Tag: venice film festival

Categories
Review

Bugonia (2025)

Bugonia was always bound to be one of the year’s wackiest films and boy, it did not disappoint. The film follows conspiracy theorist cousins, Teddy (Jesse Plemons) and Don (Aiden Delbis), who abduct pharmaceutical CEO, Michelle (Emma Stone) in the belief she is actually an alien on a mission to destroy the human race.

The film is a remake of the 2003 South Korean film Save the Green Planet! with the script written by Will Tracy and helmed by avant garde visionary, Yorgos Lathimos. What makes Lathimos one of the most exciting filmmakers working today is the way he creates surrealist immersive worlds that never feel too far away. They are places that terrify and intrigue in equal measure, and his penchant for unknown motivations make his worlds seem claustrophobic, even when incorporating astronomical themes.

It’s wonderful to see how Jesse Plemons’ career has skyrocketed over the years. Following his Best Actor win at Cannes for Kinds of Kindness, Plemons reunites with Lathimos as Teddy, the hopeless conspiracy theorist who thinks Michelle is a member of the Andromedan race and has elected himself as a spokesperson for the human race to save the Earth. What makes Plemons’ performance so captivating is how normalised his theories have become from the offset. The audience is immediately introduced into Teddy and Don’s mundane lifestyle which is contrasted with the wealth and excess of Michelle’s. The scenes in which Teddy emotionally manipulates Don into going along with his plans are uncomfortable because we know that Teddy truly believes in what he is saying, despite the absurdity of his theories. Counteract these moments of dominance with the inferiority he feels in scenes with Michelle, who uses her influence and intellect to challenge Teddy’s arguments. Plemons really shines during the dinner scene where the tension between Teddy and Michelle reaches its boiling point and he resorts to physically attacking Michelle when it’s clear that he is losing control of the conversation.

If Teddy’s life is stunted by his inability to gain respect and followship from others, then Auxolith CEO Michelle Fuller is his polar opposite. Emma Stone’s performance is immediately commanding and unpredictable as the audience teeters between believing whether she is an alien or not. As we see Michelle’s morning routine, we can see her confidence and assertiveness. She lives a high-pressured life, but she makes it seem effortless. If Poor Things’ protagonist, Bella Baxter, gave Stone the opportunity to play a character who was on a journey of self-discover, then Bugonia is a role that sees that discovery in fruition. When captured, Michelle uses her intelligence to assess and determine weaknesses in her captors. Stone’s physical transformation for this role cannot be overlooked either. Michelle’s appearance is completely changed as the events of the film unfold, her hair is shaved off and her high-end clothes become ruined and replaced with gaudy floral dresses. What makes Michelle such an engaging character is how she has different approaches with Teddy and Don. She knows that Teddy can be thwarted by intelligence, while Don is more susceptible to emotional discussions in a bid to save her life.

Aiden Delbis makes a fantastic debut as Teddy’s cousin, Don. Delbis holds his own against Hollywood heavyweights Stone and Plemons, with his onscreen chemistry with the latter being a highlight of the film. As the conflict between Teddy and Michelle grows and Teddy delves deeper into his rabbit hole of theories, we see Don struggling as the situation becomes too much for him. It’s one thing for him to go along with the plans, but when they are put into action and things become “real”, it’s evident that he doesn’t fully align with Teddy’s point of view. Where Teddy believes that Michelle is an alien, Don’s autism makes him feel like he doesn’t belong in such an unfair and unequal world. Teddy is the only person he has and he wonders if there are extraterrestrial beings in a bid to find somewhere that will accept him. Teddy and Michelle represent the worst extremes in the world, while Don is forced to help clean up the mess. Delbis is the heart of the film and brings a real human element to the story.

The score is another triumph from Jerskin Fendrix. Much like the conflicting characters, the music flits from one extreme to the other. What starts with natural and classical sounds with nature imagery is juxtaposed with futuristic synths as the film divulges into Teddy’s radical ideas. Even when there are moments of calm visually, Fendrix’s score is on hand to maintain the suspense, keeping the audience on their toes.

Bugonia is proof of the magic formula that Lathimos and Stone have perfected. While it may not have the grandeur of Poor Things or the historical levity of The Favourite, Bugonia still concerns itself with themes found in Lathimos’ filmography. On a larger scale, it’s a film about inequality and how those at the top hold an extortionate amount of power and influence. This then trickles down to those at the bottom of the chain who find solace online and venture down unfounded and dangerous routes. What Lathimos presents us is the worst of society from the top and the bottom.

