Tag: screenplay

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Minari (2020)

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

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

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

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

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

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

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

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BFI Flare Festival 2021: Tove

Another film that I was especially keen to watch at this year’s BFI Flare Festival was Tove, a biopic about Tove Jansson who is known as the creator, author and illustrator of the Moomin book series. Directed by Zaida Bergroth from a screenplay, written by Eeva Putro, the film follows Tove (Alma Pöysti) and her life before and during her success as an artist. Her turbulent career as a traditional artist and her reluctance to follow in her father’s footsteps brings in a lot of initial problems. A chance encounter with aristocratic theatre director Vivica Bandler (Krista Kosonen) at a gallery opening sparked a love affair between the two women and a friendship that would last through their lifetime. Tove was entered by Finland for the Best International Film Award at the upcoming Academy Awards but sadly did not make the shortlist. This is such a shame as it is a very strong film that deserves to have a wide audience.

Zaida Bergroth’s direction is brilliantly as we become immersed into Jansson’s world at the end of the Second World War. With sole focus on Jansson, there are no scenes in which she doesn’t grace the screen ensuring that the audience really is seeing the world through her eyes. The screenplay by Putro is beautifully paced and gives an in depth glance into one of Finland’s famous figures. Tove is a film that doesn’t force the events to happen to its protagonist but simply let them happen naturally as the film unfolds. Feeling natural and authentic, the minimalistic approach has sprinkles of absurd moments such as the first moment of the film where we see Tove dancing to jazz music by herself. This film paints the perfect picture of an author who has inspired and captivated many throughout the world.

Alma Pöysti’s performance as Jansson is fantastic and reminded me a lot of Marion Cotillard’s performance as Edith Piaf in La Vie en Rose in that she drives the film and elevates the whole experience. Pöysti is captivating from the very first second you see her onscreen to the last thanks to her layered characterisation that showcases her inner conflicts with both her art and personal life. There is no doubt that Jansson was most comfortable when able to express herself how she wants and so she surrounds herself with the people and art that are going to allow her to do this. Blasting jazz music and working tirelessly on her Moomin universe, Jansson seemed to be an otherworldly creature and Pöysti pulls this off. Pöysti doesn’t overplay the character nor does she force the emotions to come to the surface. What makes her performance so special and unique to watch

Krista Kosonen is great in support as Vivica Bandler, the woman who stole Jansson’s heart. Initially paying for Tove’s services to design a party invitation, the relationship between the two women quickly evolves to a romance that becomes turbulent over the years. Kosonen is a great onscreen partner for Pöysti and the scenes between them are filled with tension and chemistry. Whereas Tove is more introverted and working endlessly on being accepted by the City as a certified artist, Vivica is extroverted and confident in herself. Initiating the relationship with Jansson, Bandler’s portrayal is one of manipulation and mixed signals as Jansson doesn’t know what to expect when she next sees her. Kosonen portrays Bandler as hard to read and unpredictable and the status of their relationship propels the film’s events forward as they work together on adapting the Moomins for the stage.

One thing that stood out to me in this film was the score and soundtrack. The original score composed by Matti Bye is beautiful and unpredictable and reminded me a lot of Jonny Greenwood’s score for Phantom Thread. Bye’s score works so well as it reflects the turbulence and conflict Tove is feeling and rises it to the surface. The classical sound contrasts with the soundtrack choices which contains a lot of jazz music. This chaotic mix of classical and jazz only serves to highlight Jansson’s own position as a child of prominent, traditional artists whilst also remaining progressive in her style and refusing to conform who live to the expectations set out for her.

Overall, Tove is an exceptional film that does a great job of showing Tove’s struggle to be seen in an industry that is dominated by men that also rely on the traditional aesthetics. Tove is often known for her work on the Moomins and while this aspect is shown in the film, the central focus relies on Tove as a person first. Pöysti’s performance is fantastic and should be discussed widely as it is a true tour de force. She becomes Jansson and pulls it off with ease that we forget we are even watching a biopic.

Tove is showing at this year’s BFI Flare Festival.

