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Brian and Charles (2022)

One of the big surprises to come out of Sundance: London Festival this year was Brian and Charles which won the Audience Award. The film follows Brian Gittins (David Earl), a middle-aged inventor who lives by himself in a rural Welsh village. When he comes across a mannequin head in a pile of rubbish, he is immediately inspired and creates a robot that has a washing machine for a body. One stormy night, the robot comes alive and is given the name Charles Petrescu (Chris Hayward) and the film chronicles their adventures with all their ups and downs, especially as Brian grows close to Hazel (Louise Brealey), a woman who lives in the village with her mum.

The film is directed by Jim Archer from a script written by the film’s stars, David Earl and Chris Hayward. What works so well is how coherent and well-matched the directing style is with the writing. The backdrop of rural Wales works beautifully with the whimsy and magic of the script, while also maintaining a minimalism that truly allows the characters to shine. Brian and Charles is a film that wears its heart on its sleeve and puts its characters right in the centre of the plot, meaning that there is no need for bells and whistles and elaborate set pieces. The stripped-back nature of the filmmaking style goes hand-in-hand with the simplicity of the plot. The film is a mockumentary which is highly evident in the film’s opening scenes as Brian is lonely and only has the crew to talk to, but as the film progresses and he finds friendship in Charles and a blossoming relationship with Hazel, he engages with the crew less and less, becoming less concerned with how he is perceived on camera.

David Earl stars as Brian, the lovable and lonely inventor who finds that making a robot gives him a new found confidence and a fresh perspective on life. Earl’s performance is sweet as we see Brian grow in confidence throughout the film as he learns to stand up to a family that thrives on bullying the locals, including Brian himself. The scene in which Charles has been kidnapped and Brian doesn’t have the confidence to take him back when he has the chance is heartbreaking as we really feel the character’s predicament and pain in the situation.

Playing Charles is Chris Hayward who dons a box and mannequin head with style. What makes Hayward’s performance so effective is that he successfully manages to get the audience to care for Charles from the offset. Charles is eager to explore the world and feels trapped by Brian who forbids him from venturing outside without permission. It seems impossible that a robot would be able to feel emotion or have dreams, but Charles does and we see his attitude change as he begins to rebel against Brian.

In support, Louise Brealey plays Hazel, a shy and nervous woman who lives in the village with her mum and parrot. Just like Brian, Hazel is also incredibly awkward and afraid to go after what she wants. When Charles is introduced on the scene, he helps Brian and Hazel to push through their awkwardness and explore the potential for a relationship. Hazel proves to be a strong ally for Brian and Charles, doing everything she can to save the latter when he is kidnapped. Brealey is a great onscreen partner with Earl as they are able to bounce of the awkward humour successfully.

The score was composed by Daniel Pemberton, who continues to showcase his ability to adapt to all sorts of genres. His score feeds into the whimsy in the story with the opening track, “Wales, Land of Wonder” setting up the film’s laid-back and minimalism. However, this is also contrasted with robotic sounds such as the track “Crossed Wires” which exaggerates the growing tension between Brian and Charles as the latter is desperate to leave and go on his own adventure while Brian refuses to let this happen. What makes Pemberton one of the best British film composers working today is his ability to bring forth the characters’ emotions in his tracks and allowing the music to compliment those feelings and bring those feelings to the surface.

Brian and Charles has proven to be one of the best feel-good films of the year. It’s a film grounded in minimalism that doesn’t need all the bells and whistles to convey its message. Just like the gorgeous natural Welsh landscape that surrounds the village, Brian and Charles is an emotional and funny yet sincere tale about friendship and coping with loneliness. While it is a film that is simple in its storyline and execution, the way it explores themes of loneliness, relationships and belonging is incredibly rich and will leave you with a smile on your face long after the credits roll.

What did you think of Brian and Charles? Let me know in the comments below!

Brian and Charles is available to watch in cinemas now!

