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The Lighthouse (2019)

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

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

Williem Dafoe and Robert Pattinson in director Robert Eggers THE LIGHTHOUSE.

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

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

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

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

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Uncut Gems (2019)

I have said this once and I will say it again. When Adam Sandler puts his mind to it, he can turn out a star-studded performance that most dramatic actors can only dream of. He did it in Paul Thomas Anderson’s 2003 Punch-Drunk Love and he’s done it again in the mind-warping Uncut Gems, directed by Josh and Benny Safdie (commonly referred to as the Safdie Brothers). Following Howard Ratner (Sandler), the owner of a luxurious jewellers in the Diamond District in New York and his inability to function as a normal human would. Crippled simultaneously by debt and a gambling addiction to boot, Howard is an awful human being and the Safdies make this no secret. The audience isn’t supposed to like him and yet we do because he is charismatic and pathetic at the same time. When a priceless gem is delivered to him and loaned to basketball star Kevin Garnett, Howard finds himself on the brink of self-destruction as he struggles to get the stone back and at the auction house where he expects to earn millions. Produced by powerhouse studio A24 and distributed on Netflix, Uncut Gems is the film equivalent of an anxiety attack thanks to the unrelenting actions of its protagonist who doesn’t know how to relax. Featuring a variety of celebrity cameos including The Week’nd, Tilda Swinton and Natasha Lyonne, there is also a strong supporting cast led by Lakeith Stanfield as Howard’s assistant, Demany and Julia Fox as Howard’s girlfriend, Julia.

The Safdie Brothers’ vision comes across brilliantly on the technical side. Known for their collaborations with Ronald Bronstein who cowrote the script with both Safdies and also co-edited the film with Benny Safdie. This is a film that needed more than one mind behind the vision and the result is crisp and sleek. The writing is sharp and to the point which is crucial as there are many characters and plenty of scenes in which lots of characters populate the screen. It’s a film that benefits from its direct nature meaning that there are few speeches and little emotion. When the film does delve deep into serious emotion, it feels almost disingenuous because the characters are so self-absorbed. It is the deeply flawed characters that gives the film its grit. What I love most about this film is how fantastical it feels in terms of the tone as Howard lives a luxurious life and yet the violence he is exposed to grounds the film. There is a disconnect between the life Howie should have and the life that he does have. Despite his wealth, he is constantly viewed as an outsider for a multitude of reasons. One such reason is his Jewish faith which is constantly remarked on by his clientele, friends and those he deals with when betting. Another such reason is his inability to maintain sustainable relationships. His paranoia overtakes his love for Julia because he cannot truly fathom that a woman like her could truly love a man like him. His insecurity is a constant throughout the film and is the main reason for his instability.

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Adam Sandler is nothing short of brilliant in this film and should have been nominated for all of the awards including the Oscar. His performance is manic and seems lucid but the amount of work Sandler put into this character is clear. Howard is deeply complex. He is fully aware of his issues and yet doesn’t do anything about them. The film is constantly moving up and down as Howard’s rollercoaster way of living reflects the wins and losses he experiences in gambling. This film has become instantly quotable with gifs and memes flooding the internet. Howard’s sleaziness only adds to his dark humour and helplessness. The film is from Howard’s perspective meaning Sandler is onscreen for the vast majority of the film’s 135 minute running time. What makes the character of Howard so hypnotic and engaging to watch is that he acts like an unreliable narrator at times. We hope he pulls through but at the same time his flaws often outweigh his strengths. The climactic scene in which Howard is watching the final basketball game that he has bet all of his earnings on is deeply intense and yet he seems relatively calm. His certainty that he will win when his first bet was reliant on a coin toss is unbelievable. If there was an award for the most frustrating character in film history, Howard would definitely be up there but that is exactly how he is meant to be. He is one of the most unlikeable likeable characters I have ever come across and I think it’s credit to Sandler’s skill that he manages to pull that off.

The score provided by Oneohtrix Point Never is a showstopper. The tone that the score gives is in a similar vein to Jóhann Jóhannsson’s brilliant score for the 2018 film, Mandy. Much like Jóhannsson’s score, Oneohtrix Point Never’s score has also proven divisive but I think that Uncut Gems is a film that doesn’t hold back in its performance, script and subject matter. The music is futuristically nostalgic, merging various genres and sounds to create a soundtrack that is unique. Much like the protagonist, the score doesn’t seem to settle and keeps crashing through, heightening the tension and making for an anxiety-ridden audience experience. The score category in awards season was very strong this year but I still think it was a shame that the Uncut Gems soundtrack wasn’t at least recognised. The fact that it clashes with what you see on the screen adds to the jarring effect that the film brought.

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Uncut Gems lives up to the hype and delivers brilliance in spades. It’s a shame that it wasn’t recognised this awards season but I believe that Sandler’s performance specifically will not go unnoticed. If anything, Uncut Gems has opened the door for Sandler to continue tackling challenging roles and it makes me excited to see what the Safdie Brothers have planned next. It’s a film that isn’t afraid to make light of the dark topics it explores such as addiction and violence. It’s reluctance to fit into a specific box of film makes it a stand out in the same way that Parasite is and I think it was stronger than a lot of contenders this awards season.

