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Malcolm X (1992)

Malcolm X is a revolutionary piece of cinema directed by one of the most prominent visionaries in film history. Often regarded as one of Spike Lee’s best outputs, the film follows the life of African American activist, Malcolm X (Denzel Washington) and chronicles his rise from turbulent childhood to one of the most prominent human rights activists in history. Malcolm X provides insight into both the personal and professional life of its subject, with director Spike Lee leaving no stone unturned.

It is clear that Malcolm X is a passion project for director Spike Lee. His admiration and determination to bring justice to Malcolm X’s story is evident from the very first shot as we see an American flag burn against a backdrop of historical and contemporary racial practices until the flag has formed an X shape. What makes Lee such a perfect visionary for this film is his fearlessness. Much like Malcolm X himself, Lee has always used his platform to talk about race relations and black empowerment. Through his films, he has given us decades of fully-fleshed characters, including those played by him (Mars Blackmon in She’s Gotta Have It for example). These characters are a stark contrast to the historical racism in cinema where African American characters are reduced to dangerous stereotypes. Lee also cowrote the screenplay with Arnold Perl basing the script on The Autobiography of Malcolm X by Malcolm X and Alex Haley. Incorporating Lee’s signature fast-paced dialogue and reluctance to rest, we are instantly thrust into Malcolm’s world.

In a career that has spanned decades and seen huge range, Denzel Washington hits his peak as the titular character. His portrayal of Malcolm X is vast and layered. Washington embodies the fight and struggle Malcolm X faces throughout his life. Biopics run the risk of becoming Oscar bait with insincere performances that exist solely to win awards. This is not the case with Malcolm X. There is clear passion and heart from the cast and crew which evokes in every minute. The film follows Malcolm X almost exclusively making it an intense and reflective performance. Washington proves himself to be among the greats with his excellent turn.

Angela Bassett is also excellent as Betty Shabazz, later known as Betty X. Bassett can always be relied on to bring a strong and subtle performance. As Malcolm’s public appearances are proving to be popular and controversial, Betty is there as an intellectual and emotional anchor. Commanding the screen, Bassett brings a performance that allows us to see Malcolm’s personal side.

The film has a stellar supporting cast which includes Spike Lee in a delightful turn playing Malcolm’s friend, Shorty. Among the highlights in support are Delroy Lindo and Giancarlo Esposito who are known for their collaborations with Lee. Playing West Indian Archie and Talmadge X Hayer, respectively, these performances are hugely significant to Malcolm’s lifestory. Lindo is fantastic as a gangster who mentors Malcolm as a young man while Esposito is chilling as one of the men who assassinated Malcolm.

With the 4K UHD release, it’s hugely important to discuss the cinematography by Ernest Dickerson. A testament to Dickerson’s work is how refined and elegant the use of lighting is, especially in the first half of the film. The audience is aware of a wider world beyond Malcolm and yet the camera seems intensely transfixed on him. This means the audience is truly seeing the world through Malcolm’s eyes.

Malcolm X marks the second collaboration with Terence Blanchard who provides an exceptional score. Much like the film itself, the music provides a constant backdrop filled with jazz-infused pieces. Blanchard’s use of trumpet echoes the yearning and struggle Malcolm X is faced with. Most of the pieces are tinged with sadness, as though Blanchard is foreshadowing the inevitable outcome. From the impactful “Opening Credits” to the tender choral “Black & White”, Blanchard’s soundtrack for Malcolm X matches the intensity of Lee’s direction.

Malcolm X could arguably be seen as Spike Lee’s magnum opus. Spanning 202 minutes, the film is a departure from Lee’s previous offerings such as Do the Right Thing. Boasting his largest budget to that point, Malcolm X showed that Lee was more than capable of handling an epic feature that allowed him to expand on his signature aesthetic and writing. What makes Spike Lee such an effective filmmaker is not only his distinct style and approach to directing, but the fearlessness in his artistry. Simply put, Lee has earned his place as one of the most important directors in cinema history.

Malcolm X 4KUHD is available to buy 29th July 2024.

