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The Dig (2021)

As awards season lingers on the horizon, more and more films are being released with the hopes that they will be successful come trophy time. One such film that has snuck onto the scene and made a big impact is Simon Stone’s period drama The Dig. Based on the 2007 novel of the same name by John Preston with a script written by Moira Buffini, The Dig follows the 1939 excavation at Sutton Hoo which is often regarded as one of the most significant excavations in history. Taking place on land owned by Edith Pretty (Carey Mulligan) and with a team led by archaeologist Basil Brown (Ralph Fiennes), the discovery of an Anglo-Saxon ship filled with gold and other precious items brings hope to the community contrasting with the context that Britain will soon be at war.

Stone’s direction is beautiful and poetic, making the most of the natural landscape that encapsulates the film. Immersing itself in the surrounding countryside, we never really leave the estate grounds with the exception of Pretty visiting a doctor in the city and Brown going home. Just as the group’s obsession with their findings begins to physically and emotionally change the land, the audience becomes equally familiarised as we see the progression of their work. Stone isn’t interested in the actual treasures found but the people who find them and how they are changed by their experience.

The script written by Moira Buffini takes a while to find its feet but once it is grounded, it begins to flow nicely. The first 20 minutes see a lot of seemingly significant events that lead up to the initial discovery of the ship without really getting to know the characters. However, it is actually through excavating the ship that we see the characters challenged and tested beyond their capabilities. There has been some controversy regarding the portrayal of the female characters which is worth noting. At the time of the film’s events, Edith Pretty was around 56 years old whereas Mulligan is two decades younger. However, I am glad that they didn’t attempt to make her look older through make up as that would have been too distracting. The main issue is with the characterisation of archaeologist Peggy Piggott (Lily James). Piggott is portrayed as clumsy and aloof with no real expertise of archeology, however, she was a respected member of the archeology community at the time of the film’s events. I am not sure why the decision was made to make Peggy like this or why a fictional love affair was written in but it would have been better if Buffini had stuck to a more factual portrayal.

Ralph Fiennes is fantastic as excavater Basil Brown. A quiet and observant man, Brown is clearly passionate about his work and although he does fight for better pay, it is clear that he does not request a huge financial reward for his findings. As can be expected, Fiennes is brilliant and the film is lifted on his shoulders. His performance stops the film from becoming generic and boring as his character is the audience’s way in to this world of affluence and exclusivity. Whereas the curators who work in the museums only care about the treasure and getting the credit and profit, Brown wants to ensure the integrity of the excavation process itself. Coming from humble beginnings and trained by his own father, archeology and excavation is something that Brown had an incredible affinity for. Even though Fiennes isn’t onscreen a lot of the time, especially in the second half of the film, his presence is always felt because of the influence he had over finding the ship.

It’s clear that this is Carey Mulligan’s time to really shine as she delivers a wonderful performance as Edith Pretty. Although Pretty was two decades Mulligan’s senior at the time of the film’s events, Mulligan makes the most of the role and really shows Pretty’s struggle in a way that feels completely believable. Within moments, you forget about the age indiscrepancy. Through the duration of the film, it becomes clear that Pretty is suffering from an unknown illness that can cause issues with her heart should she find herself in overwhelmingly stressful situations. As the excavation begins to unearth the treasures in the land, Pretty’s illness becomes more severe and debilitating as though she is part of the land herself. I would have loved to have seen even more scenes with Pretty in her role as a landowner and the pressures she faced from the museum curators but Mulligan still pulls it off. Naturally she is garnering more attention for Promising Young Woman which is by far her standout performance and career best but her turn in The Dig is not one to be missed.

The score by Stefan Gregory is impeccable and provides a beautiful and classic backdrop to the film. Not overshadowing the onscreen activity, the score is subtle and quiet but once you notice it, you can’t help but pay completely attention to it. Simple and peaceful, the score captures the serenity that the countryside brings despite the war that is looming in the distance. The final scene in which we see Brown and his team filling the mound feels more prominent thanks to the reflective music that highlights the trials and tribulations of the excavation.

Filled with a flurry of familiar faces of the big and small screens, The Dig takes on a lot of storylines which can be overwhelming at times but the beautiful direction and incredible performances, particularly by Fiennes, keeps you drawn in. With beautiful production and costume design, The Dig may appear as generic on the surface but you simply have to look a little deeper to really find the beauty in the characterisation and production beyond the script. Stone clearly has an affinity for creating films in a natural environment that feel huge in scope so it will be exciting to see what he does next.

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

The Dig is available to watch on Netflix now!

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Raindance Film Festival 2020: The Eagle’s Nest

My festival coverage for Raindance has begun and I can’t believe I was accepted for another festival. I wanted to make sure that, like London Film Festival, I pick a variety of films that are all different. The first film on my watch list is the French-language film The Eagle’s Nest. Made on a £5,000 budget, The Eagle’s Nest is the directorial debut by Cameroonian filmmaker Olivier Assoua. When sexworkers Paris (Claude S Mbida Nkou) and Samantha (Felicity Asseh) stumble upon a lot of money, their lives are turned upside down as Paris’ mother and sister are brutally murdered. Both protagonists hold so much strength and resilience but are different in many ways. A poignant portrayal of loss and betrayal, The Eagle’s Nest is a harrowing look at the lengths one would go to to achieve their dream.

Assoua’s writing is particularly strong. I think that the development and character arc for both protagonists is done really well. They both have the same end goal but take different paths to get there. The first half of the film follows how the women find the money and the second half follows the aftermath with an attempt to figure out who organised the murder. Primarily a drama, the film is like a puzzle that slowly comes together as the plot unfolds. Showing the darkness that creeps through when dreams are in sight, Assoua’s script works as a drama about one woman’s struggle to find a place to belong and also a revenge piece as she is enraged by the injustice done to her and her family.