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

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1917 (2019)

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

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

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

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

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

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

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

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Yentl (1983)

Barbra Streisand’s directorial debut follows the titular character (Streisand), a young woman living in an Ashkenazi Jewish community in the early 20th century who disguises as a man to study in a Yeshiva after her father passes away. Based on the short story by Isaac Bashevis Singer and cowritten by Streisand and Jack Rosenthal, Yentl is a film about subverting the cultural and societal norm as well as conflicts between religion and morality. Yentl Mendel is constantly questioning the way of life in her village and is looked down upon by the townspeople for being unmarried with no prospect of settling down. It is only when she disguises as a man called Anshel that she finds a place of belonging and her views are accepted and even celebrated. Problems occur when Yentl begins to fall in love with her mentor, Avigdor (Mandy Patinkin) who is in love with his ex-fiancée Hadass (Amy Irving) who then in turn falls in love with Anshel. It is the very definition of a love triangle and allows the film to have some lighter moments such as Anshel and Hadass’ wedding night. Winning Streisand a Best Director award at the Golden Globes making her the first and to date only woman to win the accolade, Yentl marks a huge step for female filmmakers in the mainstream thanks to its star appeal and critical and commercial success.

Streisand as director is really remarkable. You can sense the passion that she has for this film. Although there are trademark comedic moments and musical numbers that are identifiable with a Streisand picture, there is no doubt that the dramatic elements and aesthetic allow Streisand to explore a darker approach that we hadn’t really seen from her on film previously. Streisand’s female gaze gives this film a new perspective that we haven’t seen before in film. Instead of condemning Yentl’s choices, we view Anshel as a sensitive man who isn’t afraid of his vulnerability despite living in a male dominated environment. Where it not for Streisand’s feminine interpretation, the performance of Anshel could have slipped into caricature and taken away from the mature themes that the film discusses. Streisand lends a heavy feminist focus as she disputes why a woman cannot have the same outlook and expectation of a man while still appreciating the jobs that the women do. Yentl can be viewed as a crossover between genders and she doesn’t really fit in and altering her gender isn’t an issue. The pursuit of knowledge and equality overtakes the ideals expected of her. There are so many different readings that could be made when watching this film. It has been argued that Yentl could be considered as a queer film thanks to its discussions on gender and sexuality which adds a more progressive meaning to the story.

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In terms of her performance, it’s best to view Streisand as playing two roles rather than one such is her success in distinctly differentiating the two. Her Yentl is typical Streisand: sassy, witty and strong with an ambition to subvert the norm. This is the Streisand that we have grown to love in her previous cinematic outings. What is different about Yentl is that she is aware that she is trapped within her local community. When reciting the Talmud at her father’s funeral, it becomes such a scandal and causes widespread gossip. The transition period between Yentl and Anshel comes from her journey to the Yeshiva which includes her heartbreaking rendition of “Papa, Can You Hear Me?” where Yentl begs her father for forgiveness for her decision to disguise as a man in pursuit of an education. She sits alone in the forest at nighttime with nothing but a candle for light and it is then when the realisation of what she has done comes to fruition. It is also the point where she knows that there is no turning back and thus has to embody the identity of Anshel. Streisand’s Anshel takes a bit of getting used to in the same way as Yentl getting used to her new identity. We witness Anshel practicing his tone of voice and mannerisms, making sure not to appear too feminine without risking his integrity.

Mandy Patinkin does a wonderful job as Avigdor, Anshel’s friend and mentor at the Yeshiva who is initially engaged to Hadass. Avigdor isn’t afraid to be vulnerable to Anshel and his other male friends but the idea of being vulnerable to Hadass or her mother disgusts him. He doesn’t allow himself to get involved in any confrontation and is always calm when in her company. Avigdor seems so progressive when we are first introduced because he is so accepting of Anshel but it is easy to forget that Anshel is Yentl and he has no idea. When he spouts ideas about a woman’s true place in the home and that Hadass cannot think for herself, it comes across as a shock and ignorant but despite his intelligence, Avigdor is still a product of an environment that looks down on women. In another brilliant supporting turn, Amy Irving was deservedly nominated for an Oscar for Best Supporting Actress in her role as Hadass. When we first meet Hadass, she appears to fulfill all the criteria of the perfect woman and seems to do everything at the men’s commands. What we don’t realise is that she has successfully supressed any feeling of rebellion and it is when she is married to Anshel that she shares her aspirations to learn more. Yentl is in the middle of these two characters and yet it is because of Yentl that they are drawn closer together and allow themselves a more progressive and happier life.

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The amazing music is composed by Michel Legrand, one of the best composers that the film industry had to offer. From his imagination we were given the incredible song “Papa, Can You Hear Me?” composed by Legrand with lyrics written by Alan and Marilyn Bergman. The trio won an Oscar for Best Original Song Score and Its Adaptation or Adaptation Score. In true Legrand fashion, the music is whimsical and brings an essence of fairytale to the story. The musical numbers are far and few between but the score itself is wonderfully subtle when you compare to Legrand’s catalogue such as the music for Les Parapluies De Cherbourg (The Umbrellas of Cherbourg). The songs are suited to Streisand’s amazing vocal range, especially the aforementioned song but rather than being full of show-stopping numbers like the ones in Funny Girl, Legrand makes use of Yentl’s male identity and gives the songs a lower key register so Yentl is singing as if she were a man herself.