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CODA (2021)

There are some films that have humble begins and then grow in publicity and popularity unexpectedly. This year’s dark horse is undoubtedly, comedy-drama CODA, which has had a huge awards’ presence, and even been grabbing some unexpected wins. The film follows Ruby Rossi (Emilia Jones), who is a CODA (Child of Deaf Adults), and her experiences as the only hearing person in her family. As Ruby discovers that she loves music and singing, complexities arise, especially as her family set up their own fishing business. CODA’s achievements shouldn’t be ignored as 40% of the film is American Sign Language, which is a brilliant way of raising awareness and promoting inclusion within the film industry. The cast of Ruby’s family consists of Daniel Durant (who plays Ruby’s brother, Leo), Troy Kotsur (who plays Ruby’s father, Frank), and Oscar winner Marlee Matline (who plays Ruby’s mother, Jackie).

The film is written and directed by Siân Heder and is her second feature following her 2016 debut, Tallulah. CODA is a remake of the 2014 French film, La Famille Bélier, which did exceptionally well in the French box office on release and was nominated for numerous César Awards. Heder’s script relocates the story to a fishing community in Massachusetts, but maintains the main story element that the protagonist discovers that she loves singing and wants to audition for a place at a prestigious music school. What Heder’s script does really well is bring a great level of characterisation to each member of the Rossi family as the film chronicles the familial relationships and conflicts that Ruby has with each member. The direction shows life through Ruby’s eyes and rarely diverts from this with only a handful of scenes not involving Ruby included in the film.

Emilia Jones takes on the lead role of Ruby and proves to be the perfect casting choice. Jones has been slowly adding to her resume in recent years, providing brilliant performances such as the lead character in Catherine Linstrum’s 2019 film, Nuclear. It is this film, however, that has proven to be her big breakout performance and even garnered Jones a BAFTA nomination for Best Leading Actress. Ruby is a great central character thanks to her relatability as an awkward teenager trying to fit in, but her situation as a CODA makes her the prime target for bullies in school. When she realises that she can sing and wants to embark on a music career, familial conflict ensues as she won’t be able to act as her family’s interpreter. Jones perfectly captures Ruby’s dilemmas and internal conflict as she strives to follow her own dreams.

One of the big reasons why CODA was able to secure financing was thanks to Marlee Matlin, who stars as Ruby’s mother, Jackie. Matlin made history as the youngest winner of the Best Leading Actress Oscar in the 1986 film Children of a Lesser God and her career has proven to be vast, spanning across film and TV. Jackie and Ruby’s relationship is highly turbulent throughout the film, as they don’t seem to have a lot in common. When Ruby realises that she loves to sing, Jackie can’t understand as she had planned Ruby’s role in the family business. Although the role is fairly small, Matlin makes the most of every second she is onscreen, and it’s clear that she is having a lot of fun in the role. What is great is how developed Jackie’s characterisation is as the mother-daughter relationship goes through highs and lows.

The highlight of the film is undoubtedly Troy Kotsur in the role of Ruby’s father, Frank. Every time Kotsur is onscreen, he commands attention thanks to the amount of heart and depth that he brings to the character. Frank’s financial and social turmoil are brilliantly chronicled in the film. What makes Frank such a brilliant character is the mix between humour and drama that he goes through, and his scenes are among the most memorable in the entire film. The scene in which Frank lectures Ruby and Miles (Ferdia Walsh-Peelo) on safe sex is among the funniest moment in the film. The scene following Ruby’s school performance, in which Frank asks her to sing the song from her recital while feeling her vocal cords. Through doing this, he is able to experience the emotions of the song, and it’s one of the best scenes in this Oscar race and is why he is deserving of the Best Supporting Actor Oscar.