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The Forty-Year-Old Version (2020)

Radha Blank appears in The 40-Year-Old Version by Radha Blank, an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Jeong Park. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

Another film on my awards season list is The Forty-Year-Old Version, released on Netflix, the film is a brilliant comedy film written, directed and starring Radha Blank. It first premiered at the 2020 Sundance Film Festival, with Blank walking away with the U.S. Dramatic Competition Directing Award which made it one of the hottest releases at Sundance. Although it is marketed as a comedy and really showcases Blank’s talent for humour, the film crosses into many genres, particularly drama and musical as we see every side of Radha’s life as she approaches her 40th birthday. Marking her feature film debut as a director, Blank has a distinct vision that allows the audience to see real women and the real New York. The decision to shoot the film in black and white made me think of Spike Lee’s films from the 1980s, especially since they are set in New York and feels like a fresh take for the 21st century just as Lee’s point of view was on his film’s release.

The Forty-Year-Old Version follows Radha, a fictionalised version of Blank as a struggling playwright and teacher who is trying to get her play, Harlem Ave. off the ground. Attempting to revive a failed rap career under the name RadhaMUSprime, we go through Radha’s artistic process and how it overlaps through different mediums of expression such as musical, plays, performances. As she balances her teaching career, trying to get her play produced and emerging as a rapper, Radha’s life becomes hectic and out of control as she struggles to maintain a balance. Soon enough, Harlem Ave. gets a renowned producer on board but that soon changes when the producer aims to market the play to middle class white people who know nothing of the struggles of the gentrification that Radha’s play explores. From exploring a young black couple who own a small store affected by gentrification to the addition of a white protagonist whose qualms in life is not having a place to buy soya milk. The play actually explores gentrification in an ironic way that brings those issues to light. It is Blank’s incredible script that talks about gentrification and the African-American struggle in modern day New York where the film really shines.

Playing a fictionalised version of herself, Radha Blank pulls off a great and relatable performance that perfectly highlights the struggle of being an artist. Radha is real, unfiltered and flawed whilst trying to express herself through her art. As she tries to write her.play, she finds herself rapping the words. Through music, she is able to find the words that she wants to say. Her point of view as a black woman who is nearing 40 in a society that is obsessed with youth and gaining success at a young age is something that confuses and shocks the audience. However, Radha’s voice comes in the climactic final scene of the film. As her play reaches its opening night, Radha is embarrassed and is appalled at being associated with such a result. Her rap speech at the end of the play is an exhale of all the words she wanted to say but couldn’t initially find them.

In support, the highlight for me is Peter Kim as Radha’s agent, Archie. Desperately trying to book Radha a gig, Archie provides comic relief and the scenes and rapport the two share makes for great dialogue. Whereas Radha is a creative, Archie is completely logical and aiming to achieve the American Dream by making money. Staying loyal to Radha as they have been longtime friends, it’s easy for Radha to forget Archie’s own struggles as an Asian-American because his aims are different to hers. The scene in which Archie breaks down to Radha hits hard, especially given that he is seen as light comic relief up to this point. Just like Radha, Archie also makes sacrifices to make way for opportunities and keep the door open for Radha to have her play produced after she lashes out at the producer.

Overall, The Forty-Year-Old Version is one of the most original comedies to come into the 2021 awards season. As it is one of the smaller indie films, it’s not likely to rack up lots and lots of nominations sadly but I think it stands a very good chance in the Original Screenplay category. As mentioned previously, the final scene is an absolute masterclass in acting and writing. Through all the humour that the film conveyed throughout, that serious tone in the rap/speech grounds the film and also allows Radha to cut through all the noise. Blank’s writing is fearless, unflinching and unapologetic and the result is a fantastic film that perfectly exemplifies the struggles of African-Americans when it comes to creating art and how their output has to be approved by a white audience. Blank subverts this rule by firmly putting a middle finger up to an establishment that is trying to rewrite the history of gentrification.

What did you think of The Forty-Year-Old Version? Let me know in the comments below!

The Forty-Year-Old Version is available to watch on Netflix now!

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Top 5 Films of 2020

2020 has certainly been a whirlwind of a year for many reasons thanks due to global pandemic. Like many others within the film community, I have found solace in films during the difficult times and the closure of cinemas have resulted in the majority of new releases being released onto streaming services. My website has seen huge growth and I feel more confident in my writing now thanks to all of the support. This year also saw me review my first lot of film festivals with London Film Festival and Raindance Film Festival providing unforgettable experiences.

As a lot of people begin to post their Best of 2020, I thought I would do the same. Rather than do a top 10, I thought I would do a top 5 instead (it’ll become clear why when you see my choices). Bear in mind that I am counting films that were released after this year’s awards season so films like Parasite won’t be included (if I had included them, it would have to be a top 30 and I don’t have the time sorry!). I will be writing a mini review for each but my full reviews that be accessed by clicking the links.