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BFI Flare Festival 2021: My First Summer

One of the films I have even excited to view was Katie Found’s directorial debut, My First Summer. The film follows Claudia (Markella Kavenagh), who is grieving after her mother drowned herself and Grace (Maiah Stewardson), a girl who lives nearby who saved Claudia from drowning with her mum. Claudia has lived a life in seclusion due to her mum’s negative outlook on the world and Grace’s entry into her life opens Claudia’s eyes and makes her see the beauty in life. With polar opposite personalities, the differences between the girls is what draws them together and ignites a romance. As the title suggests, this film doesn’t span a long period of time but the beautiful slow burning pace allows us to become familiarised with the characters. Delving into topics of loss and grief and contrasting this with the promises of hope and love that is found, Found explores a wide range of emotions and the internal and external conflicts that they can inspire.

Written and directed by Found, My First Summer makes the most from its limited location. Using Claudia’s house and the surrounding woodland primarily, there seems to be a lot of freedom in the amount of space and yet Claudia is trapped and disconnected from society because of how secluded it is. Found’s direction is beautiful and makes the most of the summery weather, allowing those bright colours and the warm tones contrasting with the topics of loss and grief. Considering the short running time of 90 minutes, Found does a great job with her screenplay as we really get to know Claudia and Grace and get an understanding of their points of view. It’s a film that doesn’t rely on being big and bold to get its point across and allows the two protagonists to become fully realised in a way that feels real and natural.

Markella Kavenagh’s performance is heartbreaking as Claudia has to deal with both the loss of her mum and the realities of the world outside. Having to hide from the police who would take her away due to her age, Claudia is initially alone and dealing with her grief with her dog by her side. Compared to Grace, Claudia is introverted and is academically intelligent without actually knowing how to properly communicate with people. Despite the natural world around her, the rooms in her house are undecorated and muted colours to reflect the fact that she is a blank canvas waiting to start her life. Kavenagh’s performance is quietly strong, when put against Stewardson who is the extroverted Grace, we see Claudia come out of her shell and grow into herself. A remarkable leading performance that is layered and nuanced.

The second lead in My First Summer is Maiah Stewardson who plays Grace perfectly. Outspoken and extroverted, Grace knows what she wants to get out of life. Suffering from her own experience of entrapment by her neglectful mother and step-father, Grace finds her own safety net with Claudia. After saving Claudia’s life, Grace acts as a guardian for her and helps keep her hidden from the police. Stewardson is captivating as Grace and makes the perfect onscreen partner for Kavenagh and the two have a chemistry that works organically and naturally. The slow burning nature of the relationship doesn’t feel rushed even though the film itself spans a short amount of time. Stewardson’s performance is tinged with maturity and naivety at the same time, reflecting the reality that these two girls are only 16 and haven’t had a lot of life experience.

Overall, My First Summer was even better than I had expected and left me speechless at its ending. The screenplay has a wonderful, steady pace and the girls are perfectly cast. I am very excited to see where Found, Kavenagh and Stewardson’s careers take them as this film is a very promising start and shows a great future for them. Showing the world through the eyes of a 16 year old who may not understand everything helps to create a film that feels grounded in its own universe and Found has captured this flawlessly. This film is not to be missed.

My First Summer is showing at BFI Flare Festival.

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One Night in Miami (2020)

One of my biggest regrets of London Film Festival was that I accidentally missed the showing of Regina King’s directorial debut, One Night in Miami. Quickly becoming one of the most exciting films tonlook out for this awards season, the film follows the integral meeting that took place between boxer Cassius Clay (Eli Goree), activist Malcolm X (Kingsley Ben-Adir), football player Jim Brown (Aldis Hodge) and musician Sam Cooke (Leslie Odom Jr.) on the night that Clay became World Champion and leads up to the announcement that he is converting to Islam. Based on the play of the same name written by Kemp Powers, who also wrote the screenplay, One Night in Miami is fully engaging and beautifully shot. In an awards season that is dominated by films directed by women, King stands out as she brings a unique perspective to a film that is heavily dominated by men.

