Tag: screenwriting

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Mustang (2015)

A gem of a film you may have missed this past decade comes in the form of this Oscar-nominated Turkish-French film. Mustang is the debut feature by filmmaker Deniz Gamze Ergüven and follows five young sisters who are forced into arranged marriages after they are caught innocently playing in the sea with male classmates. Told from the perspective of the youngest sister, Lale (Güneş Şensoy), Mustang shows the struggles of being a woman in an oppressive society, the loss of innocence and the importance of sisterhood. Ergüven’s direction and script is drawn from aspects of her own life and this authenticity and knowledge can certainly be felt. The film uses limited locations which exemplifies the situation the sisters are in. The opening scenes show them leaving school and the freedom on the beach as they play. When their activities are discovered, they are trapped within the family home and forced to practice chores expected from women such as cooking and cleaning. The house is in the middle of nowhere and the girls are allowed limited access into the town due to the shame that they brought to the family. What Ergüven does so well by showing the film from Lale’s perspective is making the space seem bigger than what it is.

All five sisters have their own distinct personalities and outlook on life. As each one is married off one by one from eldest to youngest, we view their differing circumstances. This is mostly noticeable in the wedding scene where we see the two older sisters wed their husbands. Older sister, Sonay (İlayda Akdoğan) marries a man of her own choice and dances happily but second oldest sister Selma (Tuğba Sunguroğlu) sits forlorn at the table as she is forced to marry someone she does not care for. There isn’t a heavy focus on either sister as we are viewing this from Lale’s perspective and so the attention flits between various partygoers as well as Lale’s grandmother and Uncle. The writing in this scene is absolutely phenomenal and poignant as it marks the last time the five sisters are altogether and alive. It is in the wedding scene when you realise the seriousness of the plot. It is one thing for underage and arranged marriage to be discussed but it is an entirely different scenario when you see it actually happening. Especially the aftermath scene in which Selma’s bedsheets are inspected for blood the morning after and her in-laws claim she isn’t a virgin. The life-threatening undertones make this one of the terrifying scenes in film. The protagonist of the film, however, comes in the form of the youngest sister Lale. Şensoy brings a fantastic performance that is fearless and powerful. Lale isn’t afraid of what others think nor is she afraid of angering her elders when they are in the wrong. Her natural ability to resist is evident throughout the whole film and the concluding rebellion that she carries out with her sister, Nur (Doğa Doğuşlu) only shows how brilliant a character she is.

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One of my favourite parts of this film is the score by Warren Ellis who does a stellar job of capturing the sisters’ struggle. It’s a quiet and soft score that grows with intensity as the time to find Lale a husband looms. It’s an underrated score by all accounts and should have brought Ellis an Oscar nomination at least. The score is such an important part of a film that can really enhance the overall experience and I think that Ellis captures the heart of the film and the bond between the sisters. The combination of classic sounds with traditional Turkish music used in the wedding scene blurs the lines between the reality and the movie.

One of the best scenes in this film comes when the sisters sneak out of the house to attend a football match where adult men are banned. They are caught on camera during the match and in a bid to avoid their Uncle from seeing, the Grandmother swiftly turns the power off. It’s a small gesture but in this moment, the audience realises that the Grandmother has her sympathies for the girls and doesn’t want them to get into any further trouble. Ironically, the football match is where the girls feel safe and have fun as they are in a stadium surrounded by fellow women and watching men as a spectacle rather than being a spectacle in a male dominated world themselves. They have regained their power as individuals with individual identities in this scene and it is empowering to watch. Another scene which is a standout for me is the downfall of middle sister, Ece (Elit İşcan) who ends up committing suicide when the pain becomes too much. After waiting to be married off, she is molested by her Uncle but keeps this from her sisters so as not to upset them. The burden becomes overwhelming and she eventually takes her own life. This moment brings the trauma from the outside world into the supposedly “safe” confines of the family home. The brief glimpse that Lale sees of her bloodied sister is all the audience see before we are whisked away for the men to get rid of the body.

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Foreign language films always bring the best out of cinema whilst seemingly pushing the envelope in ways that English-language films seem reluctant and scared. Films like Mustang help lift the lid and raise awareness on important issues without caring about their opposing sides feelings. They have a clear point of view and they are films that make the audience think. The year this came out was an extremely strong year in film as you also had the revolutionary Hunagrian Holocaust feature Son of Saul which follows life of a man subject to working the gas chambers. Son of Saul was the film deservingly selected to walk home with the Oscar on awards night but any other year and that would have easily belonged to Mustang. It is a film that brings strength and hope to its female protagonists and also sheds a light on the injustice thrust upon young women in modern society.

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

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The Tale of the Princess Kaguya (2013)

My favourite animation of the past decade hands down belongs to Isao Takahata’s swansong which is a retelling of the Japanese folktale “The Tale of the Bamboo Cutter”. It follows a man who finds a small girl in the centre of a bamboo shoot, he picks her up and she turns into a baby and then quickly grows into a young woman in the blink of an eye. Known as Takenoko (which translates as “Little Bamboo”), the family live a life filled with finery. Takenoko is given the title Princess Kaguya and soon begins the quest to find her a husband. The only problem is that Kaguya does not want a husband. She enjoys her freedom and finds the concept of regality to be horrifyingly restrictive. The film underperformed at the box office but the critical response is overwhelmingly positive with five stars across the board. It’s a shame that this film hasn’t received the mass audience that Spirited Away did because it is such an intricate look into traditional Japanese culture whilst merging in the pressures of being a woman in a man’s world and living up to societal expectations. Its portrayal of depression is one of the most realistic and resonating in film for me, particularly the scene in which Kaguya flees the party and sheds her many kimonos. The significance of this scene cannot be discussed enough. Kaguya is dismissing the life that her parents have decided for her. Her parents are not bad people but they have confused their own wishes with their daughter’s and this is what ultimately tears the family apart. The film was released just after Hayao Miyazaki’s The Wind Rises in a double bill that hasn’t been seen since the 1988 releases for My Neighbor Totoro and Grave of the Fireflies. Just as those films are completely different in subject matter and style, the same could be said of The Wind Rises and The Tale of the Princess Kaguya.