Before I commence my top 5, I want to give an honourable mention goes to Pedro Almodóvar’s spectacular short film, The Human Voice. As my list consists of feature length films, I thought I would mention The Human Voice here. Featuring a stellar Tilda Swinton performance (as if she delivers anything less!), it’s a fantastic glimpse into the deterioration of a woman whose life slowly becomes to fall apart as she comes to terms with the end of her relationship. You can read my fuller review for The Human Voice here.

Without further ado, here are my top 5 films of the year:

5) Soul

Kicking off this list is the first of two animation choices. In a year of strong animation output, Pixar’s Soul was the most discussed, especially since their awards attention was going to be pushed onto this film more than Onward which was released just before lockdown. Just when you thought Pixar couldn’t get bigger with their imagination, they got Pixar legend Pete Docter in to direct yet another masterpiece. A film that delves deep into one man’s life and his purpose, Soul is mesmerising in both its animation and narrative. At times abstract and bizarre, it feels artistic at times thanks to the limitless minds at Pixar which is what makes the studio so exciting. Boasting an A list cast and a score to die for (pun intended), Soul kicks off this list with hugely high standard.

4) Small Axe

So my number 4 choice is a tad controversial as I have given it to Steve McQueen’s revolutionary anthology film series Small Axe rather than a specific film from the collection. Hear me out though! I initially had compiled a top 10 and unsurprisingly, it was overwhelmed with the films from Small Axe and so I wanted to acknowledge McQueen’s phenomenal cinematic achievement in one go. Spanning several decades and showing the discrimination faced by the West Indies community in London, Small Axe explores well known stories such as first installment Mangrove and lesser known issues as seen in the concluding installment Education. Each film as good as the last, McQueen is one of the most exciting directors working today (you can read my article on his films here). He is a fearless filmmaker who isn’t afraid to confront the racial issues head on, whether that is through the realistic brutality endured at the hands of the police sworn to protect or the vile discriminatory language used to belittle the community. Small Axe is an anthology series that has flipped the script on how filmmaking can be perceived as well as making that important statement that the issues explored haven’t completely gone away.

3) Da 5 Bloods

It couldn’t be a proper top 5 without the incredible Spike Lee. Following on the flawless Blackkklansman with the equally stellar Da 5 Bloods, Lee takes us through the African-American experience in Vietnam during the war and its aftermath. Following 4 men returning to Vietnam to locate their fellow soldier’s body, Da 5 Bloods is a film that makes it statement, showcasing the struggle of men who fought for a country that treats them unfairly. Mixing in different forms of film to provide a wider historical perspective, Lee is a true master of making his films into political statements that have plenty to say. His films are made to show the disturbance within a system that is sworn to protect its people. The racial discord is clearly one that is still evident today and those connections from the Vietnam War to now is evident in how Da Bloods are treated throughout the film. Disrespected wherever they go, the men can only find true solace in each other because no one else has had their experience both in the literal war and racial war.

2) I’m Thinking of Ending Things

My number 2 pick takes us deep into the wonderful world of writer-director-genius Charlie Kaufman with his adaptation of I’m Thinking of Ending Things. In true Kaufman style, what begins as a straightforward narrative in which an unnamed woman (Jessie Buckley) contemplates ending her relationship with partner, Jake (Jesse Plemons) soon turns into a winding labyrinth into the subconscious where reality and fiction and time and space become completely fluid to the point where nothing really makes sense. Eventually, the woman’s name is changed on a regularly basis and the tone shifts from drama and comedy to thriller and suspense. It’s a film that doesn’t allow you to glance away for a moment. Kaufman really is one of a kind but it is his mind and imagination that has drawn fans in again and again. His films are entirely up to interpretation so one person may take something from the film whereas the person next to them will take another. I’m Thinking of Ending Things is a film you will either love or hate but the bottom line is you will feel strongly about it one way or other.

1) Wolfwalkers

Just as we begun the top 5 with an animation, we’ll end it with an animation as well. Easily my top pick for this year is the incredible Wolfwalkers. Cartoon Saloon’s latest offering is beautiful beyond words and becomes even more magical on every rewatch. Available now on Apple TV, not only does it deserve to sweep the animation categories, it fully deserves to be a contender among the Best Picture nominees when the time comes. I go into more detail on my review which you can access by clicking the film title but be assured that Wolfwalkers is a film that will impact you long after viewing it. From the contrasting artistic styles to showcase the conflicts within the film to the spellbinding music, Wolfwalkers is a film that provides escapism while also incorporating important life lessons and folklore in a way that is engaging to audiences of all ages.