Categories
Review

Parallel Mothers (2021)

One of the best films to come out of this year’s awards season is Pedro Almodóvar’s latest feature, Parallel Mothers which sees him reunite with Penélope Cruz for the seventh time. The film follows photographer, Janis (Cruz) and her parallel experiences of motherhood with teenage mother, Ana (Milena Smit). What follows is a series of event that are unpredictable as the main characters lives start out the same, but veer off into different directions. Receiving two Oscar nominations for Cruz’s lead performance and Alberto Iglesias’ magnetic score, Parallel Mothers is a film that sees Almodóvar at his best. The film opened the Venice Film Festival where Cruz was awarded the Volpi Cup for Best Actress.

The film is written and directed by Pedro Almodóvar, who showcases yet again how fearless he is as a filmmaker. What Almodóvar does so well is his ability to merge various genres, while also bringing in various layers that make his films so rewarding to watch. In Parallel Mothers, there is an ongoing plot as Janis campaigns for a local mass grave to be excavated as it contains the remains of her great-grandfather and other men who are unlawfully killed during the Spanish Civil War. This fight for freedom and local identity parallels her own struggles to find herself and her place in the world, while also serving as a plot point that drives the film forward.

Undoubtedly the beating heart in the film, Penélope Cruz provides one of 2021’s best performances as Janis. Janis is a successful photographer who lives in a beautiful apartment in the heart of Madrid. When she unexpectedly falls pregnant, her life begins to change and after encountering a teenage mother, Ana, in the hospital, she begins to see that they share more in common than she originally thought. Cruz is absolutely excellent in the film and deservedly won the Volpi Cup for Best Actress at Venice Film Festival for her troubles, as well as receiving an Oscar nomination for Best Leading Actress. Cruz and Almodóvar have proven yet again how well they work together as Cruz is able to bring forth Janis’ complexities and strength.

The role of Ana is equally important as Janis because she serves as Janis’ parallel and counterpart throughout the film. Playing Ana is Milena Smit, a relative newcomer, who does a fantastic job in the role of complex Ana, a teenage mother who struggles in her new role as caregiver. Smit works brilliantly with Cruz as the two share a natural chemistry that makes the characters’ relationship authentic and believable from beginning to end. Throughout the film, we learn more about Ana and the more tragic it becomes in terms of her background. Smit’s performance therefore becomes more rewarding as we can see that sadness and struggle that Ana has been faced with and begin to understand why she makes the decisions that she does.

When it comes to the cinematography, Almodóvar relies on his regular collaborator José Luis Alcaine. What Alcaine does so well is allowing the audience to see the world from the character’s eyes. Janis’ perspective serves as a microcosm for the experiences of motherhood, while also remaining beautiful to look at. One poignant location used throughout the film is Janis’ kitchen. The kitchen is often referred to as the “heart of the home”, and in this instance, it is the “heart of the film” as Janis has many meaningful encounters there. Alcaine makes use of the space by shooting the kitchen from various angles to make it feel claustrophobic in scenes of tension and confrontation, while using wider shots to make it feel more spacious and free when used in scenes of joy and bonding.

One of the best elements of the film is the score composed by Alberto Iglesias. Iglesias was nominated for an Oscar for his work, and it’s easy to see why. Some tracks such as “El visillo volante” feel reminiscent of classic thrillers as the fast strings feel like a quickened heartbeat. What makes the score so effective is that Iglesias knows when to keep the music quiet and subtle in the background and when to allow the music to be loud and drawn out.

What makes Almodóvar one of the best filmmakers working today is his ability to craft beautiful characters, while also bringing in a wider view of the world. In Parallel Mothers, we follow Janis and her struggle to find her own identity, while simultaneously trying to fight for a local mass grave to be dug up that is believed to contain her great-grandfather and others who were killed during the Spanish Civil War. Almodóvar always makes films that are thoughtful and gripping and Parallel Mothers is no exception. It’s a film that doesn’t need all the bells and whistles as Almodóvar allows his actors to bring forth the tension in the script with Cruz providing her best performance in years, and one that I believe she should have won the Oscar for.

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

Categories
Uncategorised

The Lost Daughter (2021)

One of the big favourites to come out of the 2021 festival season was Maggie Gyllenhaal’s directorial debut, The Lost Daughter. The film follows Leda Caruso (Olivia Colman), a college professor who has ventured to Greece in order to finish her current project. Whilst there, she encounters Nina (Dakota Johnson), a young mother who has come to the resort with her large family, who struggles to deal with the pressures of motherhood and what is expected of her in the role of mother and wife. The film is an intricate look into what it means to be a woman and the pressures that society puts on women. As Leda reflects on her own life, which we see in flashbacks with Young Leda (Jessie Buckley) and the decisions she has made over the years, the film’s dynamic shifts between drama and thriller as Leda begins to become more involved in Nina’s life and finds herself in a compromised situation.

