Tag: screenplay

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Review

Die My Love (2025)

Die My Love is the latest offering from the incredible Lynne Ramsay. Coming almost a decade after her previous film, You Were Never Really Here, Die My Love follows doomed lovers, Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) as they navigate parenthood in their new home. The film blurs the line between reality and the darkness that Grace begins to experience as she struggles with the pressures of being a new mother.

What makes Lynne Ramsay an excellent director is the fearlessness in her approach. Her films utilise morally ambiguous protagonists in a bid to discuss a larger and more universal topic which in Die My Love is postnatal depression and the pressures placed on mothers. As ever, the direction is striking as Ramsay uses the house as a metaphor for Grace’s state of mind. The opening scenes show the house empty but filled with potential and excitement as Grace and Jackson dance and goof around. Soon enough following the birth of their baby, the house becomes cluttered and dark to the point where it is completely unrecognisable. We see her try to keep herself under control while using the neighbouring woods as an outlet for her animalistic movements. However, the scene where Grace loses control and suffers a breakdown in the bathroom is extremely harrowing as she does significant damage to herself and the home in such a tiny enclosed space.

Jennifer Lawrence is electric in her turn as Grace, giving a phenomenal performance that is reminiscent of mother! in its darkness and grit. Lawrence is in a new phase of her career with complete control over her roles while also adding producer to her resume. If mother! showed a woman struggling to maintain order in a world that actively works against her then Die My Love is the result of that woman endlessly fighting against the judgement of those around her. This performance feels personal and has a rawness that only works thanks to Lawrence throwing herself into the role with everything she’s got. Grace is a character that pushes Lawrence beyond any other performance she has done and while there are some great physical moments that showcase Lawrence’s range, the scenes where she is able to convey her struggles subtly are the most heartbreaking. The scene where Grace and Jackson go to a friend’s house and Grace feels judged by the other mums. There is a fire and sorrow in her eyes that is so poignant that you feel her mind spiraling as she is triggered.

Robert Pattinson has such an eccentric filmography and that shows no sign of stopping any time soon. While the film is undeniably Lawrence’s, he still holds his own as Jackson. Grace’s struggles are front and centre to the film, but in the background we have Jackson who is grieving the recent loss of his father while also adjusting to his new role as father to his son and the pressures of being the sole moneymaker in the household. His attempts to make life better and more “normal” such as buying a dog may seem well-intended but in not warning Grace and refusing to help with the dog’s training, the sentiment doesn’t translate. In trying to create a façade of a nuclear American family, Jackson forces Grace to adhere to stereotypical traditional tropes, which is something that no woman can truly meet in this day and age.

Sissy Spacek rejects the bitchy mother-in-law tropes too frequently seen. Her performance as Jackson’s mother, Pam, is small but mighty, serving as an ally for Grace. Where other filmmakers would craft a character that is “out to get” Grace, Pam is understanding and concerned. She understands firsthand what Grace is going through in a way Jackson can’t because she too has suffered from the same pressures of motherhood. There’s a melancholy in Spacek’s performance as she is unable to stop Grace’s suffering, even when giving her the knowledge from hindsight.

Seamus McGarvey’s cinematography plays a big part in encapsulating Grace’s slip from reality as her depression and hopelessness builds. McGarvey uses open spaces to highlight the terror in the unknown. The most heartbreaking moments in the film come when the camera lingers on Grace’s face a little too long where we begin to feel her discomfort and misplacement. There is also a powerlessness as the camera sits almost at a distance like an observer, unable to intervene and make things better. This adds to the frustration that the characters feel as they succumb to their struggles.

While Die My Love is not an easy watch in any way, it’s unflinching look into postnatal depression and the realities of motherhood will undoubtedly leave its mark on you. Lawrence delivers a career-best performance that feels raw and fearless, making Grace not only a fully-rounded character, but one of the most “human” characters put to screen. Hopefully we won’t have to wait another decade for Ramsay’s next film because her strength to explore these issues in such an artistic and complex way creates some of the best characters we have seen in cinema.

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Review

One Battle After Another (2025)

Paul Thomas Anderson is one of the best directors working today because you never know what to expect with each film and One Battle After Another is no exception. Heralded as the best film of the year so far by numerous outlets, One Battle After Another is an unnerving portrait of the current political landscape, as far-right militia crack down on illegal immigration sparking violent protests from the far-left revolutionary group, the French 75. The film follows paranoid drug addict, Pat Calhoun (Leonardo DiCaprio), who must tap back into his French 75 training when his daughter, Willa (Chase Infiniti), is being hunted by the corrupt Colonel Steven J. Lockjaw (Sean Penn).