While this year has been one full of challenges and sadness, film can always be a portal to escape those troubles for an hour or two. Despite the closure of cinemas, this has been an extremely strong year for film and the upcoming awards season has proved to show huge competition, particularly in the acting, directing and writing categories. A year of diversity across all mediums has shown the desire and importance to create films from cast and crew from varying background. Not only does this give something different to what the usually white mainstream cinema is accustomed to but the differing perspective makes way for revolutionary discussion and helps to break those barriers.

What were your favourite films this year? Let me know in the comments below!

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Ma Rainey’s Black Bottom (2020)

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

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

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

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

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

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

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

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Da 5 Bloods (2020)

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

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

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

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

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

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

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

Da 5 Bloods is available to watch on Netflix now.

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London Film Festival 2020: One Man and His Shoes

The only documentary I have seen in the festival thus far, One Man and His Shoes is the debut feature documentary from Yemi Bamiro. The film follows the rise of Michael Jordan’a relationship with Nike and the creation of the Air Jordans in the 1980s and how they have created a trend for extremely expensive and exclusive trainers that exists today. Without any input from a Nike representative or Jordan himself, Bamiro creates a well-rounded view of the Air Jordan history by interviewing people who worked at Nike, experts in sport marketing as well as people who have large Air Jordan collections. This gives the view from the starting point those who helped conceptualise the brand all the way down to the release of the shows the customers who purchase the product.

The documentary provides an outlook on society as a whole in regards to the American political state in the 1980s which was deeply conservative and ran by President Ronald Reagan. There was much disturbance and discourse to those who were working class and people of colour because the discrimination against them was growing and so vast that they began to rebel in their own way. When the Air Jordans were banned from the NBA, they became a hugely desired item in the streets because they were a form of protest. As Jordan’s success grew as a basketballer, his marketing with Nike also grew more aggressive. The drive to promote the Air Jordans plus the ban the NBA imposed resulted in a huge public spectacle on its release. People lining the streets and waiting for hours just so they could get a pair. Nothing like this had happened before with shoes and it shows the power of a successful marketing campaign. The significance of Jordan also being a black man with such a huge fan base cannot be ignored. Coming from humble beginnings, he is a figure that a lot of people can look up to and having a pair of the Air Jordans could make them feel like they have a slice of the American Dream.

The second act of the documentary then goes into how Jordan and Nike’s relationship originated and the huge success into how the shoes were marketed. Jordan was everywhere in the 80s as he had a lot of collaborations with various companies but his work with Nike was by far the most popular and resonated most with the customer. One of the most successful marketing campaign was Spike Lee’s adverts for the Air Jordans. Starring Lee as his character Mars Blackmon from She’s Gotta Have It and Jordan in a bid to make the product more relatable to the consumer. Lee’s filmography had begun to build traction and Jordan was a rising star in his sport so it made perfect sense. Also, the genius of unsporting humour into the adverts makes Jordan appear to have that All-American appeal. The adverts in themselves became an event with audiences excited to see what the new one would bring.

The final act of the film discusses the loss that has occurred since the release of the Air Jordans. The build up from the first hour of the documentary makes it seem as though the Air Jordans are a final product of the American Dream with the idea that Jordan’s basketball playing was enhanced by the shoes. However, it turns out that there is a dark side to the exclusive nature of the Air Jordans. Looking into the case of a young man who was fatally shot because of the new Air Jordans, his mother and sister recount the tragic event and it is during this segment where the disconnect between business and consumer becomes clear. Jordan sent the family some new shoes after the murder but they feared wearing them in case they too were killed for them. It seems extreme that people would go this far for something as materialistic as shoes but the documentary suggests that this is in part due to the aggressive marketing by Nike that is both promising but also exclusive. By stocking limited quantities in shops, it drives the desirability right up and contributes to the collectible aspect.

What One Man and His Shoes does so well is show how clothing and accessories can actually be used as a form of protest as well as expression. The Air Jordans initial ban in the NBA is what made them desirable to those who are anti-establishment. It also shows the disconnect between the corporation and the damage that can be caused because of the exclusivity that Nike markets the Air Jordans as. Their silence over the unfortunate incidents shows that despite encouraging people to use their voice and unite in their adverts, they don’t want to be linked to the murders and injuries occurred in acquiring the shoes. What Bamiro does so well is present that balance between a huge achievement in marketing and inspiration and the costs that that brings. It’s a documentary that will resonate with a lot of people for its look into fashion, sports and history with the societal backdrop. Bamiro uses every second of the film’s 83 minute running time with effect.