The film is directed by Maggie Gyllenhaal in her debut which she also wrote, with the script based on the novel of the same name by Elena Ferrante. From a technical standpoint, this film is beautifully made with captivating direction from Gyllenhaal, while the screenplay unfolds slowly, so we get to see what lies under Leda’s surface. The film starts in the present day as Leda stumbles on the beach at night and lies unconscious at the water edge before going into a flashback and showing the events that have led to this. Gyllenhaal has a brilliant understanding of the character, and the way that she conveys Leda’s struggles adds plenty of intensity that elevates this film into one that feels threatening and uncomfortable at times. As Leda becomes more involved in Nina’s life to the point where it becomes obsessive, she begins to become reflective and contemplates on her life while the current situation spirals out of control.

Olivia Colman is one of the best actresses working at the moment, and The Lost Daughter showcases her range and her ability to lead a character-driven film. Her performance as Leda is not only one of the best performances of the year and guaranteed to get her a slew of award nominations. The character of Leda is brilliantly written, and Colman proves to be fantastic casting. Colman’s Leda is an accumulation of the decisions that we see through the flashback scenes, so her performance feels more rewarding the more we learn about the character. Colman’s performance is nuanced and makes this film as brilliant as it is. We may not understand why Leda does certain things and why she chooses to do them, but it is this unpredictability that makes The Lost Daughter such a gripping film from beginning to end.

The film revolves around Leda and her life leading up to the present day and beautifully merges flashbacks that show her journey and success. Playing Young Leda is Jessie Buckley, another actress who has risen up the ranks in recent years and another example of perfect casting. Young Leda’s life is inundated with chaos as she tries to juggle her studies with caring for her young daughters, Bianca and Martha, meaning that Buckley’s performance is more expressive as we see the physical and mental strain that her life has taken. Leda’s relationship with her young daughters is highly turbulent, and she begins to enjoy the time she gets to spend away from them, eventually leaving them to pursue her academic career. Buckley’s performance complements Colman’s perfectly as they capture Leda’s personality flawlessly in a way that feels seamless.

Dakota Johnson plays Nina in a role that may be small but has a huge impact on the film. Marking a career best for Johnson, Nina is a woman who struggles between living a life that she wants and the one that is expected of her by her family and society at whole. Nina is on holiday with her daughter, Elena, and family, while her husband flits in and out due to work. When Elena goes missing, things become chaotic and Nina begins to doubt her role as a mother. After Leda finds Elena and returns her, Nina becomes indebted to Leda and wants to get to know her, but is kept at arm’s length. When we see Nina, it is usually from Leda’s standpoint as an observer, as we see her struggle to be a good mother and wife. Johnson really excels in her final scene, in which she confronts Leda as the latter admits that she stole Elena’s doll. What Johnson does excellently in the film is put across Nina’s inexperience and her desire to find control of her own life rather than having others control it.

One of the most striking elements of The Lost Daughter is Dickon Hinchliffe’s score, which has a blues sound to it. The opening track “Leda” is a wonderfully dynamic piece that thrusts the audience into the location and escapism of the film. Leda has gone to Greece to finish her work and relax, and this track perfectly accompanies this. What Hinchliffe manages to capture is Leda’s wonderment and the freedom she has, which is then contrasted with quieter pieces that are more drawn out during the flashbacks to capture how Leda is trapped in a life that was expected of her but one that she doesn’t really want. The contrast between musical styles is a great way of portraying the many sides of Leda’s personality, and accompanies her journey perfectly.

The Lost Daughter is a masterclass in subtlety. It doesn’t need to have bells and whistles to show off the craftsmanship of the script and direction, while providing stellar performances all around, especially from Colman. It’s an intricate character study following Leda’s life and the sacrifices she has made to get where she is while also drawing parallels with Nina. The slow pace of the film works beautifully as it goes hand in hand with the vacation aspect. What is really fantastic about The Lost Daughter is that it subtly plays with the thriller tone, without actually exposing any threat, but we feel Leda’s fear. Maggie Gyllenhaal absolutely hit it out of the park with her debut, and it’s exciting to see what she does next.

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

The Lost Daughter is available to stream on Netflix now!

Categories
Uncategorised

Last Night in Soho (2021)

Trigger warning: This review delves into various aspects of Last Night in Soho, including its depiction of sexual assault and rape.

Edgar Wright’s latest film Last Night in Soho had its premiere at this year’s Venice Film Festival and has undoubtedly been one of the most discussed films of the year so far due to its eclectic merging of genres and time periods. The film follows aspiring fashion designer, Ellie (Thomasin McKenzie) as she moves to London to study fashion design at the London College of Fashion. Not everything is so simple though as Ellie is able to see the ghost of her mother in mirrors and when she moves into a bedsit after her stay in student halls go wrong, she begins to see visions of a young woman called, Sandie (Anya Taylor-Joy) and her struggle to become a famous singer in 1960s London. What follows is a film filled with many twists and turns until Ellie begins to lose her sense of self as the past begins to catch up with her and she finds herself at the heart of a mystery that explores darker and timely subject matters such as sexual assault, loss, and treatment of women.