Overall, Yentl is a film that has helped pave the way for female filmmakers in mainstream cinema. It is a film not without flaws but it has beauty in its ability to discuss ideas that are considered taboo. Even within the Orthodox setting in the early 20th century, there are still similarities that Streisand is able to get across to link with the modern day. Yentl is not a film that Streisand wishes to make all about herself despite directing and starring in it but the story of how women are often subjected to misogyny and not afforded the chances of their male counterparts. It is equal parts drama and musical and a smaller part comedy which encapsulates Yentl’s character.

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

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Moonlight (2016)

One of the best Best Picture winners in Oscar history, Barry Jenkins’ coming of age tale follows Chiron, a young black man coming to terms with his homosexuality through three key stages in his life. Split into three segments: Little (Alex Hibbert), Chiron (Ashton Sanders) and Black (Trevante Rhodes), we follow Chiron’s ascendence from bullied child to a successful drug dealer. Sadly, the infamous confusion between the true winner of the Best Picture award when La La Land was wrongly announced. Moonlight’s win was monumental for being the first film to openly discuss themes of homosexuality as well as featuring a predominantly black cast. Aside from its record-breaking and importance in film history, it holds merit as a captivating piece of cinema with innovative direction, emotionally charged writing and characters that hold influence for the entirety of the film despite limited screen time. This is a film that will be remembered for the ages.

It’s incredible that this is Barry Jenkins’ debut feature. It is one of the best debuts in film history and caused a lot of hype going into awards season. Jenkins’ vision comes across fantastically by presenting Chiron as an outsider in his own community. This is important because Chiron’s story is ultimately about being in a minority within a minority (gay within the black community). Moonlight is made up of shorter scenes that give us a glimpse into Chiron’s life. Following Chiron limits our view of the world at large but we still get the struggles across as we see him attending high school and being badly bullied. Jenkins doesn’t feel the need to explain a character’s absence and allows this to come out naturally in the script. Jenkins co-wrote the play with Tarell Alvin McCraney based on the latter’s unperformed play, In Moonlight Black Boys Look Blue. Together they reflected on their upbringings in Miami and were able to apply their own experiences into the script to ensure that it was as real and human as can be. Because of the authenticity and the knowledge of the area and its people, Moonlight doesn’t fall into the trap of including stereotypes that are often seen in films.

The cast all do a superb job of telling Chiron’s story, particularly Mahershala Ali as Juan, a drug dealer who takes Chiron under his wing at a young age. Juan is living with his girlfriend Teresa (Janelle Monae) and the two act as surrogate parents as Chiron’s mother becomes more abusive and neglectful. Juan subverts the tropes that drug dealers are given in film. He is wise, thoughtful and considerate. More importantly, he is sensitive and completely understanding Chiron’s situation almost immediately. Despite only featuring in the first part of the film before his untimely death, Juan’s presence is felt through the film. Ali’s performance is one of tenderness and paternity. What also comes across is Juan’s confidence in himself and his identity. Jenkins is subverting stereotypes and showing a perspective that is needed and long overdue.

The score by Nicholas Britell is among the best of the century so far. The soundtrack is brilliant mix of rap, classical excerpts from composers such as Mozart and original music. The original music is truly stunning with beautiful use of single violin solos to exemplify Chiron’s loneliness. What Britell does is give a separate theme for the three Chirons we see in the film. The themes aren’t distinctly different but feel like an evolution through the film until we get to Black’s theme much like Chiron’s development and understanding of his own self. At times it feels as if the music reflects Chiron himself in the specific scenes as the pace quickens in moments of adrenaline and then eases off in moments of relaxation. Chiron and the music go hand in hand making the music an entire experience through Chiron’s eyes.

Moonlight is a film that stays with you and one that is difficult to forget. It doesn’t shy away from showing the brutality of modern society and the struggles that minorities face. Jenkins solidified himself as one to watch with this film and followed it up with the excellent If Beale Street Could Talk. Moonlight is truly in a league of its own and has brought a new voice to cinema that is needed and valid. Scenes in which Chiron is rejected by his own mother (Naomie Harris), an abusive drug-addict, are revealed bit by bit as they coincide with Chiron’s own understanding of the situation. As his mother uses homophobic slurs against him, Chiron too becomes accustomed to that way of thinking and distances himself from his desires as an adult. Moonlight is one of those films that you can watch time and time again and find something to admire while reaping in the rewards of this cinematic masterpiece. It’s not often when smaller films are exposed to high levels of publicity but Moonlight thoroughly deserves it and is such an important film to note in the way of diversity in its cast and crew, providing a new perspective and a new wave of films that make way for different cultures told by those from those cultures.

What do you think about Moonlight? Let me know in the comments below!

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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!