Marking his second Thomas Pynchon adaptation, director Paul Thomas Anderson lifts the basic plot of the novel, Vineland, from its Reagan-era setting and brings it to the 21st century. The result of which is an unpredictable study of political and socioeconomic conflicts in America that bubbles in tension as it interweaves characters meticulously until the fiery climactic third act. The fusion of Pynchon’s psychedelic wasteland and Anderson’s sharp attention to detail pushes One Battle into a league of its own and ultimately brings us a new kind of “epic” movie: one that is doused in dystopia nostalgia and intricate character dynamics.

Leonardo DiCaprio proves yet again why he is one of the best leading men in Hollywood. He is a tour de force as paranoid, drug addict, Pat Calhoun, a former bomb expert for revolutionary group French 75. Having worked with Martin Scorsese on a third of films released this century so far, DiCaprio has become synonymous with the realist gritty roles expected from a Scorsese feature. However, we’ve also seen DiCaprio venture into unfamiliar territory with highlights including his turns in Quentin Tarantino’s films Django Unchained and Once Upon a Time in Hollywood. However, it’s this performance as hopeless Pat that feels the most realised and distant from DiCaprio’s tenure in the 90s. We’ve seen him shine in comedies before with Wolf of Wall Street often cited as the film that should have won him the Oscar, but there is a tenderness in Pat’s character as he tries to do the right thing and constantly fails. His instincts fail him as he raises his daughter, Willa (Chase Infiniti) as a single parent following the abrupt departure of his partner, Perfidia Beverly Hills (Teyana Taylor) and spends his days drinking and getting high. You could argue that Pat’s character is cut from the same cloth as Joaquin Phoenix’s Doc in Inherent Vice. Both characters are conceptualised by Thomas Pynchon and realised by Anderson, but it goes beyond the aesthetic and feel of the great days of old. Pat and Doc both strive to create a better world, but in doing so find themselves against the sheer corruption of government, leading to a headfirst leap into conspiracy followed by drug-fuelled madness. Pat may seem cartoonish to an extent, but the sincerity with which DiCaprio plays him and that unkillable urge to better the world is the driving force that allows the film to deliver it’s message flawlessly.

In true PTA-style, we have a supporting cast of eccentrics with the standout being Sean Penn as the corrupt Colonel Lockjaw. Penn’s performance is so over the top with his physicality and mannerisms, that it’s hard to take Lockjaw seriously. Often used as the butt of a joke or the punching bag for the sinister Christmas Club, you can sense that Lockjaw is being pushed to his limit. We see flickers of darkness throughout the film, but it is during the final act when we see Lockjaw’s true nature and Penn brings the monstrous side of Lockjaw brilliantly. I don’t doubt that Penn will receive nominations across the board with a big chance of sweeping. This feels like a comeback in a way as Penn is extremely selective with his roles, but hopefully we can see more PTA collaborations in the future.

Another phenomenal supporting turn is from Benicio del Toro, who plays Pat’s friend, Sensei Sergio. He is viewed as a de facto leader in the immigrant community, always striving to help those in need. Once he realises Pat’s past affiliations, Sensei endeavours to help any way he can, understanding that their core values align. The opposite of Lockjaw in every sense, del Toro’s performance is minimalist and subtle but holds the same amount of impact with less time than Penn. With so much shine on Penn’s performance, it would be remiss to overlook the astonishing work del Toro does here and he more than deserves inclusion in Best Supporting Actor discussions.

There’s nothing better than seeing someone absolutely smash their breakthrough role and Chase Infiniti’s performance as Willa is among the best in recent years. Not only does she hold her own against industry veterans with ease, her performance brings the heart to the film. We see Willa try to break free from her father’s restrictions with success and failure in equal measure. Despite growing up in a community that society would deem “outcasts”, Willa herself is seen as an outsider to her peers, making her an isolated individual. The main frame of the film sees Willa come to terms with her identity and the mystery of her mother’s whereabouts and how that legacy determines her place in the world. It could be argued that One Battle is a coming-of-age film as Willa’s “battle” is building her own identity as she enters adulthood.

Jonny Greenwood returns to score the film, bringing a 1970s soft-rock vibe that feels nostalgic and scenic. As expected from Greenwood’s work with PTA, the music works with the imagery, masterfully layering sounds to build tension which contrasts with the quieter music during scenes with lots of dialogue. There is a timeless quality to Greenwood’s score, despite its 1970s-inspired sound. At times mellow with vast scenery while at others, jaunty and infused with espionage during protest scenes, Greenwood finds a dynamic balance that is offbeat and complimentary at the same time.