The film is directed by Edgar Wright who cowrote the screenplay with Krysty Wilson-Cairns. The film is filled with Wright’s signature flair and use of vibrant colors. However, where a lot of Wright’s previous films are filled to the brim with larger than life characters, there aren’t as many in Last Night in Soho. This could be because the film dives into much darker territory than others and doesn’t have the same level of humour. A lot of the controversy generated from Last Night in Soho is with regards to the writing and it’s clear that Wright and Wilson-Cairns have tried to use the paradox between periods to discuss sexual assault but it doesn’t feel as though the script delves deep enough into the trauma and psyche of the victim while explicitly showing various scenes of abuse and rape. To see such an unflinching depiction of sexual violence against a female character has caused a lot of understandable upset amongst victims and the level of upset could be because the script doesn’t do a lot to delve deeper into the mentality and characterisation of the female characters as it could have done.

Thomasin McKenzie plays the film’s lead, Ellie, and it’s great to see her star on the rise as she has provided such brilliant performances previously. McKenzie does what she can with the character but it doesn’t feel as though Ellie’s character is fleshed out enough which is unfortunate as McKenzie is a fantastic actress. On the surface, it can seem that Ellie simply has visions and then subsequently runs around screaming but there is obviously something a lot deeper going on. It could be argued that her mental health has taken a toll since the loss of her mother and it would have been so interesting to see the screenplay delve into this aspect a bit more so we could understand Ellie better. Even though she is the protagonist, Ellie is an observer and an outsider in her own world and the world of the 1960s. When she is dreaming, she is lurking on the edges of the frame as she enters Sandie’s world whereas in her own life, she is an outcast among her peers and cannot seem to fit in anywhere. It feels as though the film happens around Ellie and we don’t see her character develop as much as it should do through the film’s two hour running time.

The highlight of the film is Anya Taylor-Joy as Sandie, the woman Ellie observes in the 1960s. From the moment Sandie enters the film in a flowing pink chiffon dress with her hair in a bouffant style, the film begins to find its momentum. Taylor-Joy is absolutely electric as Sandie and is arguably the film’s heartbeat and keeps the audience gripped. Sandie is an aspiring singer who befriends manager, Jack (Matt Smith), who promises her the world so long as she stays by his side. What follows is a downwards spiral where Sandie is taken advantage of at the hands of many men thanks to Jack’s greed and lust for control. Even in the film’s darkest moments, it is Taylor-Joy’s sincere portrayal of Sandie that lets the audience into the world that the film inhabits and wanting to know how the story ends.

Another small but great performance is provided by the late, great Diana Rigg as Ellie’s landlady, Ms Collins. As mentioned, it is only a small role but she fills it with such intrigue that when she is onscreen, she grabs the attention. Her final scene in which she confides in Ellie is brilliant and highly intense, showing that you don’t need bells and whistles for great characterisation whilst also boasting the flawless subtleties when reflecting on her previous scenes.

Another highlight of the film is the original score by Steven Price which highlights the horror tones of the film. A lot of the tracks feel reminiscent of horror films from 1960s and its clear that this is what Price wanted to convey. It is the score that provides the dark undertone throughout the whole film and leaves the audience in anticipation, especially as the visions start to take place and the puzzle begins to piece itself together.

Last Night in Soho is a difficult film to discuss due to its subject matter and the way this is handled. It is clear that it has been made with good intentions but whether it is successful in what it is trying to say is another thing. There are aspects of Last Night in Soho that are great such as Anya Taylor-Joy’s performance and Steven Price’s score but the overall tone of the film feels conflicted and confused, especially as Ellie’s characterisation doesn’t feel completely realised. Last Night in Soho is a departure from Wright’s other films and although it doesn’t have the same spark as his previous outings, it will be interesting to see where his career goes next.

What did you think of Last Night in Soho? Let me know in the comments below!

Categories
Uncategorised

Pieces of a Woman (2020)

A little bit late watching this one but better late than never. Pieces of a Woman is the heartbreaking drama following Martha (Vanessa Kirby), a woman who loses her child during birth. Directed by Kornél Mundruczó and a script written by Kata Wéber, Pieces of a Woman is a film that is an absolute masterclass of acting by all involved. A really poignant portrayal of grief and how difficult it is to find closure from such a traumatic event. With supporting turns from Shia LaBeouf and Ellen Burstyn who play Martha’s partner, Sean and mother, Elizabeth, respectively, this film is not an easy watch by any means for obvious reasons but it is an intricate character study that feels authentic while shedding light on an issue that is commonly unspoken off due to taboo. The film premiered at the Venice Film Festival where it received unanimous praise and Kirby walking away with the Best Actress prize. Scooped up by Netflix, Pieces of a Woman has been in the awards race for a while and eagerly awaiting its release.