As the film is based on a play, it could have easily slipped into the trap of coming across too “stagey” and over the top. However, Powers did a brilliant job of adapting his script in a way where the location changes and long conversations feel completely natural and brings an authentic pace to the film that doesn’t feel jarring at all. Mixed with King’s ability to weave in the different backstories flawlessly, One Night in Miami tells its story effectively without patronising or spoon feeding the audience. We soon find as the film goes on just how complex each individual’s life is and how their own struggles reflect that of other African-Americans during that time as well as their power and influence to inspire change.

In the lead as activist Malcolm X, Kingsley Ben-Adir is absolutely astonishing. By far one of the most exciting breakouts of this awards season, Ben-Adir perfectly captures Malcolm’s strength and resilience that is often associated with Malcolm whilst also adding in the fearful side as we see Malcolm as a family man who is scared for his own wellbeing and mortality as he grows more paranoid of the FBI and the Nation of Islam. Naturally, Malcolm is the instigator of many conversations and arguments that occur in the film simply because he wants his friends to use their platforms to speak up about racial equality. Of course, this isn’t the first time Malcolm X has been brought to the big screen with the most notable performance coming from Denzel Washington in Spike Lee’s 1992 film, Malcolm X but Ben-Adir holds his own and shows that he is definitely a star on the rise.

In support we have Eli Goree, Aldis Hodge and Leslie Odom Jr. as Cassius Clay, Jim Brown and Sam Cooke. Each man a pioneer in their respective field through the worlds of sport and art, Malcolm invites his friends round to discuss the opportunities they have to promote racial equality thanks to the public platform they have. Every actor in this film pulls more than their weight and deliver performances that stay with you long after the film is over but the highlight in support has to be from Leslie Odom Jr. who shines as the conflicted musician Sam Cooke. Cooke is a successful musician who makes his own money and chooses to make music that caters to both black and white people because it makes him rich and allows him to be his own boss. After hearing Bob Dylan’s “Blowin’ in the Wind”, he is inspired to write his own song about racial injustice and the result is “A Change is Gonna Come”. To say that Odom Jr. is the perfect choice for the role is an understatement. He captures Cooke’s personality brilliantly and his voice is spot on, bringing out the passion and love Cooke has for music. It should also be noted by Odom Jr’s performance of the original song “Speak Now” which plays during the ending credits is just as beautiful as the film and I hope it receives an Academy Award come Oscars Night.

Overall, One Night in Miami is a standout among othet directorial debuts by actors because of its simplicity. King has created a film that physically is fairly still but there are a lot of moving pictures as loyalty is questioned and tensions rise. It’ll be excited where her directorial career will take her to next but right now, this film is definitely an important conversation piece that easily holds its own against the heavy hitters that boast extortionate budgets. King will no doubt be amongst the Best Director nominees when it comes to the Academy Awards and deservedly so.

What did you think of One Night in Miami? Let me know in the comments below!

One Night in Miami is available to stream on Amazon Prime now!

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Ma Rainey’s Black Bottom (2020)

Continuing my awards season viewing with this fantastic stage to screen adaptation of August Wilson’s play of the same name. Ma Rainey’s Black Bottom follows the titular Ma Rainey (Viola Davis), a blues singer and her band as they spend the day recording a new song in a studio in Chicago. Directed by George C. Wolfe and adapted by Ruben Santiago-Hudson, Ma Rainey’s Black Bottom is a masterclass in acting performance, particularly by Viola Davis as the vivacious Ma and Chadwick Boseman is astonishing as band trumpeter, Levee.

The film is produced by Daniel Washington as part of a 10 film deal and follows 2016’s Fences. Washington directed Fences and decided to keep the original play script by Wilson as the film shooting script. This caused some restrictions as film and stage are naturally so different that the transition between the two is not always seamless. Sometimes the dialogue between characters can carry too much exposition onscreen which can make a film feel clunky. What Ma Rainey’s Black Bottom successful is Santiago-Hudson’s adaptation of the script to lift it from stage to screen. What Santiago-Hudson does is elevate the dialogue so it has more flow and rhythm for the film’s fast pace without compromising the integrity of Wilson’s original script. He also keeps it as restricted as possible in terms of location meaning that it is an extremely loyal adaptation. This is how plays are meant to be adapted from stage to screen.