The animation style in this film is what makes it instantly stand out in the Ghibli catalogue. Taking clear inspiration from traditional paint and ink, it veers away from your typical Ghibli and Takahata aesthetic but the result is a beautiful use of technique and colour. It feels as though the film is a fairy-tale jumping from the pages of a book. The pastel colour scheme contrasts beautifully with the strong black strokes. This truly is art in animation and a testament to Takahata’s ability to push the envelope. The film in its entirety is beautiful but the now iconic cherry blossom scene is one of the most wonderful sequences in any film. Kaguya runs and plays as the cherry blossoms fall and the result is a scene of joy and freedom. The mix of deep black outlines filled in with delicate hues of pink are simplistic but resonate the lightness and happiness that the character is feeling. The use of colour is so important in this film as it evokes both material and figurative richness. Contrast the colours of nature as Takenoko ventures in the forests as a child which excites her with the scene in which she is gifted numerous kimonos that are made of unnatural colours in rich jewel tones. Takenoko is taken aback by the gift and loves playing with the material in a scene which is just as beautiful as the cherry blossom scene.

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The character of Princess Kaguya herself is deeply complex and despite her origin as a being from the Moon, is one of the most human characters brought to film. Her journey from bamboo spirit to fully fledged Princess is turbulent and challenging. Content with the humble lifestyle her Earth parents lived before inflicting delusions of grandeur upon her, Takenoko refutes the lifestyle expected of a lady in high society. She is trapped within the walls of her mansion within the city and longs for the wilderness and freedom it brings. The character is not without her flaws. She purposefully manipulates five potential suitors to cross oceans and collect tokens for her affection. She does this knowing that she doesn’t care for any of them and knowing that it isn’t possible to gain these mythical gifts. When falling into her depression, we feel for her because she doesn’t want to let her parents down and appreciates everything they have done while at the same time sacrificing her own happiness. Ultimately, she has to ask herself if her parents happiness is worth exchanging for her own and asks for the Moon to reclaim her. Kaguya is a character who knows what she wants and this progressive outlook does not fit in within a society that has a place for her.

In an unusual move for Takahata, he recruited Joe Hisaishi to compose the music for this film. Hisaishi is known for his frequent collaborations with Miyazaki and had only just delivered a stellar score for The Wind Rises. It’s a credit to Hisaishi that he worked on these scores at the same time and yet both soundtracks have their own style and identity. The score for The Tale of the Princess Kaguya deeply lies in Japanese tradition, utilising traditional instruments such as the Koto which the titular character has a natural affinity for and whimsical woodwind that really brings you into the era and setting. Hisaishi has his own distinct sound as I have discussed in previous posts but this one feels totally unique in its approach. It feels softer and more ingrained in its tradition and heritage than other soundtracks. This could be because despite its fantastical elements, it is a film that is openly set in an ancient Japanese setting.

There are many scenes which stand out in this film for me and I have discussed a few of them in this post but the one that will remain the most heartbreaking is Kaguya’s return to the Moon. It’s a poignant sequence and one that will have you crying. When the procession of beings from the Moon come to collect Kaguya, the love that she has for her parents and vice versa flows through. It’s hard to believe that a children’s film can have such a sad ending but this is Ghibli and they are not afraid to delve into darker themes. Erased of her memories on Earth, Kaguya looks back at her parents and sees their love and smiles. This smile is bittersweet because she recognises the love that they have without understanding who the love is for and what it meant to them.

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The Tale of the Princess Kaguya is tied with Castle in the Sky for first place as my favourite Studio Ghibli film. It’s unlike any film you have ever seen and unlike any film you probably will see in the future. It’s a glorious achievement and worthy of being Takahata’s final film. The love and care that went into this film is so evident. I truly believe that the love for this film will grow in the coming years and it will become just as admired as some of the other popular Ghibli films in the catalogue such as My Neighbor Totoro and Spirited Away. It’s a film that is not an easy watch but it is so captivating and rewarding.

What do you think of The Tale of the Princess Kaguya? Let me know in the comments below!

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Beasts of the Southern Wild (2012)

Benh Zeitlin’s Deep South exploration of classism and racism within a microscopic community called The Bathtub based in the Louisiana Bayou shows the heartbreaking journey a little girl, Hushpuppy (Quvenzhané Wallis) makes to be reunited with her mum after her father falls ill who she hasn’t seen in years. The film is intricate in all of its elements and has become one of the most captivating films of the past decade for its brilliant cinematography, emotionally charged writing and a fantastic performance by Wallis. In fact, Wallis became the youngest nominee at age 9 for the Best Leading Actress Oscar at the 2013 ceremony for her performance. This may have been the big draw for the film as audiences were keen to see what the fuss was about but it is a film that has a big heart and delves into the trials and tribulations of family. It walked away empty-handed from the Oscars that year but so did other worthy films (aka. The Master) so it’s not the end of the world. I don’t think it has received the mass audience it deserves but it is a very small film and is loved by critics and film fans alike so it may grow into a modern classic soon enough.

Zeitlin’s direction is stunning and absolutely incredible for a first feature. His fixation on the community itself and reluctance to show the outside world was a great choice as the consequences and invasion of the outside world feels more impactful than if we saw The Bathtub in a larger context. We get to know similar faces and their way of life in the first half of the act and importantly, their strategies to escape from those who want to split them up. Hushpuppy isn’t raised in a conventional manner. Her education and lifestyle sees her living in her own house, cooking and raising animals at the age of 5. She is self-reliant and mature in many ways but what Zeitlin wants us to remember is that she is still a child. She sets fire to her house when angry at her father because she doesn’t think of the consequences. She screams and throws tantrums but she is also fearless and has a simplistic look on the world that makes it easy to identify the good and the bad. To Hushpuppy, there is no middle ground. Hushpuppy’s development in the script, written by Lucy Alibar and Zeitlin, is depicted beautifully as she begins to understand and comprehend the reality of the situation when she is separated from her dad and the truth about her mum.

Wallis’ performance is among the best of the decade for me. Only five years old when filming this, she truly encapsulates everything about Hushpuppy and pulls it off with ease. Unafraid to be big and proud but also willing to show vulnerability, the emotional spectrum that Hushpuppy goes through means that the role itself is deeply complex, especially for a child. This is because Hushpuppy isn’t a normal child. Wallis seems to understand this and commands attention when onscreen, which she is for the majority of the film. Thematically, Hushpuppy encounters loss, death and grief which are hugely dense topics for a child so young to even comprehend but Wallis is so engaged in her performance that she isn’t afraid of tackling this maturity head on.