The first thing to discuss is the opening half hour in which we see the excruciating birth scene in which Martha has a difficult labour with tragic result as the baby dies shortly after being born. With her original midwife caught up with another birth, replacement Eva (Molly Parker) steps in to assist Martha. This opening act is by far one of the most unflinching scenes I have come across as we see the whole birthing process from the relief when the baby is born to the tragic death a few moments later. The way it is directed is relentless without giving a moment to breathe to the point where the scene completely immerses the audience into its chaos. The physical pain of the situation is too much for Martha that she quickly becomes deranged and cannot control what she says or the sounds she makes. Knowing what the scene is going to result in and seeing that level of distress makes the experience of watching it even more devastating.

Kirby, previously known for her stellar performance as Princess Margaret in the first two seasons of The Crown, pulls out all the stops as grieving Martha. Her acting is on par with actors who have been giving decades of flawless performances. We feel Martha’s physical and emotional pain in the first act and that devastation as she comes to terms with what has happened. Although the film doesn’t have the same level of momentum as the first act, Kirby keeps us gripped as she delves into Martha’s inability to move on or seek help for her trauma. Initially Martha wishes to remove any proof that the baby even existed hoping that this will help her to move on to the next chapter but she feels pulled back by her family, especially her mother, who insists that they should hold a funeral for the baby before burying her. It’s clear that Martha wants to move on but just doesn’t know what to do in order to be able to. The scene in which she testifies at Eva’s trial and is forced to describe what her birthing experience was like is hugely intense with Kirby using that intensity to deliver her performance through movement and emotion and not just by her words.

In support we have Ellen Burstyn as Martha’s overbearing mother, Elizabeth. She clearly has Martha’s best interest at heart but she doesn’t allow her daughter to truly have space to grieve and this puts an enormous amount of friction on their relationship. Burstyn makes the most of the small role she has as is expected of her and proves to rise to Kirby’s leading performance. Her speech to Martha about her own birth and upbringing hammers home just how great Burstyn is. I would have liked to have seen more scenes between Elizabeth and Martha just to show more of their relationship dynamic rather than the limited arguments we see. I think that the film would have benefitted from seeing how they act around each other when things are more settled.

Overall, Pieces of a Woman may fall a little short in terms of keeping a steady momentum in the script following the incredible first act but the strong performances, particularly by Kirby make it a film to watch this coming awards season. I have no doubt that Kirby will lock in her first Academy Award nomination and hopefully this is a sign of a fruitful career for years to come.

What did you think of Pieces of a Woman? Let me know in the comments below!

Pieces of a Woman is available to stream now on Netflix.

Categories
Uncategorised

London Film Festival 2020: The Human Voice

One of the projects I was really excited to watch was this half an hour short film written and directed by Pedro Almodóvar based on a play of the same name by Jean Cocteau. Premiering at this year’s Venice Film Festival, I was so excited to see that it was included in the London Film Festival line-up and knew I had to watch it. Starring the incredible Tilda Swinton as a nameless Woman whose mental health diminishes as her partner goes missing for three days. With the exception of a scene near the beginning in which Swinton’s character buys an axe from a hardware store, she is the only character onscreen. Primarily set in her luxurious apartment filled with glamorous clothes and modern art placed everywhere, it would seem that the character has a life worth dreaming but we soon learn that this is a mask for something much darker.

In true Almodóvar style, there is a heavy focus on the setting and a strong visual aesthetic that usually is more telling than the dialogue. The attic apartment the woman lives in is clearly a set within a warehouse. This highlights that like all the luxurious goods she owns that the materials are all fake. What Almodóvar does brilliantly is an analytical breakdown of a character that is shown little by little like a puzzle piece. Even when presenting a short film, it is filled with so much story and character analysis that a lot of features miss out. The script is action based in the first act before becoming dominated by what could be described as a monologue as the Woman talks to her estranged partner but we only hear her side. The way the camera follows the Woman from above and completely exposes the set is a fantastic artistic choice as well. It really plays into that feeling of the Woman being trapped inside a doll’s house and being stuck in her own little world.

Tilde Swinton is always a tour de force in whatever she does and this film is definitely a collaboration between her and Almodóvar. It makes perfect sense that they would work together. Her performance is, as expected, executed to perfection. Her magnetism draws you and you want to understand the character and get to know her. When she receives a call from her estranged partner, she plugs in her wireless earphones to talk to him. We don’t hear anything he says only her response. It is during this increasingly intense conversation that the mask begins to slip and cracks start to show. We understand her actions and why she has bought the axe and attacked the bed with it. The apartment clearly acts like a bird cage that the Woman cannot seem to escape from even though she knows that her relationship has come to an end. As she progresses in her conversation, she finds herself unwilling to dominate control over her partner and finds herself constantly apologising and submitting to his every whim. It is when he appears to hang up at a tender moment that breaks her and she is able to break away from his and regain her control. Although it may seem simple to be in a film by yourself, it is actually the opposite and Swinton knocks out a performance that I would argue is among her best.