One important aspect of CODA is its soundtrack. The score is composed by Marius de Vries who incorporates calming, whimsical instrumental tracks that invoke the small fishing community which is then contrasted by an array of song covers that are beautifully sung by Emilia Jones and fellow members of the choir. The film’s climactic moment, in which Jones sings a cover of Joni Mitchell’s “Both Sides, Now” as part of her audition for college will bring tears to your eyes as she notices her family in the audience and begins to sign the lyrics for them. The music is imperative to the plot of the film and in the end, is made inclusive for all characters and the way that this is done helps to bring the family together.

CODA has proven itself to be The Power of the Dog’s main competition and may even cause a huge shock by taking home the Best Picture Oscar next Sunday. Heder’s film is one that is filled with a lot of heart and amazing performances, especially by Kotsur, who is the favourite to bring home the Best Supporting Actor Oscar, and Matlin. Although some may find that the feel-good nature of this film is overwhelming, CODA has the performances and writing to back up a great story with a wonderful message. Although Ruby’s situation is not experienced by the majority of families, the familial conflicts and way that the relationships are portrayed feel universal and relatable.

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

CODA is available to watch on Apple TV+ now!

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Flee (2021)

This awards season has the regular frontrunners and blockbusters included in the mix, but one film that has taken critics and cinema goers by storm is animated docudrama, Flee. Executive produced by Oscar-nominee, Riz Ahmed and Nikolaj Coster-Waldau, Flee is the true story of Amin Nawabi, an Afghan man living in Demark who was forced to flee his native country when extremist militants begin to attack “non-believers” in Kabul. Not only does Amin have to grapple with the challenges of being a refugee and seeking asylum in a safe country, but he also comes to terms with his sexuality as a gay man. Flee marks itself as both a statement on the trials and tribulations that come with fleeing war-torn homelands and having to find a new place to call home, while also serving as a complex character study as Amin’s unique perspective is one that has clearly touched and resonated with many viewers.

The film is directed by Jonas Poher Rasmussen who is credited as a writer alongside the film’s subject, Amin Nawabi. It is apparent that the two have known each other for a while, which makes the film lovely to watch as they have a wonderful rapport. Rasmussen doesn’t pressure Nawabi into saying anything he isn’t comfortable saying, and even asks him to reflect on his childhood first before discussing anything that may be uncomfortable for him. The rapport between the two men is great and means that the script itself and the discussions have a natural flow and work well with the animation format, as we are able to see the world through Amin’s eyes. By using animation, Rasmussen is removing his own presence and placing more emphasis on Nawabi and ensuring that the story is at the heart of the film and the main focus, rather than the usual format of following a subject round with a camera.

The animation style is incredible, and it’s great to see the film included in the Best Animated Feature race at the Oscars. What makes the animation such a huge draw for the film is how the animators change the style depending on what is being said. The film opens up with an abstract and minimalist animated segment of people running away. This segment turns out to be the fabricated story that the traffickers told Amin to tell the Danish authorities in order to gain asylum and lends itself to the idea that the animation is not clear and complete. This contrasts to the majority of the film that has bright and vivid animation with clear-cut lines and plenty of vibrancy and movement throughout to indicate the certainty of Amin’s story.

The music is composed by Uno Helmersson and it is so expressive in that it feels as though it reflects the emotions that Amin is going through. Incorporating elements of Afghan-inspired sounds with dramatic pianos and violins, it seems as though Helmersson has used Amin as the inspiration for the music and transferred his identity and his story into the music itself. The track “Running Hiding” plays as Amin and his family desperately try to avoid capture from the militants with fast-paced bells to signal the intensity of the situation. This is immediately followed by the deeply melancholic, “Fleeing Kabul”, which places more of an emphasis on the sadness of having to leave home and not knowing where to go.

Flee has been listed as one of the best films of 2021 and with good reason. The combination of animation and documentary is seldom seen but works beautifully to tell Amin’s story. What Rasmussen and Nawabi achieve is a film that has a powerful message that is also innovative in the way that it is made. The great thing about films is that they allow us to learn from other people and hear their stories, and Amin’s story is one of huge importance in a landscape where so many people struggle to find a safe place to belong.