The score composed by Dan Romer and director Zeitlin has become somewhat of a modern classic unbeknown to the mass audiences. The main theme has been used in various adverts and trailers alike and it feels like a piece that truly resonates the hope and adventure in the film. The soundtrack can only be described as strong and deep in heritage with Deep South banjos mixed with Cajun vibes creating a sound that feels exclusive to the community. The tracks are all fairly short as the film is made up of lots of smaller scenes rather than fewer elongated ones and this helps with the shift in tone and character. The use of brass in the score is phenomenal and makes the film feel grounded and rooted with nature. We feel Hushpuppy’s perseverance and strength.

What makes this one of my favourite films of the decade is the humility that it brings. Beasts of the Southern Wild is a film that has power in its characters and detail in writing that serves to develop characters, particularly Hushpuppy. It is such a striking film that isn’t afraid to push the realms of realism while simultaneously remaining grounded in very real topics of class and race politics. Because we view the film from Hushpuppy’s point of view predominantly, we too are seeing these issues in a very different manner. As her dad arrives home with a hospital wristband, it is only a minor detail on his outfit as Hushpuppy questions his “dress” (his hospital gown). It’s a film that discusses recurring issues but in a unique way and for that, I think it deserves to be remembered.

What do you think of Beasts of the Southern Wild? Let me know in the comments below!

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Princess Mononoke (1997)

Another day, another Ghibli review. Hayao Miyazaki’s Princess Mononoke is a Medieval set fantasy in the ancient land of folklore and Gods and the battle between Mankind and the spirits in the forest. The film follows Prince Ashitaka who is cursed by a dying boar and must venture to the West to find the reasons for his curse. He ventures to Irontown where the residents, led by the greedy Lady Eboshi, are on a mission to rid the forest of its Gods in order to mine up the iron and invade surrounding areas. In between these two parties is a young woman, San (also know as the titular character), who lives with the wolf Gods in the forest and whose mission is to kill Eboshi and put an end to Irontown’s plot to rid the world of the animal Gods. Ashitaka is immediately taken by San and sides with her to put an end to Eboshi while also finding out the meaning of his curse. The film is more violent than most Ghibli films and doesn’t shy away from showing rotting corpses, dismembered limbs and lots of blood but the film needs this to show the corruption within man’s unnecessary fight with nature. The violence that is perpetuated upon the forest and seeing the animal’s rebellion is heartbreaking. Miyazaki’s brilliant vision of contrasting palettes makes this a true fantasy epic as we venture from the deep jewel colours of natures filled with deep greens and blue hues to the abnormal reds and oranges that flare from the furnaces at Irontown.

Princess Mononoke features some of the best known characters in the Ghibli canon from San, the titular character to the various creatures that populate the forest, particularly the adorable Kodama, tiny spirits that guide the way through the forest. In true Ghibli fashion, San is a posterchild for strong female characters. From her first appearance sucking the bullet out of the wolf God and spitting the blood into the water, San doesn’t care how she looks. She doesn’t aim to please anyone and isn’t there to be sexualised or sought after. Ashitaka is drawn to San but San keeps him at arm’s length. She wants to help him but does not care for any romance. San’s reluctance to identify as human makes it easy for the audience to see her as inhuman. Her seemingly superhuman strength and speed makes her seem otherworldly. On the other side of the conflict, Lady Eboshi is a deeply conflict character who isn’t just a regular villain. In true Miyazaki fashion, she has her own understandable methods and a genuine desire to protect her people but she is ultimately on the wrong side of history in this instance. Eboshi is seen as a woman of civility and forward-thinking whereas the people portray San as an animal and treat her like the animals that she lives with. They do not hesitate in their attempts to kill her even though Eboshi confides her sympathies for San to Ashitaka.

The animation and style from this film is quintessential Ghibli. Drawing in on traditional techniques and meshing with this folklore and a modern feel, Princess Mononoke showcases the best of Ghibli and Miyazaki living up to his usual standard. The combination of nature and industrial is deeply satisfying and you are instantly transported to a different time. Despite being sets centuries ago, the technology feels new and unique. The designs of the spirit god’s, particularly the Forest God bring that sense of command and attention that such a character would demand from its audience. One of the best sequences has to include the opening encounter with the boar which is both grotesque and terrifying, setting the tone for the film. Contrast this with later scenes where the forest comes to life to make way for the Forest God.

If you have read my previous Ghibli related posts, you know that I absolutely love the composing genius that is Joe Hisaishi. A longtime Miyazaki collaborator, Ghibli films would not be the same were it not for Hisaishi’s contribution. This is mostly felt in Princess Mononoke, the soundtrack which I listen to everyday. It truly holds its own as an epic in its own right and brings the film’s overall status to epic proportions. Mixing traditional Japanese sounds with fantastical elements, we are thrown into the conflict between man and nature through Hisaishi’s genius use of pace and crescendo. The ending track titled “The Legend of Ashitaka” is easily one of my favourite musical pieces from any film. The piece feels as though it takes you through the emotional span of the entire film in its five minute running time. Starting off quiet and slow and then building with brass and becoming a loud and brash piece showing the tilt in man’s favour. I love how Hisaishi has his own style like Miyazaki and it honestly feels like you can’t have one without the other.

Princess Mononoke is usually ranked among the favourites and has been a popular choice since its release. It is a film that has mass appeal despite its maturity and content. There is a lot of detail to take in within every scene and such a brilliant use of locations and spaces. The era that it is set in is real but the addition of the Gods allows the creative team to think outside the box and bring their originality to the designs. Even the designs of animals such as the monkeys and the boars have an otherworldly feel to them. They are inspired by animals that exist but they don’t exist in the real world. This is something that Ghibli does best in that it blurs the line between real and fantasy, allowing the imagination to run wild. The film isn’t afraid to delve deep into serious issues with its overwhelming message on environmental destruction, the manifestation of greed in man and the corruption that it builds and the longing for power.