If Greenwood’s score is the fire then Michael Bauman’s cinematography is most definitely the match. The use of wide shots  that linger elevates the suspense and unpredictability of the film. We, the audience, can only sit and watch these events unfold with an unflinching and unfiltered perspective. Bauman manages to use open spaces in a way that feels awfully claustrophobic. No matter whether the characters are meandering round the desert or huddled in tiny interrogation rooms, there is always a sense of entrapment that allows for no escape. The use of the camera when Willa is driving up and down hills with plenty of blind spots is nail bitingly brilliant and fully immerses the audience into the uncertainty of where the road – literally and figuratively – will lead.

One Battle After Another may just be the film that gets Paul Thomas Anderson his well-deserved moment of glory after decades of impeccable output. One Battle is a searing commentary on contemporary America and thanks to a plethora of memorable performances, an impactful score and ingenious cinematography, this is definitely a film that demands repeat viewings.

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Review

Nashville (1975)

You know that feeling when you watch a film and it resonates so deeply that you find yourself watching it again almost immediately after the end credits roll? That was my experience watching Robert Altman’s masterpiece, Nashville.

“This isn’t Dallas, it’s Nashville!”

Set in the titular city, the film follows the lives of 24 people who are involved in Nashville’s music and political scene as the omniscient Hal Phillip Walker (voiced by Thomas Hal Phillips) campaigns for the fictitious Replacement Party. Made in what is now viewed as one of the best years in cinema history, Nashville showcases an incredibly vast yet meticulous microcosm of contemporary American life during a time of political and social conflict.

Robert Altman is regarded as one of cinemas greatest visionaries and Nashville is often used as reference to support this statement. His documentation approach acts as a doorway for the audience to grasp the hysteria and buzz without ever feeling alienated. Jean Tewkesbury’s phenomenal script feels so natural, weaving from one scene to the next with an effortless ease that despite the large ensemble, never feels exhausting. This is a film where so much happens and yet, it seems as if nothing happens at all because it is a true slice of everyday life.

One of things that makes Nashville so unique is that it has 24 fully-realised characters. Some characters are more prominent throughout the film than others, but the richness in each performance makes it even better with every watch. Ronee Blakley’s turn as vulnerable country singer, Barbara Jean, shows a darker side to the entertainment industry as she is treated like a commodity by those around her. We see her mental fragility waver and spiral, culminating in a scene that shows a conflict of identity as Barbara disrupts her own gig to regale memories of her upbringing and the passion she had for music as a child. In this heart-breaking scene, we see the “real” Barbara Jean trying to surface and literally have a voice, but this is quashed by the heckling audience who want to see country music’s sweetheart with her manufactured public image.

My favourite scene in the film takes place during an open mic night where we see folk trio Bill, Mary and Tom (Allan F. Nicholls, Cristina Raines, and Carradine) perform “Since You’ve Gone”, a song that perfectly captures the underlying tension between Tom and Mary, the latter being heartbroken by the former. The frustration and anger in Raines’ performance compared with Carradine’s neutral demeanor displays the emotional investment each had in their brief affair, all while Bill (who is Mary’s husband) plays on, clearly sensing the friction between his bandmates. This is swiftly followed by Tom’s Oscar-winning song, “I’m Easy”, which is a crooning ballad he wrote just to get the married gospel singer Linnea (Lily Tomlin) to sleep with him.

So, what is it about a film so intrinsically observational on American life that resonates with this Scouse-Welsh (Scwelsh?) blogger who has never even been to the capital of country music? Despite the film’s specific time and place, the themes and messages are universal. We know vulnerable people like Barbara Jean, dreamers like the heartbreakingly talentless yet determined Sueleen Gay, and straight shooters like Wade who are disillusioned by the glitz, glamour and promise. It’s the naturalistic storytelling that makes Nashville such a pioneering piece of filmmaking and one that has stood the test of time for better and for worse. Seemingly set in its own universe, the ties to reality are planted with anecdotes on the Kennedy assassination (Barbara Harris delivering an exquisite monologue), and the Vietnam War.

Nashville is arguably the quintessential American film, capturing the aspiration and downfalls of the American Dream and one’s battle to succeed. Universally, it is a poignant display of the human condition and everyone should watch Nashville at least once in their life. It’ll make you laugh and cry in equal measure while also bamboozling you in its unflinching ambition. Altman’s seminal masterpiece has certainly earned its place among the echelon of filmmaking.

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Review

Oppenheimer (2023)

Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan

The Best Picture favourite going into awards season is none other than Chrostopher Nolan’s nuclear epic, Oppenheimer. Spanning the life and career of Robert J. Oppenheimer, the “Father of the Atomic Bomb”. Starring Cillian Murphy in the titular role, Oppenheimer is a three-hour insight into the work and personal life of one of the most controversial figures in modern history.