The music composed by Alberto Iglesias is breathtaking and elevates the film to that dramatic and cinematic level. As the Woman lingers around the house and ventures to the hardware store, the score is what provides that ambience. The music allows the unspoken words to come through and is ever increasing in tension as the build up to the phone conversation takes place. It really assisted in heightening the drama and expressing the loneliness and mental fragility that the Woman feels.

Despite only being thirty minutes, this has proven to be one of the highlights of the festival for me. Almodóvar can always be relied on to deliver a project that is captivating and thrilling with a hint of horror without actually showing gore. His control as a filmmaker is superb and not everyone could pull off such a complex project in a way that feels so cinematic and artistic. The Human Voice is a reflection not only of what one can do with limited resources but that great cinema can be created with the pandemic restrictions.

The Human Voice is showing at BFI London Film Festival on the 17th October and will be released in the United Kingdom on the 6th November.

Categories
Uncategorised

Top 5 Michael Fassbender Performances

One of the best actors working today without a doubt is Michael Fassbender. Born in Germany and raised in Ireland, Fassbender’s career has gone strength to strength showcasing his range from small-budget indies to massive blockbuster franchises. Garnering critical and commercial acclaim winning a slew of awards including the Venice Film Festival’s Volpi Cup for Best Actor (for Shame) as well as two Academy Award nominations for Best Actor in a Leading Role and Best Actor in a Supporting Role (for Steve Jobs and 12 Years a Slave, respectively). Fassbender never fails to push the bar and standout in whatever film he is. He has worked with a variety of huge directors such as Steve McQueen, Quentin Tarantino, Ridley Scott and Danny Boyle to name a few and is currently working on Taika Waititi’s new film Next Goal Wins.

There are so many performances that I could list but I managed to compile a list of my top favourite performances which I think are the best of the best. Hopefully if anything, this list will demonstrate the range that Fassbender displays from an Irish activist on a hunger strike to an English soldier in World War II to an American billionaire. He has really established himself as one of the most exciting method actors working in Hollywood today.

Without further ado, here are my top 5 Michael Fassbender performances in chronological order:

Hunger (2008)

The role that catapulted Fassbender to the A List is not one to be overlooked. The first collaboration between Fassbender and  Steve McQueen already shows the fearlessness that they both have in their filmmaking and the roles that Fassbender chooses to take on. Fassbender plays IRA member Bobby Sands who takes part in a hunger strike for 66 days and also participates in a no-wash strike. The film also marks McQueen’s feature debut and won him the Camera d’Or at Cannes Film Festival. McQueen’s minimalist direction combined with a character driven script includes an incredible 17 minute shot in which Bobby is challenged to end his protest by Father Moran (Liam Cunningham). What Fassbender does so well in this film and his subsequent performances is his ability to pull off performances that are memorable but not over the top. What Hunger does is allow the focus to be on the performances of the actors because the film doesn’t have bells and whistles and special effects. Fassbender’s performance earned him a British Independent Film Award for Best Leading Actor and it’s easy to see why. His preparation for the role is evident in his dramatic weightloss pre-production. Hunger proves to be a great start when looking at the filmography for Fassbender as it shows his willingness to pick good roles and his dedication to method acting.  

Inglourious Basterds (2009)

Following his stellar lead in Hunger, Fassbender starred in Quentin Tarantino’s fantastic revenge thriller Inglourious Basterds which is a fictional retelling of Nazi-occupied France during the peak of the War. The cast is led by Brad Pitt as Aldo Raine, the leader of the Basterds and stars Christoph Waltz in an Oscar-winning dazzling supporting turn as SS Officer Hans Landa, the latter of which was the major talking point for critics and audiences alike and with good reason. ANother brilliant aspect that comes from this film is Michael Fassbender’s small role as Leiutenant Archie Hicox, an English soldier drafted to France to assist the Basterds with their plan. His role is only short-lived in the film but what he lacks in screentime, he makes up for with charisma. Fassbender is memorable as the quick-witted soldier as he struggles to fit in with the others who are hellbent on revenge. The scene in the underground bar remains one of the best Tarantino moments and it’s largely thanks to Fassbender’s control of the character. As expected in a Tarantino film, the characters are larger than life and it’s clear that Fassbender is enjoying playing Hicox. As mentioned before, this is only a small role but it is a rewarding point in Fassbender’s career as it shows he can standout in a star-studded cast.