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

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Ingrid Goes West (2017)

Looking through the many options on Netflix, I stumbled across this 2017 indie that I have been meaning to watch but never got around to. Matt Spicer’s film stars Aubrey Plaza as the titular Ingrid Thorburn, an Instagram stalker who becomes besotted with an LA based influencer, Taylor Sloane (Elizabeth Olsen), and moves to be near her. Ingrid Goes West lifts the filter and reveals the dark side to Instagram, showing the damaging psychological affects that obsessive social media usage can have. Ingrid is already introduced in her obsessive state and we never quite get to the bottom of her issue but that adds to the eeriness that social media dominates lives without reason. Despite being sent to a mental health facility, Ingrid doesn’t change her ways and still flicks through magazines religiously. The opening shot of Ingrid is her crying as she flicks through her former victim’s Instagram as she is barred from the wedding. The irony of the deep emotion that Ingrid feels with the vacuous status that accompany the pictures only serves to highlight how shallow the obsession is. Ingrid is constantly viewed as an outsider but it is purely because she doesn’t naturally conform to the Instagram type that makes her seem a bit weird.

Given the topic for the film, it only makes sense that Spicer would reflect this in his direction. The film runs like a glossy Instagram page filled with a satisfying colour palette and scenery that would need no filter. It was always going to be a challenge because these are characters who are obsessed with their phones. Spicer wants the audience to see what these characters are missing. The beauty of the location is used by the characters for likes and not really appreciated for what it is. Combine this with sharp dialogue that is filled with plenty of small talk and awkwardness and you’re onto a winner. Spicer cowrote the script with David Branson Smith and I think they did a great job of subtly bringing out the darkness in the other characters. When Ingrid has her meltdown at the end and confronts Taylor, the latter seems emotionless to the accusations of her shallowness which only confirms Ingrid’s claims. Ingrid is an obvious victim of social media obsession but Taylor is also a victim of illusion provided by the grandeur of thousands of followers on Instagram. The soundtrack is a Californian daydream mixing Indie songs with RnB classics, Ingrid Goes West is bolstered by it’s music choices. To an extent, the songs are perfectly picked for their scenes like photoshopping the perfect image. Spicer does not want the audience to forget that this is a film about culture and arguably, the downfall of culture.

Aubrey Plaza is nothing less than stunning in this film. A complete 180 from her usual quirky and sarcastic persona, her performance as Ingrid is ironically her most sincere character. Ingrid is deeply flawed and not necessarily likeable from the offset but she is a victim. We can see that Ingrid is filled with disgust for herself as she finds herself diving deeper into obsession but despite her own attempts, she cannot stop this. On the other hand, whether she wants to stop obsessing is another question but then this conflict is what makes her struggle human. The film is primarily a dark comedy and this makes it a perfect fit for Plaza but she plays the role as though it were a drama and this pays off massively. We feel sorry for Ingrid despite her weirdness and crimes. We know what she is doing is wrong and yet we want her to succeed. A character as conflicting as Ingrid doesn’t happen very often and the combination of Spicer’s script with Plaza’s characterisation was perfect.

Ingrid is clearly the film’s villain with Taylor as the traditional victim. But what the film is also suggesting is whether Taylor herself has allowed herself to become equally as obsessed in a different way. She doesn’t care to notice Ingrid’s obsession until there is danger posed and she doesn’t seem trendy anymore. She is consistently narcissistic which Ingrid completely ignores in her admiration. Taylor had also wanted to be the cool kid that Ingrid longs to be but she rejects Ingrid’s attempts in the end. The film doesn’t aim to excuse Ingrid’s behaviour but it aims to shed light on how shallow both sides of the obsession is. Just as Ingrid is tortured and craving a life that cannot be hers, Olsen revels in her role as the self-absorbed Taylor Sloane. Originally coming across intelligent and cultured with a ton of quotes from many favoured writers such as Joan Didion as well as a regular face on the LA art scene, Taylor has everything that Ingrid could want. Taylor is oblivious the world around and everything is material. Even a simple picture with Ingrid turns into a.impromptu photoshoot with a local shop worker forced to get on the floor to get the perfect angle. Taylor is all about control and image and doesn’t want anything negative coming in and bursting the bubble. We are led to believe that Taylor lives a perfect life but this couldn’t be further from the truth as her husband is a failed artist alcoholic and her brother a drug addict.

O’Shea Jackson Jr also makes a welcome appearance as Ingrid’s landlord, Dan, who Ingrid manipulates into a relationship to impress Taylor. Dan is the only honest and traditionally good character in the film. He is aware that Ingrid is deeply flawed from the moment that she brings a dog to her apartment against his rules but he still develops a deep love for her. When she attempts suicide, no one in the house next door tries to help her. In fact it is Dan, who is in hospital because of her, who saves her life by calling an ambulance. Taylor and her husband Ezra were willing to leave Ingrid for dead in her own home. Their shallowness and obsession with online presence overshadowed someone’s real life. It’s the small details in the writing such as this that exploit the darkness in this film.

What do you think of Ingrid Goes West? Let me know in the comments below!

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Hustlers (2019)

One of the most hyped films of the year comes in the form of Lorene Scafaria’s crime drama, Hustlers. Based on the New York Magazine article that follows a group of strippers who drug and con Wall Street men off their money during the 2008 recession. The film stars Constance Wu as Destiny, a former stripper who is interviewed by Elizabeth (Julia Stiles) who is conducting research for her article. Destiny reflects on her rise to the top with the help of veteran stripper, Ramona (Jennifer Lopez) and together they concoct a plan that sees them milking the Wall Street types for all they’re worth. This film could have easily slipped into a male gaze fantasy that sexualises the women and focuses on their bodies rather than their minds and motivations but luckily, with a female director and female majority clue, this film becomes a poignant reflection on the treatment of women and the recklessness of the rich who exploit the poor.

Lorene Scafaria’s direction and script is brilliant with multiple characters receiving plenty of depth and screen time all while keeping it boxed in within the interview narrative. It’s a simple technique to use to detach the audience from the dramatic events in the film. Aside from these glimpses into the future interview, the flashback follows a linear structure and shows the budding relationship between Destiny and Ramona as well as their falling out. The genius of Scafaria’s direction comes in focusing on the faces of the characters rather than their bodies. As Ramona does her opening dance, the screen flits to Destiny who looks on in awe as well as Ramona herself who clearly knows exactly what she’s doing as she writhes in a pile of money. Another brilliant scene is when Destiny grows tired of being interviewed by Elizabeth and switches off her recorder. What follows is a scene of silence to reflect that Destiny is now protected from this woman who has lived such a different life from her. Constance Wu was the perfect choice for Destiny. The difference between her as an aspiring stripper and the uncomfortable woman who has lived through the experiences at the interview is like viewing two different people. Wu doesn’t hold back in her vulnerability. Destiny is clearly a rookie at her job and to see Ramona take her under her wing rather than set her up for failure is something that a film created for the male gaze would not do. This is an authentic view of womanhood and it’s made all the more empowering knowing that it was made by a woman and features a collection of strong female characters.

