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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.

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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!

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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!

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London Film Festival 2021: The Power of the Dog

It’s no secret that the COVID-19 pandemic saw the delay of many films which has resulted in a huge amount of quality films being released this year. One such film to suffer from pandemic delays is Jane Campion’s The Power of the Dog which is her first feature film in 12 years since 2009’s Bright Star. Based on the novel of the same name by Thomas Savage, The Power of the Dog follows the lives of two brothers, Phil Burbank (Benedict Cumberbatch) and George Burbank (Jesse Plemons) who own a family ranch and how their lives change when George falls in love with – and quickly marries – Rose (Kirsten Dunst), a widow whose former husband died of suicide. In true Campion style, the film provides deep characterisation, stunning scenery, and a script that is so beautifully written and paced that you feel completely immersed in the film and its time period.

Written and directed by Jane Campion, The Power of the Dog has proven to be a huge hit at festivals and it’s easy to see why. The film feels authentically Western in its slow pacing with her writing and directing giving the film plenty of chance to breathe. The way Campion utilises natural light in her film brings a rawness that allows the landscape to show off its natural beauty without using any filters or techniques. Equally, Campion’s ability to make the audience feel claustrophobic in the open space is so clever such as the scene when Phil and Peter are on their travels through the hills. What is so wonderful about Campion’s filmmaking is that she has such an intricate knowledge of space and how to make use of the space. In one scene, we see George and Rose driving back to the ranch after dropping Peter off at school and they are surrounded by rolling hills which seems to go on for miles; however, what was once an open space is gradually zoomed into George and Rose as they try to dance and it suddenly feels as though the space has become much smaller. Unsurprisingly, the film has brought Campion much acclaim for her directing and she even won the Silver Bear at this year’s Venice Film Festival.

Leading the film is Benedict Cumberbatch as Phil Burbank in what is arguably his best performance to date. To say that Phil is a deeply complex character is an understatement. He is a character plagued by his past as he constantly refers to his late mentor – and lover – Bronco Henry, who has since passed away. The result of which is a character that internalises who he is and replaces it with toxic masculinity, feigning power and confidence through brutality and strength. Phil’s leadership and charisma is hard to miss as he makes his presence known no matter where he is. Cumberbatch is captivating in a role that may seem mismatched at first but his dedication and relentlessness allows us to him in an entirely new light. He has become a firm favourite for the Best Actor awards this coming awards season and it is easy to see why. Even if he doesn’t win, he will definitely earn nominations in what is a performance of a lifetime.

Playing Phil’s brother, George, is Jesse Plemons and the two characters couldn’t be more different. Where Phil is overly observant to a fault, George is oblivious although his heart is in the right place. Unable to see his wife suffering or catering to her needs, George tries to force her into a societal position that she doesn’t feel comfortable with. This isn’t out of malice or bullying but because he does what he believes is expected of him. Plemons is always great no matter what role he does and it’s a treat to see him in a bigger role. The scene where George confronts Phil about the latter’s treatment of Rose is ridiculously intense and this is because Plemons and Cumberbatch manage to bring an authenticity to their roles that feels genuine and brotherly. Kirsten Dunst plays Rose, a woman who recently lost her husband to suicide and is struggling to run the family restaurant. She marries George shortly after meeting him but soon finds that her brother-in-law, Phil, does not approve of their marriage, believing her to be a gold digger. Dunst is one of a few women in the film but her presence is duly noted and she commands each scene she is in, especially as her character delves into alcoholism. The lack of female roles is completely on purpose as the film is showing what happens when an environment is dominated by men and, specifically, toxic masculinity. Rose’s background is completely different to Phil’s entirely and it is these differences that cause friction between them. The scene in which Rose practices on the piano and eventually finds herself in competition with Phil’s banjo playing is somehow terrifying and comedic at the same time. Dunst’s performance in this scene is brilliant as we feel the fear in the character and her emotional struggle as she cannot finish her piece.

Another performance in this film that has been receiving a lot of attention is Kodi Smit-McPhee’s turn as Rose’s son, Peter. The first time we see Peter, he is delicately cutting pieces of paper which are then shaped to make paper flowers which he then takes to his father’s grave. From his sensitive nature to his crisp and neat appearance, it is clear that there is something that sets Peter apart from the other men in the area. This is pointed out during his first encounter with Phil and the rest of the ranchers as Phil makes fun of Peter’s flowers and the way he dresses and carries himself. Assuming that he is homosexual, Phil and the other men hurl homophobic insults at Peter wherever he goes and bully him relentlessly; however, Peter appears indifferent to their insults and carries on with his research to become a medical doctor. Smit-McPhee’s performance is the perfect opposition to Phil. Where Cumberbatch’s performance is loud and commanding, Smit-McPhee’s is much quiet and subtle while still grabbing the audience’s attention. The climactic scene between Phil and Peter in the barn is incredibly intense and has the audience at the edge of their seat and this is due to Cumberbatch and Smit-McPhee’s flawless chemistry.

One of the many highlights in this film is the beautiful score which is composed by Johnny Greenwood. What makes Greenwood one of the best composers working today is the huge range of films that he has worked on. Whether it is a period drama such as The Master or a thriller such as You Were Never Really Here, Greenwood always knocks it out off the park. He has delved into the Western genre before with his game-changing score for There Will Be Blood and yet somehow, he manages to create a completely new and different sound for the music in this film. Featuring hints of Western and thriller, Greenwood integrates his signature sounds with atmospheric tones that work seamlessly with the film. The music never overwhelms the film itself and yet manages to stand out and elevate the mood of the scene. Hopefully we will see Greenwood receive another Academy Award nomination for his work and maybe even a win.

The Power of the Dog was a film worth waiting for and more. Hopefully, it will see a lot of recognition come awards season thanks to the breath-taking direction, stellar script and impeccable performances, especially by Cumberbatch. Campion has come back with a bang and here’s hoping she doesn’t wait as long before making her next feature.

The Power of the Dog is showing at this year’s London Film Festival!

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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.

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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.

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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.

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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.