To say Viola Davis’ performance is transformative would be a huge understatement. She becomes Ma in such a way that you really forget that it is Davis beneath the character. I have written on Davis’ top performances in the past (which you can read here) and her performance as Ma would easily sit among them. From the moment she commands the screen belting out numbers to large crowds, it’s clear that Ma is a force of nature. A character who knows her worth and knows what she wants and isn’t afraid to express this. It’s easy to see what drew Davis to the role and she fits it so perfectly. As a black woman, so many people, particularly her white manager, try to dictate the creative choices and tell her what sells but Ma knows her fans the most and will know what they want.

Also being campaigned for lead is the late Chadwick Boseman as rebellious trumpeter Levee. Sadly losing his fight against cancer earlier this year, Boseman leaves behind a legacy that has resonated with so many fans around the globe. Rounding off his professional career posthumously have been Spike Lee’s Da 5 Bloods (you can read my review here) and Ma Rainey’s Black Bottom. Whereas the former will likely see him nominated for a Supporting Actor gong, it is this lead performance in Ma Rainey’s Black Bottom that could secure him a well-deserved win. Levee is a dreamer who wants nothing more than to write songs and perform his own way. His strong personality clashes greatly with Ma who constantly puts him down. Like his character, Boseman never misses a beat and remains upbeat and charismatic throughout. Captivating the screen with his strength, this performance is definitely among the best of the year. This performance is definitely one to beat in the Oscars race next year for sure and it’s heartbreaking that Boseman isn’t here to see the legacy that he has left behind. A true icon who was showcasing a huge range.

Overall, Ma Rainey’s Black Bottom did not disappoint and will undoubtedly provide a slew of Oscar nominations and hopefully wins, particularly for Boseman. A beautiful swansong to sing out his legacy in a performance that is so captivating and demands to be watched and then watched again to really get under the layers. Where Ma Rainey’s Black Bottom really succeeds is showing the struggle of black women in a society that dictates how they should be. Ma is constantly told how she should act and what she should sing. Not only does this show degradation of her as a character but also the African-American culture as a whole. The final scene in which an all white band perform one of Levee’s songs only supports this.

What did you think of Ma Rainey’s Black Bottom? Let me know in the comments below!

Ma Rainey’s Black Bottom is available to watch now on Netflix.

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The Holiday (2006)

Christmas season is upon us and that means one thing: Christmas films! Kicking off the festive viewing is Nancy Meyers’ 2006 romcom The Holiday. Following two women, LA-based Amanda and Surrey-based Iris, who are successful in their careers but not so much in love. They agree to swap homes for two weeks over the holidays to escape and get more than they bargained for. Meyers has built a strong career writing and directing successful romcoms such as 1998’s The Parent Trap so it’s no surprise that turning her attention to a festive flick would bring a strong A-list cast and memorable scenes. Like Nora Ephron, Meyers is brilliant at making feelgood films that feature feisty female protagonists who are independent in their own careers but are desperate to find love. What’s great about The Holiday is that it is the perfect film to sit and relax to.

Meyers’ screenplay is full of memorable moments and hilarious quips, mainly at the expense of the film’s characters. What she does well is really develop the four characters in way that makes them really rounded. My favourite scene has Miles (Jack Black) singing and humming the scores from various films as he gives Iris (Kate Winslet) recommendations. It’s hilarious and charming, even featuring a quick cameo from Dustin Hoffman as Miles sings along to The Graduate theme. What makes The Holiday so timeless is how watchable and likeable it is on repeated viewings. Despite elements that are dated such as the house swap website and stereotypical character types, it is the simplicity of Meyers’ script that makes it standout. Her dialogue is natural and effortless which makes it believable and relatable.