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I think it’s only right to give Jennifer Lopez her own section. The triple threat truly comes into her own as Destiny’s mentor, Ramona and has subsequently earned multiple major award nominations so far including Golden Globe and SAG nominations for Best Supporting Actress. It’s pretty inevitable that she will receive an Academy Award nomination at this point also and deservedly so. Ramona is presented as ruthless but caring, mentor and mother. She sees herself in Destiny and only wants to give her the best life that she never had. Despite her many flaws, we are drawn to Ramona and we understand why she thinks the way she does despite the danger in her plans. Her experience as a woman of colour who’s livelihood is dependant on the rich white men of Wall Street is shattered as she decides to take these matters into her own hands. Ramona understands that the only way to achieve the American Dream is to rely on oneself rather than lean on an unreliable patriarchy that is all to happy to kick those less fortunate to the curb. The audience doesn’t see Jennifer Lopez. From the first moment she appears on the screen, she is Ramona.

In terms of the supporting cast, we see Keke Palmer, Lili Reinhart, Cardi B and Lizzo popping up on the screen as fellow strippers. It’s great to see a majority collection of strong women of colour in a film that builds them up rather than knocking them down. Their lifestyle isn’t glorified but it isn’t judged either. It simply is. Cardi B was cast due to her past experience as a stripper before hitting the bigtime and Lizzo is cast due to her positive body message that she likes to convey in her music. This proves how important it was to Scafaria that the female cast have confidence and aren’t ashamed of their characters. Hustlers is a brilliant example of a film by women for women. I look forward to seeing what else Scafaria has up her sleeve as well as Lopez’s next acting ventures. It’s a film that brings a spectrum of emotions while remaining true to its message and true to the characters. Hustlers presents us with the argument that not everything is black and white and although openly flawed, the motivations are not to be glorified or judged. These are events that simply happened as a consequence of context.

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The soundtrack is packed with nostalgia as we are truly thrown back to old school hits that range from Janet Jackson to Britney Spears. There’s even a cameo from Usher as the singer was reported to have visited the club. The film becomes elevated by its music. After all, it provides the literal backtrack to the women’s dance so picking the right songs is key. It is cleverly mixed with classical pieces that help to detach those scenes of adrenaline with the more hard-hitting drama. One aspect of the soundtrack that I thought was genius was not including songs by Jennifer Lopez, Cardi B or Lizzo. Despite the idea of an original collab being incredible and Oscar fodder that everyone would eat up, omitting their musical achievements outside of the film allows them to embrace the characters they are and brings the audience to a higher level of relatability and believability.

In a year that has seen many brilliant films written and directed by women, Hustlers is a great insight into the future of female cinema. If you haven’t seen this yet, I highly recommend that you do. As always, let me know what you think of Hustlers in the comments below!

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Quentin Tarantino: Film Ranking

If you asked a group of people for their favourite living filmmaker, there is a strong chance that a large percentage of them will say the name: Quentin Tarantino. One of the greatest and most original minds to come out of the film industry in the history of film, Tarantino practically defined 90s cinema with his look into the gangster underworld of Los Angeles. His films are known for their strong use of language, gratuitous violence and the iconic writing style that Tarantino brings to his dialogue. The owner of two Best Original Screenplay Oscars (for Pulp Fiction and Django Unchained), he has yet to win a Best Director gong. With the release of this year’s Once Upon a Time in Hollywood, could this be another successful awards season for Tarantino?

Tarantino had always stated that he intended to make 10 features. Counting Kill Bill as one, Once Upon a Time in Hollywood would be his ninth and, therefore, penultimate picture. I thought it would be a great celebration of his work to revisit his films old and new and see how I would stack them up when compared to each other.

Here are the reviews for the films of Quentin Tarantino:

Reservoir Dogs (1992)

Possibly one of the most (if not the most) iconic debuts ever to be delivered by a filmmaker, Reservoir Dogs follows a group of men who are given colour code names such as Mr. Orange and Mr. Brown and their attempt to carry out a diamond heist. A pretty simple plot but the genius of the film comes from Tarantino’s decision to not show the heist itself. What we are presented with is the run-up to the heist and it’s consequences when it goes wrong. Featuring a brilliant cast including Harvey Keitel, Michael Madsen and Tim Roth. My favourite performance comes from Steve Buscemi who plays the fearfully paranoid Mr. Pink. Among the men, Pink is clearly the outsider from the beginning when he refuses to give the waitress a tip. The script may seem simple but it is anything but. There is a rhythm and style that would come to define a Tarantino feature such as extensive allegories and numerous pop culture references. The soundtrack for this film has also become somewhat of a legend in its own right and has become a reference point for a lot of modern filmmakers. Tarantino himself claims that this film is the closest to being a “perfect” film which although I see the argument for, I would say that he has managed to make even better films. It would be a shame to think that his first film was his best.

Pulp Fiction (1994)

If you had to say one film that defines the 1990s, I think the majority of people would say Pulp Fiction. From the iconic poster design, extreme violence and brilliant dialogue, Pulp Fiction catapulted Tarantino to the top of the A list, winning him the Palme d’Or at Cannes Film Festival as well as an Academy Award for Best Original Screenplay. Starring John Travolta and Samuel L. Jackson as suave hitmen Vincent Vega and Jules Winnifield who work for drug lord Marsellus Wallace (Ving Rhames) and his cocaine-addicted wife, Mia (Uma Thurman in her most recognisable role). Pulp Fiction is bigger and better than its predecessor with an even more starry cast, bigger budget and killer direction. Even 25 years on, it is still commonly referenced for its costumes and standout scenes such as Jules’ biblical recitation before blowing the brains out of a man who attempted to double-cross Wallace. It is undoubtedly Jackson who is the shining star of this gangster masterpiece as he brings his trademark attitude. You know you did a great job when the person who beat you to the Oscar says that you should have won. There’s a reason why Pulp Fiction marked the start of the iconic collaborations between Tarantino and Jackson. Their love of action, violence and strong language makes the perfect pairing. Besides every time Jackson is onscreen, my favourite scene is Christopher Walken’s iconic monologue as Captain Koons, an Army veteran who survived the war and is gifting his son, Butch (Chandler Lindauer and Brue Willis playing the younger and older versions, respectively) his prized watch. Only Walken could deliver the monologue with the sincerity and conviction that his does.

