather than the dialogue. There are few monologues and those with speeches such as Andrew Scott’s Lieutenant Leslie are at rare moments of stand still. Co-written by Mendes and Krysty Wilson-Cairns, the script is minimalist in dialogue. Even when following the two Lance Corporals on their journey, we never really hear Schofield’s backstory because he is so withdrawn. One brilliant scene is when Schofield is picked up by a passing British unit and they are sat in the back of a truck. Schofield sits silently as the soldiers around him comment on their various backgrounds, imitate their General and comment on whether occupying other countries is worth the damage. It’s a poignant scene which brings in a humane aspect that is often missing from World War films.

The performances are impressive, particularly by George MacKay who is always on camera. He carries the film in the same way that he carries the message to the troops. It is no easy feat as an actor to hold so much pressure from such a big film but MacKay has shown promise from the early days in his career and his subsequent breakout performances in Pride (2014) and Captain Fantastic (2016). 1917 exploits MacKay to a mainstream audience that he won’t have been subject to in such a way previously. His Lance Corporal Schofield is reluctant to go on the mission and keeps his cards close to his chest but his determination to see it through is fearless, particularly in the final scenes as he runs through the trenches. Schofield and Blake appear to have different takes for their mission at the beginning. Blake is insistent on setting off immediately whereas Schofield logically believes in waiting until dark. Because of the emotional stake that Blake has in the mission (his brother is among the troops heading into the trap), Schofield has to ensure that Blake’s heart doesn’t lead his head.

The two protagonists balance each other out as Blake risks his own life to save Schofield when a bomb is set off in a German trench. Chapman is also fantastic as Blake who appears naïve due to his sentimental nature. When encountering a German soldier whose plane was shot down in a dogfight, Blake’s gut reaction is to assist and get the soldier some water to ease the pain whereas Schofield doesn’t hesitate to shoot at the enemy. As mentioned before, the supporting cast is littered with stars from the small and silver screens. Admittedly, the supporting cast are granted one scene each so it’s more of a cameo, but each actor makes the most of their moments. Andrew Scott particularly delivers a brilliant monologue as a Lieutenant who has little hope in winning the war whereas Benedict Cumberbatch’s Colonel Mackenzie views he retreat from battle as a sign of defeat. The fleeting appearances from the supporting characters is thanks to the perfectly linear narrative of the film itself. We see the two Lance Corporals setting off to warn the Devonshire Regiment and ending with Schofield sat beside a tree in a mirror image of the opening shot.

It would be a big misjustice not to mention the revolutionary cinematography and editing provided by Roger Deakins and Lee Smith, respectively. Both men are at the top of the game in their respected fields and they work fantastically as a team. What these men have managed to achieve feels as claustrophobic and in your face as the war itself. There are many comments from people saying that the continuous effect took some getting used to but for me it felt natural and flowed perfectly. The editing is in a similar vein to the technique used in Birdman but on a bigger scale. What Deakins does so brilliantly is simultaneously provide big explosions shots filled with action while also maintaining great focus on the individual protagonists’ faces. Despite everything that is going on around the soldiers, the audiences’ eyes are fixated on the characters. Deakins’ colour palette is muted as expected in a war film with greens and browns. There are no exaggerated colours or futuristic spectacles. Deakins ensures that the film is very much grounded in its reality. Together, Deakins and Smith manage to create a film that is visually captivating and stunning, making the best use of the environment given and its limited landscapes.

On the musical side of things, Thomas Newman’s score for this film is beyond incredible and has deservedly earned him his 15th Academy Award nomination. This year has seen a strong competition in the score category with both Thomas and Randy Newman pulling punches for their scores for 1917 and Marriage Story, respectively. Undoubtedly, the Best Original Score gong will go to Hildur Guðnadóttir for her stellar work on Joker making her the first woman to walk away with the award. It shouldn’t go unnoticed, however, that Thomas Newman’s score is among his best. Much like the editing, the film is reliant on its score which acts like a thread connecting the scenes. Needless to say, if Newman does end up winning, I wouldn’t be disappointed.

Overall, 1917 has proven to be a much better film than I had originally anticipated and I found myself moved and stunned by the technical and artistic achievement that Mendes has managed to pull off. I’m not sure if it’s a film that you need to watch more than once as I personally got everything out of the film that I needed in one go. I imagine that in time, it will become renowned and known for its technical aspects and the uniqueness in that field rather than the characters.

What do you think of 1917? Let me know in the comments below!