Shame (2011)

Fassbender’s second collaboration with Steve McQueen is a deeply explicit look at sex addiction. Fassbender plays Brandon, a high-living bachelor living in New York who is constantly having sex with prostitutes and masturbating in his workplace where he holds an Executive position. Brandon’s addiction is initially his lifestyle. Just like any other addiction, he is subconsciously engaging with sex in any way he can. The film documents the downward spiral Brandon experiences as his lifestyle begins to fall apart with the arrival of his self-harming sister, Sissy (Carey Mulligan) who stays at Brandon’s apartment as she has a few gigs as a lounge singer in the City. Sissy is openly lonely and upset, longing to bridge the broken relationship with her brother who has deluded himself into believing that he is not alone because he is constantly engaging with sex in some way or other. It is the slow-burning realisation that he is alone and that he is incapable of forming “real” connections that make way for Brandon’s downfall. The film earned an NC-17 rating in the US thanks to its explicit scenes which includes Fassbender appearing full-frontal. In an industry where full female nudity has become normalised, there is still a stigma around showing full male nudity. This role is understandably challenging and uncomfortable but Fassbender gives everything to the film. Brandon is deeply flawed and is looking for the puzzle piece that is missing in his life. Fassbender won a second British Independent FIlm Award for Best Lead Actor for his performance. It’s not the lightest film to watch by any means but it is an unafraid look into a common topic that is taboo in a very realist way.

12 Years a Slave (2013)

The third and (to date) latest collaboration between Fassbender and Steve McQueen is an adaptation of the memoir of the same name by Solomon Northup, a New York-born man who is kidnapped and sold into slavery in Louisiana in 1841. Featuring Chiwetel Ejiofor as Northup, Fassbender portrays plantation owner Edwin Epps, a despicable and inhumane person who takes pleasure in beating and raping the slaves who work for him. Fassbender is truly terrifying as Epps and the performance gives goosebumps due to his unpredictability. The scene in which he demands Northup whip Patsey (Lupita Nyong’o) and then proceeds to violently do so himself to a point where she almost dies is horrific to watch and shows a fearlessness in Fassbender’s performance. He is clearly not afraid to go the extra mile and show Epp’s evilness while keeping complete control of the character. This performance shows a different side to Fassbender’s range that we have not seen before, even in his previous antagonist roles. Epps is a man void of compassion and embodies evil incarnate. Thanks to McQueen realist and relentless direction, Fassbender successfully shows this and really gets under the skin of the character and presents this to the audience in a way that no filmmaker has done before. Everyone in the cast does justice to Northup’s story, especially Ejiofor, Nyongo’o and Fassbender, garnering awards attention for each. Fassbender was nominated for his first Academy Award for Best Actor in a Supporting Role.

Steve Jobs (2015)

My favourite Fassbender performances sees him take on the titular character in this Danny Boyle biopic. Fassbender practically becomes the Apple CEO and co-founder as we follow Job’s life from the launch of the Mac that lead to his firing ending with the launch of the iMac which is seen as his Apple comeback. It is such a subtle masterclass of acting that you forget that you are watching an actor. He perfects the accent, the mannerisms and manages to create a deeply complex character that allows the audience to form their on opinions on the man. Aaron Sorkin’s script is a brilliant foundation that Fassbender takes and adds that extra dimension to the film. It is his command of the screen that constantly grabs the audience’s attention and elevates the film to something more than a biopic. The film also features a strong supporting cast led by Kate Winslet, Seth Rogan and Michael Stuhlbarg but it is Fassbender’s lead turn that will leave a lasting imprint long after the film’s ended. The scene in which Jobs and Steve Wozniak (Rogan) argue whether the former should acknowledge the Apple II team in his speech at both computer launches. Jobs is clearly a highly intelligent man but his stubborness and pride hinders him and makes him appear alien and detached from those around him. Fassbender was deservedly nominated for the whole round of major awards and, in my opinion, I think he should have won because the performance is top tier. However, this was the year that Leonardo DiCaprio won all of the awards for his brilliant turn in The Revenant which made the competition one of very high standards.

It’s clear that Fassbender thrives in an environment where he is given challenging and different material. He clearly is wanting to consistently show more range and depth by starring in different genres and working with varying directors and budgets. He is an actor who wants to challenge topical taboos and portray characters who bring discussions among critics and audiences alike. I know that there are tons of performances I could have included such as his performance as Connor in Fish Tank, Magneto in the rebooted X-Men franchise and the titular role in Frank but each of the films I listed are the real standouts in terms of him pushing his range and his charaterisations. I look forward to seeing him in Waititi’s new film and what roles he takes in the future. hopefully this will include a film that sees him sweep the major awards that he is long overdue.

What are your favourite Michael Fassbender performances? Let me know in the comments below!