Jackie Brown (1997)

Jackie Brown is one of those films that finds itself among the top of people’s favourite Tarantino films or worst. Sadly, it is among the bottom of my list but not because it is a bad film by any means. It is simply because of its nature as an adaptation. When I watch a Tarantino, I want to see the usual quirks in the dialogue which I think isn’t there as much as other films. Following Pam Grier as the titular air stewardess who becomes embroiled in a smuggling scandal, Tarantino relies on a great cast to carry out this complex web and pulls it off which include Samuel L. Jackson with a fantastic haircut. Known for her starring roles in Blaxploitation flicks, Grier herself is amazing and had such a powerful presence onscreen. She doesn’t just give a great performances, she becomes Jackie. It’s one of my favourite performances in the Tarantino catalogue but I just feel that there are elements such as the odd pacing that let the film as a whole down. It would be nice to see Tarantino reunite with Grier on a new project, perhaps his 10th (and supposedly last) feature. The film is grounded in reality a bit more than the others and I think the fact that any director could have made this film is why it ranks low. When I watch a Tarantino film, I want it to be distinctively Tarantino but I don’t get that from this film and as previously stated, I think that comes from the fact that it is an adaptation. The man thrives from his originality and it’s what the audience loves.

Kill Bill: Volume 1 (2003)

I remember watching Kill Bill for the first time and being blown away by the strength of the protagonist. The film follows the vengeful ex-assassin The Bride who seeks revenge on her former colleagues when they kill her wedding rehearsal party on the orders of Bill, the man who runs the group. Kill Bill is intended to be watched as one film but due to running length was divided into two volumes. The first volume is seen as the Eastern installment as The Bride ventures to Japan to face the first assassin O-Ren Oshii (Lucy Liu). There are so many reasons why my love for this film is unequivocal such as the clear appreciation for Japanese cinema and culture, the amazing use of animation within the film and most of all, the wide abundance of fleshed out female characters. This film is known for its extreme violence and high body count but don’t let this put you off. Playing the woman who lost everything, including her unborn baby, Thurman’s performance is undeniably ruthless, unapologetic and emotionally charged to the max. Even though she seems unbreakable and unemotional on the surface but you sense her pain underneath the surface from the opening scene with Vernita Green (Vivica A. Fox). Tarantino uses various elements such as sound mixing and colour giving the film its flamboyance and elevating it beyond realism and into fantasy.

Kill Bill: Volume 2 (2004)

Following on from Vol 1, Kill Bill: Vol 2 takes us back to America where the Bride has the second half of her list left to kill in the form of Bill’s failure of a brother, Budd (Michael Madsen), the merciless Elle Driver (Daryl Hannah) and Bill himself (David Carradine). This installment has a larger focus on the Bride’s background before the massacre took place and her journey to becoming an assassin. I love how both films have become a genre of their own. The body count may be a fraction of its predecessor but it still includes some of the most terrifying scenes in film (insert buried alive segment here) and is captivating in its own way. We see the Bride’s emotional journey and her guard slips as she makes some unexpected discoveries in her quest for blood. I think that together, Kill Bill makes for a fantastic saga and would definitely be among my favourite films of the 21st century so far.

Death Proof (2007)

I know there are some people that wouldn’t put Death Proof in the list due to it being part of a two-part feature titled Grindhouse with fellow director and friend, Robert Rodriguez directing Planet Terror (2007). Death Proof is a Texan action led by Kurt Russell as a stuntman who murders women with his car. The film is split into two parts with one group of women’s fates determined the first half and another group in the second half. Death Proof is often viewed as Tarantino’s worst and it is but it’s not a bad film. It is entertaining and Russell is brilliant as the killer in the “death-proof” car. It’s not as complex as other Tarantino films and doesn’t perhaps have the gumption or wow factor that the others have. That being said, for what it wants to be, it delivers in spades. The soundtrack is great and Rose McGowan and Mary Elizabeth Winstead are great in their roles as Pam and Lee, respectively. It’s pretty great that Tarantino and Rodriguez cast McGowan in a leading role in both films to spite Harvey Weinstein for what he did to her. McGowan shines in both films and it would be great to see her make a return to films in roles as amazing as the Grindhouse duo.

Inglourious Basterds (2009)

The first Tarantino film I watched and boy was it a great pick. Undoubtedly one of the best opening scenes in film history, Tarantino manages to create tension with a glass of milk. The film is a reimagining of Nazi-occupied France during the war with Brad Pitt playing Aldo Raine who leads a group of men known as “The Basterds” who are set on killing Nazis and collecting their scalps. Inglourious Basterds also includes what I would argue is Tarantino’s best character today in the erringly charismatic SS Officer, Hans Landa. Played spectacularly by Christoph Waltz in a role that would see him in his Hollywood breakthrough and take home every Supporting Actor Award including the Cannes Film Festival, BAFTA and the Academy Award. Landa is a character who commands your attention. He’s despicable and manipulative, the sociopathic changes are intriguing to watch such as him loving his nickname “Jew Hunter” in the opening scene when intimidating a local farmer, to despising the name when realising that the Nazis are set on losing the war. His motives and outlook can never be understood because he is such a whirlwind character. He seems to take his job seriously one moment then not at all the next and flits the fate of others with ease, not finding it difficult to kill if he sees fit. I don’t think there’s a character that has unsettled a global audience as much as Hans Landa has and yet you long for him to be on the screen because the character is so engaging. Tarantino’s screenwriting is possibly his best, which he clearly knows from the final frame when Aldo looks into the camera and says “this might be my masterpiece”.

Django Unchained (2012)

Bringing his love for spaghetti westerns to the frontline for this Civil War epic, Tarantino’s 3 hour Django Unchained follows Jamie Foxx as the titular character and his quest to find his wife Broomhilda (Kerry Washington) in the Deep South were slavery is very much a thriving business. With the help of bounty hunter Dr King Schultz (Christoph Waltz), Django’s adventure sees Tarantino using an endless amount of fake blood and a controversial multitude of n-words throughout which faced criticism from individuals such as Spike Lee. I do think this is a film plagued with indulgence and excess in its violence, language and numerous endings but it does have very strong points. The cast are perfect in their roles particularly Christoph Waltz as Schultz and Leonardo DiCaprio as plantation owner Calvin Candie. Waltz is charismatic and charming as a man set on freeing slaves and hunting killers and would go on to win a second Best Supporting Actor gong although I personally think his role is a lead not supporting performance. DiCaprio’s performance on the other side is chilling and captivating as he relishes in torturing the slaves.