Written and directed by Christopher Nolan, Oppenheimer is based on the biography, American Prometheus by Kai Bird and Martin J. Sherwin. Nolan’s unique perspective stemmed from the writing process as the entire screenplay is written from the first-person. This exacerbates the fact that Oppenheimer provides a limited view as the titular character is in almost every scene. The film flits between key points in Oppenheimer’s life spanning his beginnings as a budding physicist to the aftermath of the nuclear bombings on Hiroshima and Nagasaki. Nolan’s direction feels controlled and focused, his passion for the project coming through in every frame.

As the titular character, it can be argued that Oppenheimer lives or dies from the Cillian Murphy performance. Murphy can always be trusted to bring a nuanced performance. His turn as Oppenheimer is so intimate and yet always holding the audience at a distance. Seeing his internal conflict between the scientific achievements and the ethics rise to the surface in the final act is gripping. The scene in which Hiroshima has been been bombed and Oppenheimer begins to envision corpses on the follow among the ruptuous applause from his colleagues is one of the best scenes in any Nolan film.

Providing a standout performance in support is Robert Downey Jr. Having dominated cinema screens for the past decade as Iron Man in Marvel Cinematic Universe, Oppenheimer may be the first project a lot of people have seen Downey Jr outside of the franchise. The performances couldn’t be more different and sees Downey Jr return to form. Playing the antagonistic Rear Admiral Lewis Strauss who is hellbent on taking Oppenheimer down, he commands every scene he is in. His scenes with Murphy are among the best in the film and it’s up there with his other phenomenal turns in films such as Chaplin and Tropic Thunder.

Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.

There are a plethora of supporting turns in the film that are impressive. Another that is garnering a lot of attention is Emily Blunt as Katherine “Kitty” Oppenheimer. One consistent critique of Nolan’s previous films are the lack of female characters. When there are female characters, they tend to be underwritten. Kitty is probably the most in-depth female character that Nolan had included in his filmography. Blunt’s performance is subtle and brilliant, especially towards the end when her anger at the government is evident following their dismissal of her husband.

The score by Ludwig Gorrenson captures in the inevitability of the bomb. Filled with dramatic crescendo and loud bombastic sounds, Gorrenson’s music becomes a dominant force during the film’s climactic scenes. The opening track “Fission” really highlights the anticipation and inevitable change in history. Gorrenson isn’t afraid to change the tone and pacing of tracks to emphasise the unpredictability and shift in dynamics and events.

The cinematography by Hoyte van Hoytema is stunning. The standout scene in the film is when the Trinity Test is carried out and this is thanks to van Hoytema’s incredible work. The focus on Oppenheimer as he waits for the results swiftly followed by blinding light marks a visual change in the film. The scenery in Oppenheimer consists largely of open spaces but there is such a pinpointed focus on the characters that it really closes the environment in towards Murphy and his performance.

Overall, Oppenheimer does have a runtime that could have been edited down ever so slightly, especially in the first act. However, it is also one of Nolan’s best films as director. His passion and knowledge on its subject piercing through every frame from beginning to end. It is a film filled to the brim with details and nuanced performances that makes it easy to see why it is garnering so much critical and commercial praise.

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

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Review

Past Lives (2023)

Past Lives is a beautiful film that presents two intricate character studies. Bringing the minimalist approach, it is a film that speaks volumes and weaves its non-linear narrative to create a heart-wrenching story of identity, love, and the loss of love. The film follows Nora Moon, a New-York based playwright who moved to Toronto from Korea as a child. By chance, she sees a comment on Facebook from childhood friend from Korea, Hae Sung, who is looking for her. They reconnect and the film follows the dybamics between the two as well as Nora’s husband, Arthur. Starring Greta Lee as Nora, John Magaro as her husband, Arthur, and Teo Yoo as childhood friend, Hae Sung, Past Lives is captivating from its opening shot.

Celine Song is undoubtedly the breakthrough writer and director of the year and it’s easy to see why. The film serves as a character study for Nora’s character as we see the entire film from her perspective. With lingering shots and thoughtful dialogue, Past Lives is a film that isn’t afraid to take its time. The screenplay is beautifully laid out following a non-linear structure as we begin to piece Nora’s life together like a puzzle. Song’s direction is equally intense as there is a significant focus on the characters, showcasing a film that looks sleek and excellent whilst also backing it up with plenty of substance.

Greta Lee provides one of the best performances of the year as Nora. Lee has been making her mark in shows like The Morning Show and Russian Doll, but here she is given the lead performance and what a breakthrough it is. Having won the Best Actress Award at Sundance Film Festival earlier this year, there was a lot of anticipation. Her turn as Nora is a beautifully subtle character study. Nora grew up in Seoul, South Korea and moved to Canada with her family as a child. We begin to learn about her experience as a Korean-immigrant and her perspective as someone who has spent of their life in North America.