One Man and His Shoes is showing at the BFI London Film Festival on 13th October and is available until 16th October.

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London Film Festival 2020: The Salt in Our Waters (Nonajoler Kabbo)

Continuing with my London Film Festival adventure with this Bangladeshi debut feature directed and written by Rezwan Shahriar Sumit. Assisted with the Spike Lee Fellowship Award, Sumit was able to make The Salt in Our Waters (its original title is Nonajoler Kabbo), an intricate look into how climate change affects small communities and the lives these communities live. The film follows Rudro (Titas Zia), a sculptor who returns to his father’s fishing village to complete his artwork. Whilst there, he is met with hostility from the townspeople who believe his work depicts idols which is a sin. The village is led by the Chairman (Fazlur Rahman Babu) has the majority of people in his debt and dictates their everyday lives. As a city dweller, Rudro is more relaxed in his religion and more liberal in his lifestyle which creates immediate friction. His willingness to speak out against the Chairman creates a shock in the community.

The film provides topical discussions on various issues such as man vs nature and industry vs art all within the context of an environmental crisis with climate change having a direct negative effect on the village while the city promises more success. While the issues in the film delve deep, Sumit’s approach is minimalist and organic, relying on the beauty of the natural landscape. Primarily shot in the village location, we become familiar with the surroundings meaning that any changes become obvious. The fishing village is based on the shores of the ocean so they are faced with all sorts of weathers. They have to rely on their limited resources to survive but they get by. Rudro’s visit is seen as a deep disturbance to the villagers. The village seems trapped within itself, unreachable by outside society and Rudro coming via the sea is symbolic of the freedom the ocean brings. Not to mention the unfortunate suicide of one of the children who cannot bear the constraints of the community anymore.

Titas Zia gives a wonderful performance as Rudro. His character is onscreen for the majority of the film and a lot of the weight falls on his shoulders. Zia is able to capture Rudro’s desire to try and fit in or at least explain his art. His deep interest in his host family and the children of the household daughter, Tuni and her younger brother, Taher is particularly touching. His creativity inspires the children of the village which angers the men. He tackles the gender stereotyping within the village as Tuni expressing her wish to go fishing but she is not allowed to because of her gender. Rudro expresses this in his new sculpture which causes an outrage as the idea of Tuni posing for an artist equates to sex in the villagers’ eyes. His quest to save her from the restraints evidently makes it worse before a huge storm comes when the two take solace in shelter.

In support there is a wonderful performance by Fazlur Rahman Babu as the Chairman. Controlling the town by having everyone in his debt, the Chairman is the sole decision maker for anything that goes on in the town. His insistence on religion over science contributes to a devastating event in the film’s final act which proves to result in a fight of words between the Chairman and Rudro. At the beginning of the film, Rudro attempts to tip the men who help unload the cargo but is rejected by him and eventually the Chairman, who says no such action is necessary. This could be interpreted as the Chairman wanting to keep the financial control over the men. If Rudro gave them enough money to pay the Chairman’s debt then the latter would cease to have control and the foundation of his power would crumble. He takes it upon himself to educate the children rather than having a teacher in the village. This ensures that they follow his values and under his command. The script allows this corruption to seep through bit by bit. It’s never fully confirmed whether he is actively aware of his actions, but when Rudro confronts him, he does not listen to his reasonings. Babu’s performance is so effective that even when not onscreen, it still feels as though he is watching.

The Salt in Our Waters is a film that explores a variety of important issues by using the fishing village as a microcosm of the world as a whole. Sumit’s method of using Rudro’s outside perspective as the audience’s way into the film was a smart decision because it is so complex. Rudro’s differences are only highlighted when under the pressures of the village’s constricted traditions. Much like the artwork Rudro creates, the film is very raw and authentic in its approach and execution. It’s a film of heart and identity as Rudro tries to make sense of his art and his place in the world, finding somewhere to fit in.

The Salt in Our Waters is showing at the BFI London Film Festival on 13th October.