The Hateful Eight (2015)

Concluding the western trilogy in Tarantino’s catalogue, we venture to Wyoming in the aftermath of the Civil War. There’s a heavy blizzard and eight murderous brutes are trapped in Minnie’s Haberdashery including the honourable John “The Hangman” Ruth (Kurt Russell), country hunter Major Marquis Warren (Samuel L. Jackson) and a career-best from Jennifer Jason Leigh as the disgustingly brilliant Daisy Domergue who John is bringing to Red Rock to hang. Like all Tarantino films, this one is also a mash-up of genres. It is primarily western but is also murder mystery, comedy and thriller. The film’s composer, Ennio Morricone stated that he wrote the score for a horror film which would end up being the film’s strongest point and leading to Morricone’s long-awaited Oscar. It’s a truly brilliant soundtrack and elevates the rhythm of the dialogue which is so important in the moments of extreme tension. Tarantino’s writing is tight and every character has been fleshed out, admittedly some more than others, but each one is memorable in their own way. It’s an interesting inclusion and the film shows a maturity in Tarantino’s filmmaking. There is violence, granted, as expected but Tarantino is more focused on his script and positioning of characters than the actual violence.

Once Upon a Time in Hollywood (2019)

I have already written an extensive review on this one (which you can read here) so I won’t go into too much detail. What I will say is that it has a very good chance of scoring some nominations and potential wins going into awards season. It’s nice seeing Tarantino returning to California for his penultimate film and it seems like a film that he was destined to make. The personal touches are definitely here in what seems to be a return to the place where he grew up.

So we’re all up to date and I eagerly await to see what Tarantino has up his sleeve for his tenth and supposed final feature. Undoubtedly, it will be one of the biggest events in film history with actors and crew members alike clambering at the chance to work with him. There’s only one Tarantino and there certainly won’t be another director like him again.

With all that said and done, here is my final ranking:

1) Kill Bill: Volume 1 (2003)

2) Inglourious Basterds (2009)

3) Reservoir Dogs (1992)

4) Pulp Fiction (1994)

5) Kill Bill: Volume 2 (2004)

6) Once Upon a Time in Hollywood (2019)

7) The Hateful Eight (2015)

8) Django Unchained (2012)

9) Jackie Brown (1997)

10) Death Proof (2007)

I know it’s probably shocking having Kill Bill: Volume 1 at the top, but there is something incredibly empowering to me seeing a female character leading a blockbuster four hour saga. I hope people refer back to this when people claim that audiences don’t want to see women in film.

Which Tarantino is your favourite? Let me know in the comments below!

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Paul Thomas Anderson: Film Ranking

Paul Thomas Anderson is known for his experimental and fearless quest into exploring characters in ways that are unflinching and at times, uncomfortable.

With the exception of last place (I really struggle with the age-gap in the relationship), I’ve watched these films multiple times and some of them are among my favourite films of all time.

Here’s my ranking for the filmography of Paul Thomas Anderson:

  1. The Master (2012)
  2. There Will Be Blood (2007)
  3. One Battle After Another (2025)
  4. Boogie Nights (1997)
  5. Phantom Thread (2017)
  6. Magnolia (1999)
  7. Inherent Vice (2014)
  8. Punch-Drunk Love (2002)
  9. Hard Eight (1996)
  10. Licorice Pizza (2021)

Which PTA film is your favourite film? Let me know in the comments below!

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The Red Shoes (1948)

This technicolour wonderland is one of the best (if not the best!) film in the history of British cinema. Directed by Michael Powell and Emeric Pressburger, It’s become known as a masterpiece and is constantly an inspiration for many artists alike and with good reason. Following Victoria Page (Moira Shearer), a ballerina who joins a troupe as the lead in the new ballet The Red Shoes. She begins to find a conflict between her professional relationship with the insufferable genius, Boris Lermontov (Anton Walbrook) and a personal romantic relationship with the troupe’s composer, Julian Craster (Marius Goring). Soon enough, the ballet of The Red Shoes begins to seep into Victoria’s reality and she is eventually broken down by the idealisations that are expected of her. This is a film that breaks the boundaries of the filmmaking experience. It’s very premise of the ballet within the reality of the film soon becomes blurred and the tone of the film changes from a basic aspirational drama to a psychological thriller. Inspired by the Hans Christian Anderson fairytale but given an original makeover by The Archers (as Powell and Pressburger were collectively known), this film delves into the dark side that fairytales ventured into which is a contrast to the Disney films that were dominating the global market. Even 70 years on, the topics in the film feel just as relevant today.

The Archers’ brilliant direction and script effectively contrast the freedom of dance with the claustrophobia and obsession with perfection. Nothing sums this film up more perfectly than Vicky and Boris’ first exchange:

Lermontov: Why do you want to dance?

Vicky: Why do you want to live?

Lermontov: Well, I don’t know exactly why, er, but I must.

Vicky: That’s my answer too.

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Dancing gives Vicky the freedom that she craves but unbeknownst to her in the beginning that the freedom she “gains” from dancing for Lermontov is merely his vision. He is the puppet master pulling the strings. As Vicky grows closer to Julian and begins to finesse her own skills, she begins to resist and she finds herself no longer wanting to dance but unable to rid herself of the red shoes. The ballet sequence in which we see Vicky encapsulate her character and venture into the nightmare world of the dance is horrific. Her own emotions have merged with the character. Her dancing has become her life force. Then there’s the conflict she has between Julian who is an aspiring musician who is working for pennies and has the freedom to create the material he wants and then Lermontov who requires strict control over the whole operation. I think it is to Powell and Pressburger’s credit that they manage to succeed in creating three entirely different yet well-rounded characters who all have their motives and flaws. It’s a film that feels progressive even now and doesn’t belong to a particular time. It’s reluctance to slot into a specific genre is also reflective of this as it is a drama, thriller, horror, dance piece all in one.