Categories
Uncategorised

Joker (2019)

I don’t know if there has been such a hype around a film with added polarisation to boot. Todd Phillips’ origin take on iconic villain in Joker shows how Arthur Fleck, a failed stand-up crippled with mental illness who rebels against a system that seems rigged and only rewards those born into riches and fortune. Arthur struggles to navigate his way in Gotham City which has gradually become more violent as the rich continue to cut public funding. I previously did a Top 5 Joaquin Phoenix performances post which you can read here in anticipation for this film. As I predicted, Joker would easily slip into the best of the best from an actor who can’t do any wrong. Joker also won the Golden Lion at Venice Film Festival which is unheard of for a franchise superhero film because of its groundbreaking venture and reluctance to fit in with a particular aesthetic that audiences and critics are used to.

Todd Phillips shows his talent for direction with this film. Taking inspiration from some of the best directors in history, mainly Martin Scorsese, Phillips achieves in making an epic based not on a superhero franchise but on a character. This film is rich in character development that it would weirdly fit in with the films of Paul Thomas Anderson. It’s refreshing to see someone venture into a different genre of film despite his ridiculous motive. An obvious element to point out would be that the film is told from Arthur’s perspective in contrast to the numerous Batman films that only see the Joker from Bruce Wayne’s point of view. Phillips allows us to not necessarily sympathise Joker’s actions but to understand his view of a city that ignored him for years and stomped on him daily. Phillips throws us into a specific period of his life rather than showing us his life thus far. What we learn about Arthur’s background is varied and unreliable so it becomes hard to grasp Arthur as a person. What we do gain is that he has lead a life that has pulled him in all sorts of uncertainties and directions but when he is dressed as a clown, he feels comfortable behind the guise.

As expected, Joaquin Phoenix is nothing less than extraordinary and this role will almost certainly bring him an abundance of award wins I think. He is arguably the best working actor today. This may be his time to win a long overdue Oscar (he should have won for The Master really) but that’s not to say that it wouldn’t be deserved if he won for this. Arthur Fleck is a deeply complex character. His mental illness leaves him extremely vulnerable as seen in the opening scene when a group of teenagers take his sign and subsequently beat him up, he’s physically malnourished with Phoenix losing 50 pounds for the role. There are so many layers and sides to this character that he becomes increasingly unreliable and the uncertainty in his actions makes for a terrifying experience. There’s no predicting his motives or what he will do next. If I had to draw comparisons from another Joker, it would have to be Jack Nicholson’s particularly in the chat show scenes but that’s only a glimmer as Phoenix has managed to pave a way for his own Joker. Phoenix is an absolute powerhouse of acting and even those who dislike the film have respect for his portrayal. It’s a performance that shows the physical and mental consequence to actions made by those seen as “higher” and “superior” than himself.

JOKER-Final-Trailer-1-54-screenshot.png

As far as other characters go, we have a supporting role led by Robert De Niro who is making a welcome return from a few years of very questionable choices in film as Murray Franklin, Gotham’s most popular talk show host. Arthur idealises this man but what he doesn’t realise is that Murray is a product of the society that threatens to marginalise him further. He broadcasts a portion of Arthur’s failed stand-up routine for the whole of Gotham to see and isolate him further. Arthur appears oblivious to Murray’s behaviour initially and eagerly accepts and invitation to be on his show in which he is ridiculed further but Arthur isn’t as vulnerable as it seems and his appearance on the show makes for one of the most intense scenes in film this year. I hope De Niro keeps this up and with The Irishman coming out later this year, I am hoping this marks a return to the actor that we loved before Dirty Grandpa.

My favourite scene would have to be the Bathroom Dance scene in which Joker finds his way to a grimy public bathroom and dances with himself. The combination of Phoenix’s whimsical nature and the dark, vibrant score that provides an undertone for what had occurred in the previous scene. Hildur Guðnadóttir’s award-winning score for Joker was one of my major highlights aside from Phoenix. It feels that the score and the character are connected as the score weaves its way through Arthur’s movement. In this scene, the two are combined as one and it is as if this is the music in his mind. If any scene could be used to sum up the film, it’s this one. The Joker is known for his violent outbursts but this scene sees him literally celebrating a triple murder. It’s a different side that we see for a character who had thus far been victimised and pushed down.

I was excited for Joker since I am a huge Joaquin Phoenix fan but, to be honest, the hype surrounding the film made me less and less excited and I was unsure whether I would enjoy. However, I was not let down and thoroughly enjoyed the film from beginning to end. As someone who has experience with mental illness, it was refreshing to see mental illness portrayed in a way that seemed unfiltered and honest. Of course, the character of Arthur Fleck isn’t one to aspire to but the film shows a picture of how those less fortunate are left to fend for themselves when thrown into difficult situations. Joker is a film that lends itself well to the DC franchise but also as a standalone in its own right. It’s depiction of a broken character who becomes even more fragmented is unafraid and undoubtedly a reflection of society today. The film feels progressive and risky while also remaining loyal to a character that has been well-loved for decades.