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Jordan Peele: Film Ranking

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

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

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

Get Out (2017)

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

Us (2019)

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

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

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

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91st Academy Awards – Creative Awards (Part 1)

For this segment of my Oscars 2019 roundup, I am looking at the four “big” categories in the creative department – both adapted and original screenplays, director and best picture. I have previously discussed my thoughts on the acting categories here. The screenplay categories are my favourite categories in the whole of awards season and this year provided an array of offerings from industry veterans and newcomers alike but ultimately we saw the veterans win the day.

Best Adapted Screenplay

Blackkklansman was one of my favourite films of this awards circuit. I knew it didn’t really stand a chance against the other Best Picture nominees that appeared to be more popular so seeing this great film recognised for its killer script was a great feat and to see the genius Spike Lee win an Oscar in competition was one of my personal highlights of the ceremony. This truly was his moment and although set in the 70s, the script seemed as though it could have been set this year. The timelessness shows not only his skill as a filmmaker but also breaks the illusion that we live in a society that is “equal” or “more equal” to make ourselves feel better. Spike uses this film as a vehicle to hold the mirror up to society through techniques such as combining footage from the news today with racist propaganda film The Birth of a Nation. The protagonist is the only black policeman in his unit so we get to see how he is treated within the African American community as well as the white men in power.

This script was my pick by far for the adapted screenplay award so I am thrilled that it won.

Best Original Screenplay

This winner was both a surprise and a disappointment in my personal opinion. Peter Farrelly won for the script for Green Book which was a very mixed film for me. My main issue with the film was its script. The story was lifted by the charisma of the actors rather by being lifted by the words they were saying. Viggo Mortensen and Mahershala Ali did a fantastic job of carrying the film but sadly it seemed that they were driving a cardboard car rather than a real one.

My pipedream is to one day win the gong in this category so it tends to be the one I follow the most. My vote would have gone to The Favourite. The humour and depth of all three leads is unlike anything I have seen and to see a film treat three women with such vigour and respect was really refreshing. In my eyes, this was one of the major robs of the night.

Best Director

There was no doubt that Alfonso Cuaron would take the trophy home for Best Director. Whether or not Roma was to everyone’s liking, it cannot be doubted that this was the film Cuaron was born to make and could only be made by him. The vision was truly his as he took over practically every aspect of production including cinematography (which he also won) and co-editing. It’s rare that a film brings a first time actor award attention yet Cuaron created a star in the form of film lead Yalitza Aparicio, a recently graduated teacher who had no plans to enter acting and happened upon the audition by chance. Within the last six Academy Awards, Mexican filmmakers have won this gong with this being Cuaron’s second win in this category. In an industry where diversity still has a way to go, those statistics show good promise for the future of film.

Although Cuaron undoubtedly deserved his win, my personal pick would have been Yorgos Lanthimos for The Favourite but I knew Cuaron would take the gold and I am really happy for Roma’s success. Also, considering Lathimos had been largely left out of the director races for other awards, I was thrilled that he received a director nomination at all.

Best Picture

Now for the big one! We know the eventual winner of the big prize (Best Picture) went to Farrelly’s Green Book which some have viewed as deserving but others have already deemed will go down as one of the biggest mistakes in the Academy’s history. I think it’s too early to see whether it’s one of the biggest mistakes in the Oscars history but I do think it was the wrong choice. Usually this category tends to be a race between two (sometimes three) films but there was an array of films that had a chance this year all for different reasons. Green Book was among these but given that it was being consistently recognised for Mahershala Ali’s performance which I think is a huge bulk of its eventual win in this category, I didn’t think it would actually take it. I do feel strongly that this award should have gone to Roma or The Favourite because these films were experimental and yet had a lot of heart and love in them. I’m not sure I felt the same way about Green Book. As I said above, the script was too bland for my liking but also the context of production put me off. The fact that the film has all white male producers, director and screenwriters is already problematic. How do you make a film about the black American experience without a major black figure of authority behind the camera? I know I speak from a white female perspective but it just seemed so strange to me when you had other films in the mix such as Blackkklansman and Black Panther which proved to be popular with audiences and critics alike. On another note, I really feel that If Beale Street Could Talk should have been included in the nominees and considering films like Bohemian Rhapsody were included, there’s no reason why it was omitted.

I would have loved to see The Favourite or Roma take this award. I felt more of a connection with them. Both were films that stretch the imagination and remind me why I love films so much.

That’s it for this post. My next blog will look at another batch of creative awards including Best Animated Feature, Best Documentary Feature and Best Foreign Film as well as the shorts.

What did you think of the winners and losers in these categories? Do you agree? Let me know in the comments below!