I think that Shearer’s performance is one of my favourites in any film. She shines as Vicky and really brings out the talent and the grandeur of the role. Despite her privilege (we first see her sat in a private box watching the ballet), Vicky shows her natural passion and talent which impresses Lermontov who initially dismisses her because of her background. Despite Vicky’s flair for ballet, she is still an outsider as her fellow dancers clearly do not have the luxuries that she has. No scene depicts this better than when she thinks she is going to dinner and is dressed to the nines complete with a tiara, only to find the men running the ballet planning the next production in casual attire. Vicky is by no means a perfect individual either. She throws a tantrum when she is unable to keep up with Julian’s tempo during rehearsal. Vicky and Julian’s relationship develops as they realise that they are two sides of the same coin which Lermontov despises. The complexities of Lermontov’s character makes him one of my favourite “villains” film history. His obsession dehumanises those around him, none more so than prima ballerina, Irina Boronskaya (Ludmilla Tchérina) who is abandoned by Lermontov when she announces her engagement. The people around Lermontov are dehumanised puppets where his ambitions must become their ambitions. The moment there is any hint of a life outside the ballet, they are exonerated and in Lermontov’s eyes, they never even existed. His unapologetic way of life is challenged by Vicky and the climatic scene shows a crack in the façade as he breaks down onstage and forces the production to commence without her. The vision becomes empty and the audience gazes at a moving spotlight as it flutters around the stage where Vicky should be.

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The music composed by Brian Easdale is nothing short of extraordinary and it effortlessly dances the line between the ballet production and the film reality until eventually both worlds merge into one. The music used in the production of The Red Shoes is spectacular with the church scene in particular remaining a highlight for me. I get chills every time I watch that segment and hear the constant bell as the lead is abandoned and left to die. Jack Cardiff’s choreography for the film is a perfect marriage for the score and the two sail on through the film and set the pace. These components are representative of Julian and Vicky’s talents and the importance of the part that they play into the film cannot be unrecognised. One of my favourite aspects of the film is Hein Heckroth‘s costumes designs. The moment when Vicky’s costume for the ballet of The Red Shoes is revealed is breathtaking and it’s one of my favourite costumes in film. Not to mention the incredible costumes that Vicky wears throughout and the clothes designed by Carven for Irina are exceptional.

My love for this film grows with every view and even thinking about it now, it’s incredible how much it has shaped my taste in film and been such a huge influence in my creativity. It’s such a beautiful film that deserves more than one watch and I think it should be on every film lover’s watch list if they haven’t already seen it. It truly deserves its masterpiece status and remains an important part of cinema history.

What do you think of The Red Shoes? Let me know in the comments below!

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Nosferatu the Vampyre (1979)

The vampire genre is one that has proven longevity since the popularity of Bram Stoker’s Dracula. Since the inception of film as an artistic genre, we have seen vampires populate horror ever since the 1922 classic Nosferatu. It’s a genre that has become a parody unto itself thanks to its association with teen franchises and the common link between vampirism and sex. What makes Werner Herzog’s 1979 masterpiece so impactful is the sincerity and the minimalism with which it is executed. Herzog brings such a natural approach to the production and yet everything is so clearly calculated. Starring Bruno Ganz as Jonathan Harker, Isabelle Adjani as his wife, Lucy and Klaus Kinski as the titular character, the film follows the story of Jonathan Harker and his encounter with the mysterious Count Dracula who lives among ruins in Transylvania. Dracula subsequently ventures into Wismar and brings along a rat infestation causing a plague in the village while feeling entranced by Lucy. The film is a haunting adaptation of the classic tale and with minimal violence, effectively mounts up fear thanks to the emotionally charged script and the isolating direction.

First thing to talk about is Herzog’s direction and screenplay which I have touched on a bit. What’s genius about Nosferatu the Vampyre is its timelessness. It’s a film that could have been made today and still received in the same way. I think that is a credit to Herzog’s talent as a writer and filmmaker that he is able to create a film that is so unique and provided an impact to the horror genre. The first act of the film follow Jonathan’s journey to Transylvania and is fairly slow burning with the middle portion showing Jonathan’s encounter with Nosferatu and his downfall and the final act sees the plague takeover and final showdown. Herzog successfully creates rounded characters in its main three protagonists: Jonathan, Lucy and Dracula and easily follows their isolated storylines before merging together in Wismar. The film becomes an intricate puzzle and Herzog cleverly manages to slot the pieces in the right place by making it more than a simple linear structure.

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Due to the lack of blood and violence, it’s up to the actors to evoke the fear in the film and the cast does so perfectly. Headed by Ganz and Adjani as the Harkers, we are immediately immersed in their world from the opening shot of Lucy screaming herself awake from a nightmare. Kinski isn’t physically in the film that long and first appears halfway through but his presence can be felt even when he is not onscreen. As we see Jonathan succumb to vampirism, we see his attitude shift from loving husband to isolated madman in a performance that is portrayed brilliantly by Ganz. The highlight for me comes from Adjani for her stellar performance as Lucy. Considering the film was made in 1979, Lucy is such a complex character. Herzog makes the audience believe that she is weak and feeble as she struggles to cope when Jonathan sets off on his journey but her strength shines through in the aftermath of the plague that sets upon Wismar. As we see a society led by men crumble, Lucy can be seen actively trying to solve the problem against the advice of the supposedly wise Dr Van Helsing (Walter Ladengast). The nightmares and instincts that Lucy create a sense of otherworldliness to her as she is viewed as a force for Good against the Evil of Nosferatu.

I don’t think I would be doing the film justice if I were not to discuss the iconic soundtrack provided by Popol Vol and featuring the Vocal Ensemble Gordela. The score brings in new sounds and unexpected notes which exemplify the films various twists and turns. It’s hauntingly beautiful and grabs your attention instantly. The score helps the film’s impact on the viewer and really elevates the experience and horror of the subject matter. The track “Tsintskaro” performed by the Vocal Ensemble Gordela is among the many musical highlights in this film as we see Lucy as she ventures through the town square among the madness of the fellow villagers. The incorporation of this traditional folksong brings forth the culture into the film and it clearly made an impact as it also provided inspiration for Kate Bush who sampled this song in “Hello Earth”.

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It goes without saying that Nosferatu the Vampyre is my favourite vampire film and among my top horrors of all time. I think that there is a strong argument to say it is the best vampire film of all time and struggle to think of a horror film that has impacted me more. It’s brilliance comes in its simplicity and its fear comes from the performances which shows what a fantastic cast and crew this film had. All the components mesh together beautifully to create a film that is still haunting and impactful 40 years on.

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