The supporting turns by Teo Yoo and John Magaro are both fantastic, especially Yoo playing Nora’s childhood friend, Hae Sung. Yoo captures the downward spiral that Hae finds himself in. As he reconnects with Nora, it’s clear that he feels an inkling of hope. It’s as though Nora is a missing piece in his life. In Nora, he sees a life that he aspires to live as his own hasn’t panned out in the way he had hoped. The scenes between Yoo and Lee are beautifully to watch from their initial awkward encounter to their melancholy final scene. Magaro’s performance as Arthur is equally emotional as he sees Nora begin to reconnect with her Korean roots and has to watch as her chemistry with Hae Sung begins to spark.

The transcendent score by Christopher Bear and Daniel Rossen plays into the subtleties. Rather than drowning the visuals, the music works as an accompaniment and works to serve the performances. We feel the tension rising between Nora and Hae Sung in tracks such as “An Immigrant and a Tourist”. There is a whimsical element to the arrangements that feeds into the childhood aspects of the film. The music connects adult Nora and young Nora and the consistent tones serve as a connective thread to her character.

The cinematography by Shabier Kirchner makes Past Lives such a layered film. The wide shots showcase how small Nora is against the city backdrops whilst also remaining incredibly intense and personal to her perspective. The use of lighting in the opening scene quite literally places a spotlight onto the three characters as they are immersed in their own little bubble. Kirchner’s work makes Past Lives so individual to Nora’s perspective while also remaining universal and relatable thanks to these contrasts. The minimalist approach is captivating and makes it one of the most beautiful-looking films of the year.

While it may seem simplistic on the surface, Past Lives is one that allows the emotions and characters to grow gradually. We feel the dynamics shift and change as we learn more about Nora and Hae Sung’s past in Korea. There is a lot to be gained from this film and it whole-heartedly deserves repeat viewings. Past Lives will be looked upon as a classic in years to come.

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

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Review

Saltburn (2023)

After a little bit of time away, I’m finally back to carry on with this website and what better way to bring back the reviews than with one of the most-talked about films of recent weeks. That’s right. We’re diving into the scandalous world of Emerald Fennell’s sophomore film, Saltburn. The film follows Merseyside-born Oliver (Barry Keoghan), an Oxford student who becomes close friends with fellow student and aristocrat, Felix (Jacob Elordi). The film opens up to a world of class divides, drugs, and plenty of sex.

Written and directed by Emerald Fennell, the visionary behind the incredible Promising Young Woman (2020), Saltburn is an unflinching glance at society. Fennell’s direction is confident and dynamic. Despite only having two features under her belt, her signature aesthetic and style is evident. The screenplay is filled with charismatic characters. The first act of the film is oddly paced but once we are at Saltburn, Fennell’s writing truly takes flight. The exchanges between Oliver and the Catton family members really showcase how much of an outsider he is.

Barry Keoghan provides a tour-de-force performance as Oliver Quick. Keoghan has proven himself to be one of the best young actors working today. Following his Best Supporting Actor win at the BAFTAs for The Banshees of Inisherin, it’s great to see Keoghan lead a film. Oliver is a deeply complex character and the way Keoghan portrays him feels intimate without actually letting us in. His unpredictability makes the film, especially in the final act, extremely exciting.

Jacob Elordi is fantastic as aristocrat, Felix Catton. The audience quickly learns that Felix lives a life in blissful ignorance as he constantly dismisses his upbringing while simultaneously revelling in the benefits of living an upper-class lifestyle. Elordi portrays Felix as an aspiration that, try as he might, Oliver will never achieve.

The standout supporting performance in this film goes to Rosamund Pike as Felix’s mother, Elspeth Catton. Pike can always be trusted to provide a flawless performance (watch Gone Girl and I Care a Lot as proof) and Saltburn is no exception. It is no coincidence that the majority of highlights include Elspeth. From her first scene where she discusses Northern prejudices and stereotypes with “Poor Dear” Pamela (Carey Mulligan) to her final scenes with Oliver, Pike is an absolute joy to watch. Like Felix, she believes she is progressive when

The cinematography by Linus Sandgren is impeccable, emoting the richness of the Catton family. Sandgren does a fantastic job of bringing out Oliver’s inner conflict and desire to climb to the top. The use of mirrors in the film gives Sandgren the chance to convey a psychedelic quality that makes watching the film like a fever dream. Saltburn transforms from a traditional country estate to a house of madness.

Overall, Saltburn is a film that takes the audience completely by surprise. Fennell has proven her strength as a visionary yet again. While the screenplay may not pack a punch as much as Promising Young Woman did, Oliver is a fantastic protagonist and Keoghan’s performance made Saltburn such an exhililerating watch.