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

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London Film Festival 2021: Mass

One film that has a great reception at this year’s Sundance Film Festival is Mass which has subsequently generated a lot of buzz among critics at various film festivals since. Making an appearance at this year’s London Film Festival, Mass shows the meeting between the parents of a high school shooter (Reed Birney and Ann Dowd) and the parents of one of the shooter’s victims (Jason Isaacs and Martha Plimpton). What follows is a beautiful film that allows each actor to showcase their emotional range as the characters attempt to come to some sort of resolution by recalling memories of their respective sons and question why the events happened. The film explores a variety of topics from universal issues such as grief and loss to more timely issues such as gun control but at no point does the script feel weighed down or forced as the conversations flow naturally.

Written and directed by Fran Kranz in his directorial debut, Mass feels reminiscent of an onscreen stage adaptation but what is interesting is that it is a completely original screenplay. Despite the entire film taking place within a Church, we can sense the outside world and don’t feel claustrophobic or bored at any point. This is thanks to the intensity in Kranz’s direction and how well the plot points unfold. We don’t know why these people are meeting initially which makes the situation more natural as Kranz does not force feed the audience. This leaves us wanting to learn as much as we can about the situation and we feel the pain and anguish that each parent is feeling and the different reasons why this is the case. Kranz’s decision to cast veteran actors who have performed on stage a lot means that the characters are fully realised in a way that sometimes can be missed by actors who have never acted on stage before.

Playing the parents of the high school shooter are Reed Birney and Ann Dowd who portray Richard and Linda, respectively. The first thing we notice about Richard and Linda is the differences in body language. Linda is very forthcoming, offers a pot of freshly grown flowers, and very eager to start a conversation whereas Richard is much more guarded and reserved. We can see that Richard has a lot to say but is biding his time and biting his tongue until the time is right. Dowd’s performance in particular is arguably the driving force in the film as her character begins the majority of conversations and brings out the reactions out of the other couple, especially when she bursts into tears at the start. What makes Dowd such a fascinating actress is her ability to bring out a humanity in her characters. Linda is a woman who has clearly struggled in her role as a mother and she is now facing the consequences of her son’s actions and wears her heart on her sleeve. Her forthcoming nature may come across as unsettling and uncomfortable, especially as we learn more about the situation, but this serves to help Jay and Gail open up.

Jason Isaacs and Martha Plimpton portray Jay and Gail, the parents of one of the shooter’s victims. We see them arrive at the church first and the trauma of the past events is evident, even if we don’t know why at this point. Isaacs, in particular, brings out a career best performance which will no doubt result in much awards acclaim and even possible wins. Jay tries to remain level-headed, but unlike Richard, he is unable to move his emotions to the side and eventually we see him breakdown. The monologue in which Richard recalls his visit to the scene is absolutely harrowing to watch and Isaacs paces the story beautifully so we can really picture the story without actually seeing it ourselves. Gail on the other hand is initially more reserved and less open than Jay but she is determined to ensure that this meeting will help them find some resolve and allow them to move on. Plimpton has proven herself to be incredibly varied in her performances having acted in comedy such as Raising Hope as well as dramatic roles such as The Good Wife. Her turn as Gail is deeply complex as we see her wanting to open up but feeling uncomfortable about the situation.

Mass is an absolute masterclass in acting and boasts career best performances from its cast, especially from Dowd and Isaacs who I think will see success come awards season. Kranz has achieved a lot in his debut as he has delivered a film that is fantastically written and beautifully directed and showing that you can provide a gripping drama with deep storytelling in a restricted location. Mass is definitely a film that stays with you long after it ends.

Mass is showing at this year’s London Film Festival!