In the leading roles we have Cameron Diaz as movie trailer producer Amanda Woods and Kate Winslet as journalist, Iris Simpkins. Both are single and miserable, desperate to escape their everyday lives. We are first introduced to Iris who gives narrative insight into her unrequited love for colleague, Jasper (Rufus Sewell) and the complex relationship they have had as Iris does his every whim. As his engagement to another woman is announced at the office Christmas party, Iris knows that she needs a change of scenery and decides to put her home up for a house swap. This is where Amanda is brought into the mix. We see the melting point of her relationship breakdown with her boyfriend, Ethan, who has cheated on her and her subsequent decision to have a holiday over Christmas. Despite their different backgrounds and situations, the two women share the common thread that they are struggling to find love. What Meyers does in the script is allow the holiday to act as a way to meet new love while also showing the characters that they need to appreciate themselves before anyone else. Iris in particular is really insecure as her on/off relationship with Jasper has left her confused and thinking that maybe they will be together, but her life takes a different turn. In the end, she acknowledges Jasper’s toxicity and rejects him, feeling freedom for the first time when she finds love for herself.

The supporting roles are filled up by Jude Law as Iris’ brother, Graham Simpkins and Jack Black as film composer Miles Dumont. Graham is revealed to be a widower with two young daughters whereas Miles is unlucky in love, finding out his girlfriend Maggie had an affair while he is out with Iris. As the film’s heart-throb, Law is cast perfectly bringing the English charm that is commonly seen in romcoms. Graham’s character story is heartbreaking as he clearly struggles to balance a dating life with his family life. He is unable to settle with a lot of spontaneity which clashes with Amanda’s carefully controlled planning. On the other hand, Miles is an artist who is happy to go with the flow. His music seems unplanned as he plays along with the films he is scoring. This contrasts with Iris’ planned and contained articles. The men act as counterparts to the women and yet compliment them perfectly.

Overall, The Holiday proves to be a popular Christmas choice year after year because of its warmth and hilarious script. It may not be a cinematic masterpiece like It’s a Wonderful Life and Carol, but The Holiday is an entertaining film filled with great performances and makes for a fun film. The addition of Eli Wallach as a Golden Age screenwriter is also a lovely performance that provides a link between the stars of decades past and present day.

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

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Da 5 Bloods (2020)

Admittedly, it has taken me a long time to get around to watching this film but it has been one of my most anticipated for the year. As a huge Spike Lee fan, I am always excited to see what he brings out. After his brilliant 2018 offering Blackkklansman that finally won him a deserved competitive Oscar, the anticipation for Da 5 Bloods has been a repeat of much discussion for the upcoming awards season. The film follows four American veterans known as the “Bloods” who meet up in Vietnam to reflect on their time in the war and to search for their leader and the treasure they buried. Featuring a fantastic cast led by Delroy Lindo with support from the late great Chadwick Boseman.

As we have come to expect from Lee’s films, the direction and writing is top-notch. For Da 5 Bloods, Lee has collaborated with Danny Bilson, Paul De Meo and Kevin Willmott and I think usually four screenwriters can cause a bit of conflict in tone and dialogue but it works here. Da 5 Bloods is a two and a half epic filled with an array of detailed characters. Having multiple screenwriters actually enriches the quality of the writing and paired with Lee’s realist directorial approach, is pulled off brilliantly. Mixing the modern Vietnam with flashbacks as well as frequent clips from the news to draw parallels with the Vietnam War and the modern racial war in America. What makes Lee’s films so unique is his ability to combine multiple film mediums that feels as though you are watching a documentary at some points. Lee is undoubtedly a political filmmaker and this makes some viewers uncomfortable but it is an unapologetic point of view that I think contributes to a fearless and boundary-pushing approach to filmmaking itself.

As American veteran Paul, Delroy Lindo is phenomenal. Paul is clearly damaged from his experiences in the war. The more time he spends in Vietnam, the more aggressive and vulnerable he becomes. All of the men suffer from PTSD but in Paul’s case, this causes him to lash out violently. In one particular scene, a Vietnamese man tries to sell a chicken and this causes Paul to reach a boiling point, almost jumping to beat the man up when accused of killing his parents. The visit to Vietnam allows Paul to face his demons and confront the problems he has had in the subsequent years since Vietnam. His reluctance to talk about his experiences to a professional has resulted in the issues surfacing in such a way that he is unable to deal with his emotions. Netflix are campaigning for Lindo in the Leading categories for the upcoming awards season and I think he presents a very strong competition. It would be great to see such a challenging and developed role rewarded.