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

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Review

Perfect Blue (1997)

There are plenty of iconic anime films that have been released throughout the years. From the fantasy worlds created by visionary Hayao Miyazaki to Mamoru Hosoda’s brilliant coming-of-age stories, anime has always been an excellent medium within film for storytelling. One such pioneer of the medium was the late, great Satoshi Kon whose directorial debut, Perfect Blue was released 25 years ago this year. The film showed that anime is not just for children and made way for anime content that was catered for adults thanks to its gruesome violence, explicit nudity and mature themes. Perfect Blue follows Mima, a young woman wanting to make the transition from pop idol to mature actress. As she begins to take on more adult roles and gives her public image a makeover, Mima’s life starts to unravel as she deals with a stalker who is hellbent on ensuring that she maintains an innocent image.

The film was directed by Satoshi Kon and written by Sadayuki Murai who based the screenplay on Perfect Blue: Complete Metamorphosis by Yoshikazu Takeuchi. Satoshi Kon directed four films before his death in 2010 with Perfect Blue marking his debut and what a debut it is. The film is a complex look into the psyche of protagonist Mima as she begins to lose grip on reality as an imposter threatens to steal her identity. Kon’s unflinching approach has made Perfect Blue a staple, not only in animation, but in the psychological thriller genre as well. It is a visceral look into societal expectations placed on women and how that pressure to conform can have tragic consequences. Murai’s script is fast-paced while also providing plenty of scope for various factors to mesh and contribute to Mima’s eventual mental health deterioration. Kon’s gritty vision helps to list Murai’s words off the page, resulting in a brilliant film that feels both of its time and deeply relevant simultaneously.

Perfect Blue can be defined as a character study into its protagonist, Mima. Junko Iwao voices Mima and does a brilliant job of conveying the trauma and horror that the character has to endure throughout the film. Mima starts the film with a higher pitched tone to convey her innocent image that coincides with her pop idol career, but as the film goes on, her tone and attitude becomes more authentic and real as her life spirals downwards. Iwao perfectly captures the wide spectrum of emotions that Mima feels throughout. Mima is such an intriguing character and Iwao contributes to this. The idea of the pop idol and image is one that is especially monitored in Japan moreso than the majority of countries and seeing the extent of obsession for the fame and attention that Mima has makes for truly frightening viewing.

As with any film, the supporting characters are equally important. In particular, Rica Matsumoto’s contribution as Mima’s agent, Rumi, is brilliant. Rumi is a former pop idol herself and her obsession with Mima and her career shows how she longs for the life that Mima has, but isn’t willing to move on with her own life. Matsumoto’s performance is tinged with hints of longing and sadness throughout as Rumi clearly disapproves of the direction that Mima’s life is going in.

One of the best elements in the film is the music composed by Masahiro Ikumi which elevates the emotions felt by Mima throughout. As Mima begins to become disconnected and suffer from dissociative identity disorder just as her character does on the TV show she is in, the music begins to reflect this as the tracks become more chaotic. The track “Virtua Mima (Voice)” is especially haunting and its repetition drums in the confusion and terror that Mima is feeling. It’s a soundtrack that is essential to the overall film and helps to make the film as iconic as it is.

What makes Perfect Blue so gripping from start to finish is the editing by Harutoshi Ogata. Ogata does a fantastic job with the editing as he frames the film like a live-action psychological thriller featuring quick cuts to highlight the protagonist’s confusion and disconnection from reality. There are also longer scenes that make for uncomfortable viewing such as the scenes in which Mima is filming a scene for a television show in which she is victim of a sexual assault as well as the iconic chase scene that comes later on. The latter example has become synonymous with anime horror and it’s easy to see why. Ogata’s editing of the chase scene is one of the most eerie and frightening scenes without containing a huge amount of violence when compared with the rest of the film.

Perfect Blue has garnered a reputation over the years due to its explicit content and exploration into mature themes, while still remaining a gripping watch that boasts brilliant storytelling. Kon may have only made four films, but each one shows his immense talent as a filmmaker and Perfect Blue is a fearless glimpse into fame and the dangers of being a familiar face among a public that can easily hide. Despite the dated technology used in the film, Perfect Blue feels even more relevant now as social media has become even more commonplace. Not for the faint of heart, Perfect Blue should be on every film lover’s “to watch” list if they have not already watched it before.