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Censor (2021)

One of the most anticipated British films of the year is finally here. Censor has been the subject of much discussion since its world premiere at this year’s Sundance Film Festival and it’s easy to see why. The film takes place in the early 1970s during the height of the Video Nasties craze and follows Enid Baines, an employee at the British Board of Film Classification (BBFC), who is put under public scrutiny after it is alleged that a film she allowed for release may have inspired a real life murder. Paired with an incident that sees her watch a film that looks like her missing sister, Enid’s sanity and knowledge between fact and fiction begin to merge together into a horrorshow that will see you falling down the rabbit hole with Enid.

The film has been directed by Prano Bailey-Bond who also cowrote the script with Anthony Fletcher. What is fantastic about Bailey-Bond’s approach is how authentic and well-researched every aspect of the film feels from the time period setting to the quality of the film and the methods that they would be shown to the censors. What separates a good horror from an excellent horror, especially in modern times, are their ability to merge the genre with social commentary and despite its early 1970s period stamp, Censor feels as timely as ever. Bailey-Bond’s fearless depiction of mental health deterioration as well as questioning the relationship between entertainment and media takes you on a journey that is unpredictable and highly rewarding to watch.

Niamh Algar is definitely one of this year’s stellar breakouts. Her turn as Enid Baines is a masterclass of characterisation as we see the character’s downward spiral into chaos and madness until the lines between reality and fiction become blurred. Filling the character with plenty of mannerisms such as her fidgeting as well as the detachment from the films she has to watch every day. The horror genre has brought us a slew of iconic characters in recent years, especially strong female characters and Enid Baines can sit confidently among them. The audience’s attention is captured from the beginning all the way through to the end and with horror acting as a groundbreaking genres for rising filmmakers to delve into, Censor works fantastically as a character study while subverting the horror genre and ripping the rule book.

The supporting cast do a great job of backing Algar and adding to the suspense and tension. In particular, Michael Smiley does a brilliant job as Doug Smart, a controversial producer whose films have garnered a negative reputation with the general public. Smart immediately takes a shine to Enid and insists that she reviews his latest project which sets the film in motion, Smiley brings a subtle and subdued quality that makes every movement and line unpredictable. Making the most of every second he is on screen, Smiley can always be relied upon to bring an unexpected performance.

One of the many highlights in this film is the score that has been composed by Emilie Levienaise-Farrouch. Much like the script, cinematography and editing, the score merges a modern horror score with music that feels reminiscent of the 1970s horror music to create something that feels unique and distinctive. There are many scenes where it feels as though the music is its own character such as the scenes where Enid ventures through the train station and sees a woman who looks like her sister. The score in these moments feel as though it is Enid’s past creeping up on her and haunting her every move.

What makes Censor such an appealing film to watch is how brilliabtly crafted the cinematography and editing is. Edited by Mark Towns and cinematography by Annika Summerson, the film flits between a 1970s aesthetic and how a video nasty would appear on VHS. With the video nasty VHS quality becoming more prominent later on, it seems that the film itself is reflective of Enid’s state of mind and actually questions whether the film is a video nasty in itself as it blends between the fact and fiction. The dark colour palettes of the film add a disarming effect and blur those lines between sanity and madness.

If there is one horror that you plan on seeing this year then make sure it is Censor. Wickedly original with a script and direction that is filled to the brim with creativity and ambition. From beginning to end, you are transported into this world and the mind games that it plays with you mean that it’s merging of genres works so well. Bolstered by an amazing cast and with every aspect of the film so well thought out, Censor is by far one of the best films of the year and it’s exciting to see where Bailey-Bond’s career goes following this incredible feature debut.

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

Censor is out in cinemas now!

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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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London Film Festival 2020: Possessor

Film number 10 on my Festival watch list is one of the horrors I have been eagerly awaiting this year since its premiere at Sundance. Possessor is the latest ultraviolent offering written and directed by Brandon Cronenberg. Following Tasya Vos, an assassin who works by controlling the bodies of a pawn so her real identity is kept secret. From the opening, we see her grasp of control slip and this proves true in her new assignment when the man she takes over begins to fight back. As son of esteemed director David Cronenberg, it’s clear that there is a familial trait for creating films filled with explicit gore and pushing the envelope as to how far the human psyche can go. However, to dismiss Brandon Cronenberg as a copy of his father would be a huge mistake. There is an emphasis on the human condition that is done in such an interesting way that I haven’t seen before. There are so many layers to uncover in this film and so much going on that it can be overwhelming but in the best way possible. It’s done intentionally to reflect Tasya’s overbearing mind.