Chadwick Boseman’s performance as squad leader, Norman, is flawless. When onscreen, he commands the scene and acts the hell out of his character. It is clear that he is having fun in the role, maintaining the importance and dignity that the character represents. After gaining worldwide acclaim for his performance as the titular Black Panther, it’s brilliant to see Boseman in a film that is entirely different and demanding in a different way. Boseman’s performance is a snippet of what he could have continued to achieve before his untimely death earlier this year. I hope his performance is recognised in the Supporting categories with at least a nomination come award season. This role is a phenomenal addition to his extensive legacy and showcases his ability to adapt to genre pieces.

As with Blackkklansman, another great collaborator who Lee frequently works with is composer Terence Blanchard. Blanchard’s specialty is the trumpet and the strong brass sounds come through in this score, bringing the militia sound as a constant backdrop to the action. In addition, there are many songs fro. The 1970s included as well as classical pieces such as Richard Wagner’s “Ride of the Valkyries” which has become iconic in modern culture thanks to its inclusion in  the film Apocalypse Now, another film that looks at the Vietnam War. What Lee and Blanchard are doing by including such pieces are subverting the typical white-dominated war film and showing it from an African-American perspective.

Overall, Lee has knocked it out the park yet again with his fearless look into the African-American experience during the Vietnam war. Proving that he is still at the top of his game more than ever, Lee has made a film that again shows parallels with the mistreatment of African-Americans today with the mid-20th century. His ability to masterfully mix various mediums such as feature film, news clipping, cultural references in the music and performances that push the actors to their limits combine to make a film that seems as though it transcends the film medium and becomes art. A fantastic achievement for Spike Lee and I hope his efforts are rewarded come awards season.

What did you think of Da 5 Bloods? Let me know in the comments!

Da 5 Bloods is available to watch on Netflix now.

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London Film Festival 2020: Roundup

With London Film Festival concluding today and all of my reviews done and dusted, I thought I would write this post to roundup my experience. Being my first film festival, I was so excited to be apart of something I have been a fan of for years. Looking at the lineup, it seemed that there were four major films: Steve McQueen’s Mangrove, Chloe Zhao’s Nomadland, Pete Docter’s Soul and Francis Lee’s Ammonite and I was determined to see at least two of these. Luckily I was able to see Mangrove and Ammonite on the screenings but sadly wasn’t successful in the ballot to see Nomadland and I don’t live in London to see Soul. However, I was thrilled with all the films I watched. I decided that my target was to watch 10 films and make them as varied as I could. In total, I watched 12 films and this includes documentaries, shorts, animation, drama, horror, foreign language, etc. There wasn’t one film that disappointed me and many standouts that I hope go on to receive award recognition and open new doors to create more films.

Overall, what stood out to me was the quality of the writing in the films I watched which was absolutely fantastic. The creativity and originality of the films I watched shows that the industry isn’t failing and there is room for films that push boundaries. From adaptations to original pieces, each film was so distinctive and unique that I was so pleased with how many well-rounded characters there were.

I thought it would be fun to come up with my personal winners from the Festival from the films I watched. As I previously said, there were no disappointments so this will be tricky. I have also added a special Shoutout category because the winner of this gave two brilliant performances and has clearly had a stellar year. I wanted to recognise this with their own special category.

Here are the Smaller Pictures Winners of London Film Festival:

Best Picture – Wolfwalkers

Best Director – Tomm Moore and Ross Stewart for Wolfwalkers

Best Leading Actor – Riz Ahmed for Mogul Mowgli

Best Leading Actress – Tilda Swinton for The Human Voice

Best Supporting Actor – Fazlur Rahman Babu for The Salt in Our Waters (Nonajoler Kabbo)

Best Supporting Actress – Letitia Wright for Mangrove

Best Original Screenplay – Will Collins for Wolfwalkers

Best Adapted Screenplay – Pedro Almodóvar for The Human Voice

Best Documentary Feature – One Man and His Shoes

Best Original Score – Jim Williams for Possessor

Best Song – “Running with the Wolves”, AURORA from Wolfwalkers

Best Cinematography РSt̩phane Fontaine for Ammonite

Best Editing – Matthew Hannam for Possessor

Best Production Design – Tomm Moore, Ross Stewart and Maria Pareja for Wolfwalkers