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

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Review

The Worst Person in the World (2021)

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

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

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

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

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

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

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

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

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The Lost Daughter (2021)

One of the big favourites to come out of the 2021 festival season was Maggie Gyllenhaal’s directorial debut, The Lost Daughter. The film follows Leda Caruso (Olivia Colman), a college professor who has ventured to Greece in order to finish her current project. Whilst there, she encounters Nina (Dakota Johnson), a young mother who has come to the resort with her large family, who struggles to deal with the pressures of motherhood and what is expected of her in the role of mother and wife. The film is an intricate look into what it means to be a woman and the pressures that society puts on women. As Leda reflects on her own life, which we see in flashbacks with Young Leda (Jessie Buckley) and the decisions she has made over the years, the film’s dynamic shifts between drama and thriller as Leda begins to become more involved in Nina’s life and finds herself in a compromised situation.

The film is directed by Maggie Gyllenhaal in her debut which she also wrote, with the script based on the novel of the same name by Elena Ferrante. From a technical standpoint, this film is beautifully made with captivating direction from Gyllenhaal, while the screenplay unfolds slowly, so we get to see what lies under Leda’s surface. The film starts in the present day as Leda stumbles on the beach at night and lies unconscious at the water edge before going into a flashback and showing the events that have led to this. Gyllenhaal has a brilliant understanding of the character, and the way that she conveys Leda’s struggles adds plenty of intensity that elevates this film into one that feels threatening and uncomfortable at times. As Leda becomes more involved in Nina’s life to the point where it becomes obsessive, she begins to become reflective and contemplates on her life while the current situation spirals out of control.

Olivia Colman is one of the best actresses working at the moment, and The Lost Daughter showcases her range and her ability to lead a character-driven film. Her performance as Leda is not only one of the best performances of the year and guaranteed to get her a slew of award nominations. The character of Leda is brilliantly written, and Colman proves to be fantastic casting. Colman’s Leda is an accumulation of the decisions that we see through the flashback scenes, so her performance feels more rewarding the more we learn about the character. Colman’s performance is nuanced and makes this film as brilliant as it is. We may not understand why Leda does certain things and why she chooses to do them, but it is this unpredictability that makes The Lost Daughter such a gripping film from beginning to end.

The film revolves around Leda and her life leading up to the present day and beautifully merges flashbacks that show her journey and success. Playing Young Leda is Jessie Buckley, another actress who has risen up the ranks in recent years and another example of perfect casting. Young Leda’s life is inundated with chaos as she tries to juggle her studies with caring for her young daughters, Bianca and Martha, meaning that Buckley’s performance is more expressive as we see the physical and mental strain that her life has taken. Leda’s relationship with her young daughters is highly turbulent, and she begins to enjoy the time she gets to spend away from them, eventually leaving them to pursue her academic career. Buckley’s performance complements Colman’s perfectly as they capture Leda’s personality flawlessly in a way that feels seamless.

Dakota Johnson plays Nina in a role that may be small but has a huge impact on the film. Marking a career best for Johnson, Nina is a woman who struggles between living a life that she wants and the one that is expected of her by her family and society at whole. Nina is on holiday with her daughter, Elena, and family, while her husband flits in and out due to work. When Elena goes missing, things become chaotic and Nina begins to doubt her role as a mother. After Leda finds Elena and returns her, Nina becomes indebted to Leda and wants to get to know her, but is kept at arm’s length. When we see Nina, it is usually from Leda’s standpoint as an observer, as we see her struggle to be a good mother and wife. Johnson really excels in her final scene, in which she confronts Leda as the latter admits that she stole Elena’s doll. What Johnson does excellently in the film is put across Nina’s inexperience and her desire to find control of her own life rather than having others control it.

One of the most striking elements of The Lost Daughter is Dickon Hinchliffe’s score, which has a blues sound to it. The opening track “Leda” is a wonderfully dynamic piece that thrusts the audience into the location and escapism of the film. Leda has gone to Greece to finish her work and relax, and this track perfectly accompanies this. What Hinchliffe manages to capture is Leda’s wonderment and the freedom she has, which is then contrasted with quieter pieces that are more drawn out during the flashbacks to capture how Leda is trapped in a life that was expected of her but one that she doesn’t really want. The contrast between musical styles is a great way of portraying the many sides of Leda’s personality, and accompanies her journey perfectly.

The Lost Daughter is a masterclass in subtlety. It doesn’t need to have bells and whistles to show off the craftsmanship of the script and direction, while providing stellar performances all around, especially from Colman. It’s an intricate character study following Leda’s life and the sacrifices she has made to get where she is while also drawing parallels with Nina. The slow pace of the film works beautifully as it goes hand in hand with the vacation aspect. What is really fantastic about The Lost Daughter is that it subtly plays with the thriller tone, without actually exposing any threat, but we feel Leda’s fear. Maggie Gyllenhaal absolutely hit it out of the park with her debut, and it’s exciting to see what she does next.