Cronenberg’s writing perfectly encapsulates Tasya’s experience and puts that into his script. The film’s pacing is so fast and sharp that you don’t even realise that it is a 100 minute film. It is absolutely non-stop, taking no time for a breather and Tasya doesn’t have time to rest during her assignment. The opening scene in which Tasya has taken control over a young woman called Holly and completes a mission is gripping and jaw-dropping. From the offset, it is clear that Cronenberg isn’t afraid of bringing an abundance of violence and gore but in a way that cleverly sets up the story and makes the audience ask questions, wanting to know more.

Andrea Riseborough has been delivering astonishing performances for years and her turn in the 2018 film Mandy was a standout in horror that year. It was only natural that she is finally given a leading role. Her performance as Tasya Vos is deeply complex. Tasya continues to work as an assassin despite her clear mental fragility and her slip on control and reality. It’s as though she thinks working will eventually rid her of the pain but her latest assignment proves more than difficult. It’s exciting to see Riseborough in a film like this that is so daring and exciting. Even though it is Christopher Abbott acting as Colin, Riseborough’s performance is so emotive and effective that we feel her presence through the film. This of course is also due to Abbott’s stellar performance as Colin, the man Tasya has been tasked with possessing. Abbott’s performance is vulnerable as he has to play Colin as Tasya inside of Colin’s head and then act out the conflict the two of them have. This is by no means an easy feat and he performs the hell of this role. As Vasya’s grasp on control loosens and turns to Colin’s favour, he becomes more violent and unpredictable to the point where he doesn’t know what he is doing anymore.

There are brilliant support turns particularly from Jennifer Jason Leigh and Sean Bean as Tasya’s boss, Girder and assassin target, John Parse, respectively. Leigh’s performance is subtly fantastic as her concern for Tasya slowly comes to light. She clearly feels a lot for Tasya but is so determined for her to complete the job. Always veering Tasya on the path on control, Girder refuses to lose faith in her employee and Leigh portrays this conflict she has with Tasya’s mind brilliantly. On the other hand, Bean is great as a semi-villainous businessman. Void of dignity and full of fake sentiment, John Parse is a man who is all about appearances. This is something Sean Bean doesn’t play often as he tends to veer towards likeable characters and he pulls this off with a really strong performance. He isn’t in the film for a long time but when he is he immediately draws the audience in with his unpredictability.

The music in Possessor is fantastic bringing aspects of techno sounds to elevate the sci-fi qualities of the film. Composed by Jim Williams, who has done a fair share of horror films, it appears to be a perfect match with Cronenberg and hits the tone of the film perfectly. The way the music is edited to reflect Tasya’s conflict as it overlaps and particularly the piece when she possesses Colin’s body is among the best score tracks I have heard this year. A brilliant and innovative soundtrack that is just as unpredictable and exciting as the film.

Brandon Cronenberg has proven himself to be a stellar writer and director with this film. Providing a brilliant mix of sci-fi and horror, Possessor keeps you on your toes with its many twists and turns as it brims with thrills throughout. It’s a visceral experience that will linger with you long after watching it. A brilliant addition to the best horrors of the 21st century so far. It’s very exciting to see what Cronenberg has up his sleeve next.

Possessor is showing at the BFI London Film Festival on the 16th October and is out in the United Kingdom on the 27th November 2020.