Best Costume Design – Michael O’Connor for Ammonite

Best Hair and Makeup – The Human Voice

Special Shoutout Winner – Sean Bean for Wolfwalkers and Possessor

London Film Festival has given me some amazing memories and been a highlight of my year and a brilliant opportunity that I am so grateful for. I am also so excited to announce that I will be reviewing films from the upcoming Raindance Film Festival at the end of this month so my Festival journey hasn’t ended just yet!

So that’s it for my little awards section and roundup! Which film are you looking forward to seeing the most? Let me know in the comments below!

Just in case you want to read my reviews for the films, I have included them below. I really recommend watching all of them:

Ammonite

Farewell Amor

Herself

The Human Voice

Lovers Rock

Mangrove

Mogul Mowgli

One Man and His Shoes

Possessor

The Salt in Our Waters (Nonajoler Kabbo)

Siberia

Wolfwalkers

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London Film Festival 2020: Siberia

The third film on my viewing list was auteur Abel Ferrara’s film Siberia based on a script co-written by Ferrara and Christ Zois. Marking Ferrara’s sixth collaboration with Willem Dafoe, the film follows bar owner, Clint (Dafoe) who lives in the wilderness of Siberia. Starting with a simple voice over over the opening credits with Clint recalling a memory with his father when he was younger, Siberia soons delves inwards with hallucinations, chance meetings and confrontation with his memories. He encounters his father, brother and ex-wife in a bid to find and understand himself. Ferrara’s direction is distinct and rich in his vision. His use of lighting and contrast is brilliant, particularly the scene in the cave where Clint encounters his brother. It’s a film that leaves a lot to interpretation and it seems that Ferrara is not making any judgement on Clint or his choices.

The best way to describe the script is on that spirals inwards. The opening act on the film focuses largely on the Siberian landscape and Clint’s existence in this vast space before entering into his own mind as he tries to puzzle out his life. The isolated wintery wonderland is soon replaced with various settings including deserts and woodlands, taking us on a geographical journey as well as an emotional and mental one. The script is motivated by the journey rather than the dialogue and in the first act, Clint doesn’t really speak and the writing is about how he occupies the space. As his customers in the bar speak to him in various languages, Clint briefly responds and nods as long as though he understands. Whether or not he does is up to viewer interpretation but he is a good reader of people. It then envelopes into him not being a good reader of himself.

Willem Dafoe can always be relied on to bring a great performance and Siberia is no exception. As Clint is faced with various faces from his past and present, we begin to paint a picture on why Clint has settled into his lifestyle. Clint isn’t a character that necessarily has to be liked nor is he particularly special or interesting. His hallucinations are a result of his choice to live alone and refusal to face his past. The memories are what shape Clint’s character and give a more rounded portrait. The scene in which is talk to his ex-wife, he refuses to take full responsibility for the failure of their marriage. His hardness seems unbreakable and is also elevated by the fact that he doesn’t interact with people as much anymore. Dafoe’s performance is quiet and subdued but powerful all the same. He is the perfect fit for this character.

The quick shift in locations give this film a dreamlike quality with its fluidity and exaggerates the visceral nature of the film. The film explores a whole spectrum of genre and music alike. In its genre, the film brings out drama, horror and satire whilst indulging in explicit sex scenes and gun violence. The music choices also shift from the beautiful score composed by Joe Delia to song choices that range from folk songs to heavy metal. Despite its inward approach to exploring a singular character, Ferrara contrasts this with widely vast technical and creative choices. It allows the different sides of Clint to emerge, peeling off the layers one by one.

Overall, Siberia is a film that demands complete audience attention otherwise it won’t make much sense. It is a film rich in visuals and settings and makes for an intriguing character insight. I’m not sure if it is a film for everyone as the film doesn’t follow any conventional structure or explain the shifts in scenes which can be off-putting but I think it is definitely a film worth watching, particularly for the direction and Dafoe’s performance. It’s a thought-provoking piece that explores a lot of ideas despite its short running time of 92 minutes and I am looking forward to seeing what Ferrara and Dafoe’s seventh collaboration will be already.