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

The Lost Daughter is available to stream on Netflix now!

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The Father (2020)

Florian Zeller’s directorial feature debut The Father was undoubtedly subject to a lot of critical and commercial praise and emerged as a favourite among many critic’s Best Film lists going into the Oscars. Starring Anthony Hopkins as Anthony, a father who is suffering with dementia, the film follows his deterioration into memory loss and despair as other characters begin to change actors and the setting begins to change. It is a deeply harrowing film that weaves feelings of thriller into the dramatic elements of the film. With great performances all round, especially from Hopkins and Olivia Colman who plays his daughter, Anne, The Father was a regular mainstay on the awards circuit this year, receiving six Academy Award nominations and winning two with Zeller and Christopher Hampton winning Best Adapted Screenplay and Hopkins receiving the Best Actor gong in a shock win.

Zeller has been a prominent playwright winning many prestigious awards in France. The Father marks his directorial debut and its script is based on his play. What makes the film so effective is how well Zeller’s direction allows the flat to become a character in itself. As we become familiarised with every room and corridor in the flat, we begin to see the changes that Anthony notices to the point where the film plays as a thriller. Although The Father is not a horror in the traditional sense of the genre, there is something deeply horrific and disturbing about watching Anthony’s world and sense of self crumble as everything becomes more distorted and confused. The way that the script is paced and structured allows for this confusion and deterioration to be carried off successfully as scenes appear to overlap and the same dialogue occurs in different flats with different actors playing the same role. The only consistent aspect of the whole film is Hopkins playing Anthony. Everything else from the plot to the characters and the setting is subject to changes to highlight the spiral into confusion.

Hopkins’ win at the Academy Awards this year was one of the most shocking results as it had seemed that the late Chadwick Boseman was the favourite to win for his performance in Ma Rainey’s Black Bottom. However, the competition in the Best Actor race was incredibly strong and both Hopkins and Boseman gave fantastic performances. Although seeing Boseman win would have been a lovely tribute on what was a life cut tragically short, Hopkins’ achievement in The Father shouldn’t be dismissed or overlooked. There is a reason why Hopkins is often referred to as the best actor working today and it is his ability to truly become the character and his fearless approach. The character of Anthony is extremely confident in himself at the beginning but we see his many layers begin to peel away as his struggles come to light and his concept of time and self begin to dissipate. Hopkins’ ability to shift the mood with the slight change of voice or a minor physical action carries the film and lifts it from being a play performed onscreen to a cinematic experience. It’s testament to Hopkins’ career that his role in The Father is being deemed one of his best considering the calibre of his actor.

In support, we have the extremely lovable Olivia Colman playing Anthony’s daughter, Anne. Colman is always a welcome presence in any film and The Father is no exception. If you’re going to have an actor playing with someone like Anthony Hopkins, you need to make sure they can match his calibre and Colman is one of the best actresses working today and is perfect casting. Coming off her Oscar winning turn in The Favourite, Colman is phenomenal as Anne, the tortured second daughter who lives in the shadow of her deceased sister, Lucy (Imogen Poots) and having to listen to her father talk to people about how Lucy is his favourite daughter. Where Anthony is seemingly happy and content at the start of the film, Anne is the opposite. Having sacrificed the happiness of her life to look after her father, Anne’s partner, Paul receives a job offer in Paris and wants her to join him. This is the perfect opportunity for Anne to begin to live her life and step out of the shadow of her family. Colman received a slew of award nominations including an Academy Award for Best Supporting Actress nomination which was great to see because she really holds her own and proves to be a stellar screen partner against Hopkins.

Composer Ludovico Einaudi has had a brilliant year as he helped bring life to Chloe Zhao’s beautiful Best Picture winner, Nomadland as well as The Father. It’s incredible how different the scores are and yet are full of Einaudi signatures that help to bring his mark to the film. The score for The Father is gentle and intense at the same time and feels like a perfect mesh between drama and thriller without being over the top or overwhelming the scenes. It’s the subtly that makes the music a perfect undercurrent that propels the scenes forward and brings those confusions to light. The music in the final scene, particularly, is stunning and it is a real shame that Einaudi didn’t receive any nomination for his efforts for either film at the Academy Awards as that would have been well deserved.

What The Father does so well in this cinematic adaptation is its ability to elevate itself from a stage production onscreen thanks to the use of the direction and performances. With a stellar script that bends all of the rules, The Father is not an easy watch by any means but it is by far one of the best films to come out of this awards season. Boasting fantastic performances by Hopkins and Colman, it may not have all of the bells and whistles that come with a lot of big blockbuster films but like Nomadland, The Father thrives in its simplicity and allows the script and characters to help bring the drama to life.

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