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A Ghost Story (2017)

One of the most beautiful and somber films to come out of the 2010s is A Ghost Story written and directed by David Lowery. Premiering at Sunday’s Fil. Festival and distributed by the much-loved A24, A Ghost Story follows a young married couple C (Casey Affleck) and M (Rooney Mara) and the aftermath of the former’s untimely death at the start of the film. What makes this film such a standout is its simplicity and minimalist approach with limited locations and characters. The film is primarily filmed in their family home and showcases the figurative and literal destruction of the home as M’s life falls apart without her husband. The home is not a home. The screenplay is written by Lowery and his connection and intricacy in bringing his two protagonists to life with minimal interaction is no easy feat but he achieves this. It is a film that moved me and has provided much inspirational imagery and directorial approach that I feel sad that the film has almost been swept under the carpet.

Affleck and Mara both bring their A game to this film and give performances that are among the best in their careers. When C passes away he is reincarnated as a ghost donning a simple white sheet with holes cut out for eyes. We never see his eyes nor what is under the sheet yet Affleck’s presence and character is felt despite not speaking or providing much action. C is a musician and we hear glimpses of his song throughout bringing an unexpected electro and modern sound to the film. The music is what brings the film to its respective time period as the minimalism evokes a timeless quality. Mara is absolutely gut-wrenching in her turn as the grieving wife, M. We see a strong woman who is eventually broken down mentally and physically by the absence around her. We see a few encounters from friends and even a prospective date but the absence of C is too much for her to bear. There is only one scene when M is actually outside of the house and that is when she is identifying her husband’s body. In some respects, she is defined by her relationship to her husband but it could be argued that her struggle is actually a want and inability to move on and continue with her life. She slowly begins to recognise that C isn’t coming back no matter how much she longs for it.

It goes without saying that the highlight scene is the pie scene. This scene is infamous among film fans alike thanks to its raw one take approach to seeing a grieving wife literally eating a chocolate pie for five minutes until she makes herself sick. The scene itself is so simple yet so complex. Mara’s emotional spectrum is on display here as she eats and eats, delving into more and more despair as she longs to feel better following the funeral. The feeling of hopelessness and depression really shoot through as well as upset and loneliness. There are no words in this scene yet it says so much. It’s as if M is hoping her husband will return and stop her from eating herself to sickness but he doesn’t. In fact, no one comes and she is left alone to grieve and process what has happened. I think this scene alone warranted awards recognition but I think the rawness of the characters was probably too alien to the mainstream audience as it does make for uncomfortable and upsetting viewing.

Another scene that causes debates among its viewers is the monologue provided by a party goer, credited as the Prognosticator (Will Oldham) in the house next door. C observes as the Prognosticator talks endlessly about classical music and the Big Crunch which is a theory that claims that the universe is constantly expanding and eventually it will snap like a rubber band and collapse in on itself into a speck as if nothing existed at all. C’s frustration and anger throughout the scene causes him to make the lights flicker as he searches for meaning beyond the life he lived. The speech itself is a bit longwinded, lasting five and a half minutes. Its uneasiness and pretentious nature makes it seem longer because there is no one debating with him. It very much feels as if the Prognosticator is talking out to the audience or even the universe. It is important to note that the film has minimal dialogue so this speech is the true verbal standout the audience is provided with and I think it’s a skillful tip of the scale by Lowery who wants to create that feeling of uncertainty.

The structure of the film is unconventional following a repeat of the time that C and M lived in the house while C observes under his sheet and follows the next family to move in and the subsequent destruction of the home. It feels as though C and M’s memories together are trapped in that endless loop as the universe expands. Just as the Prognosticator claims the works of Beethoven will forever live in human memory, so will the time C and M spent in their house. When C finally reads a note M left and disappears it is sad but also brings closure to that loop and gives him a chance to leave the house just as M did before.

A Ghost Story is not your typical film exploring loss and grief but its impact and power comes from Lowery’s raw approach. Despite its seemingly effortless aesthetic, the films screenplay and character observation pushes through a complexity that transcends its simple storyline. It’s a film that will stay with you long after you watch it.

What did you think of A Ghost Story? Let me know what you think in the comments below!