Siberia is showing at the London Film Festival on the 10th October. You can book your tickets on the BFI website.

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The Peanut Butter Falcon (2019)

One of the films I was dying to watch last year but not got round to watching was the stellar The Peanut Butter Falcon. A first time directorial effort by Tyler Nilson and Michael Schwartz and featuring their close friend and aspiring actor Zack Gottsagen who dominates in his first performance as Zak, a young man with Down Syndrome who wants nothing more than to be a wrestler. Escaping the retirement home he has been forced to live at for the past two and a half years, Zak encounters local troublemaker Tyler (Shia LaBeouf) and the two embark on a journey to find a prestigious wrestling school so Zak can start his training. Also featuring Dakota Johnson as Zak’s carer and friend and Bruce Dern in a welcome cameo as Zak’s roommate Carl, The Peanut Butter Falcon is an outstanding debut that will make you laugh and cry as it explores the development of friendship and kinship between its characters.

The screenplay is also written by Nilson and Schwartz and it’s clear they took their time with it to make sure the tone was just right. The pacing is quick and constantly moving as all good road movies do and every minute adds more layers to the relationships between the characters. We learn about Tyler’s background through short flashbacks which are then paralleled with his new friendship with Zak and it’s enough to create that extra dimension for his character. Zak’s character on the other hand is the physical driving force of the movie as the literal journey is to visit the wrestling school that he wants to train at. The dialogue is tight and even the supporting characters are fleshed out enough despite the film’s short running time. It’s the type of screenplay that many spend years trying to craft but can never quite get the tone right.Shia LaBeouf and Zack Gottsagen are nothing short of spectacular and it is clear that their friendship goes beyond the silver screen. The rapport they have makes for one of the best duos I have seen in a film in quite some time. The contrast between the two is also important to consider when looking at this film. Gottsagen holds his own with ease against LaBeouf who has been acting since he was a child and has been showing real development in his film choices over recent years. I have always been a fan of LaBeouf’s acting since his early acting days in Holes (2003) and Even Stevens (2000-2003) to his more recent roles in Nymphomaniac (2013) and Fury (2014) showing his full transition from family films to more mature films. Compared to Gottasgen who is a complete newcomer, the casting could have caused serious unbalance but the two bounce off each other brilliantly. It’s obvious they are having fun with their roles and it makes it wonderful to watch from the audience perspective. Not to mention the groundbreaking inclusion of Gottsagen being an actor with Down Syndrome who is playing the lead in a film that celebrates talents and shows that dreams can come true without being overly sentimental. It’s a film that will be remembered and should be remembered thanks to its heart.

Dakota Johnson is also brilliant as retirement home nurse, Eleanor. Eleanor is naive and thinks she knows what is best for Zak but slowly comes to realise that he is capable of thinking for himself. I think Johnson really came into her own as the lead in Luca Guadagnino’s 2018 film Suspiria, a remake of the iconic 1977 Dario Argento film of the same name. She looks to be continuing her streak of good role choices as Eleanor presents a new challenge. Unlike her performance as ballet student Susie, Eleanor works tirelessly taking care of others while also dealing with her own loss having lost her husband. She refuses to be swayed by the consistent flirting by the men she encounters when finding Zak and has no problem putting them in their place.

Another aspect I enjoyed in the film is its soundtrack. The film takes place in North Carolina and this is reflected in the bluegrass tracks that provide the backing in the film. The music adds to the authenticity and rawness that Nilson and Schwartz were going for. The selection of songs are not too heavy and feel relaxed and stripped back, much like Zak and Tyler’s attitudes when they find comfort in their friendship.The Peanut Butter Falcon is a great film to watch with friends and family as well as being a film that can resonate with its audience really well. I am looking forward to seeing where Gottsagen career will go after this and see this film as a huge welcome to his career. I also hope that the studios act on the discussions of being more inclusive when casting.

What did you think of The Peanut Butter Falcon? Let me know in the comments below!