Claude S Mbida Nkou’s performance as Paris is a brilliant debut as she dons a hard exterior but has a softness within that makes her vulnerable in her quest to leave for Europe. She feels trapped in her currently situation and is convinced that her home is elsewhere. Her style is considerable different than everyone else in the film. Donning long blonde hair, nose and lip rings and black lacy clothes, Paris’ blackness is questioned by Samantha but she hits back claiming this is how she wishes to express herself as a gothic doll. There is also religious conflict in Paris that is subtly woven throughout the film. In the beginning, she refuses to say grace but when she awakes after the invasion, she is seen with a crucifix around her neck. One could question whether it was divine intervention that prevented her from dying or whether it is fate wanting her to continue on her journey.

Felicity Asseh’s performance as Paris’ best friend Samantha also has an equally dark storyline throughout the film. Finding herself pregnant and in a relationship with a heroin addict, Samantha is conflicted as to where her loyalty lies. On the one hand, she is wanting to leave with Paris but she is also deeply in love with Africa. Her love for Africa is expressed in her clothing, wearing outfits that have an African map print on them as well as traditional bright colours and prints. When her partner almost overdoses, Samantha refuses to be undone by this and tells him what she expects of him. Samantha is also more aggressive and assertive than Paris which makes her a fearless figure scarred by a tragic past. Even during times of great distress, her ability to remain calm and in control and her desperation to keep that control is deadly.

Assoua’s film feels deeply personal and resonant as he highlights a very real problem that exists today. Paris’ journey begins and ends alone but the growth between and allowing herself to be vulnerable is extremely empowering. Her dream to leave affects so many people around her without meaning to and shows the power that money has and the consequences that ripple from that. The ups and downs reflect the uncertainty Paris is experiencing as obstacles appear to stop her leaving from happening. Whether this too is divine intervention is also to be debated. Her longing to go to a place she has never been makes her blind to the world that is in front of her. In the end, The Eagle’s Nest becomes more about Paris’ development as a character than a simple plot of whether she makes it to Europe or not.

Overall, The Eagle’s Nest is an impressive gem and considering it was made on such a miniscule budget makes it even more captivating. By using the natural landscape and town as the set really captures the feel and authenticity of the film. The surrounding greenery is also extremely beautiful. With wonderful performances all round, Assoua manages to capture the struggle of identity and home. I am very happy to say that my first film of Raindance was an overwhelming success.

The Eagle’s Nest is showing at Raindance Film Festival.

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Top 5 It’s Always Sunny in Philadelphia Episodes

There are a lot of comedy sitcoms around nowadays that serve to shock and push boundaries. One such comedy series is It’s Always Sunny in Philadelphia which has been shaking things up since 2005. Following the owners of Paddy’s Pub, the Gang consists of brother and sister Dennis and Dee Reynolds (Glenn Howerton and Kaitlin Olsen), their father Frank (Danny DeVito), “bouncer” Mac (Rob McElhenney) and cleaner, Charlie (Charlie Day). The episodes follow their day-to-day lives, showcasing their offensive and ridiculous behaviour. A simple setup but what makes this show so great and iconic is the writing which is a shared collaboration between its stars, particularly Howerton, McElhenney and Day.

Now preparing for their 15th season and showing no signs of showing down, Always Sunny has become one of the household names in American comedy for its fearlessness in tackling taboo subjects whilst managing to maintain a charm. The cast are all perfect in their roles and the strength of the show has only improved throughout the years. What is so brilliant is how terrible the characters are but you still root for them anyway. The writing is done perfectly and flawlessly, giving a variety of memorable moments that is going to make it difficult to narrow down to five episodes. In true Smaller Pictures fashion, however, I have decided to pick my top 5 episodes from the 154 episodes that have aired so far.

Here are my top 5 episodes:

5) “The Gang Desperately Tries to Win an Award”, Season 9

Kicking off my countdown is this gem from the shows 9th season. One of the things Always Sunny does best is bringing in the outside world and incorporating that into the narrative. To go even further, “The Gang Desperately Tries to Win an Award” goes meta as it reflects the fact that Always Sunny has never been nominated for an Emmy. This fact in itself is outrageous but the result of the episode gives us one of the best songs of the whole show thanks to Charlie Day’s hilarious songwriting. This episode shows the gang trying to win an award for Paddy’s Pub so they decide to host an event for local critics. Charlie had prepared a lovely song to sing on the piano but as usual, he takes some drugs and starts to sing about spiders inside his soul before bursting into a chorus telling the audience to “go fuck” themselves. It’s the perfect response to the awards bodies in reality and is done with that amazing Always Sunny creativity. What better way to address your critics than by grabbing their attention and annihilating them? Always Sunny has never been the type of show that follows the crowd anyway so this episode is the perfect response that reflects this.

4) “A Very Sunny Christmas”, Season 6

In America, this episode is released in two parts but on Netflix UK, “A Very Sunny Christmas” is released as one long episode so I will be referring to both parts. Taking on the structure of A Christmas Carol, “A Very Sunny Christmas” shows the Gang’s attempt at getting Frank to get into the Christmas spirit. When growing up, Dee and Dennis would be subject to Frank’s pranks as their father would wrap up empty boxes and pretend they have gifts in. What tips the siblings over the edge is when Frank buys himself a designer handbag and Lamborgini which is what Dee and Dennis always wanted, respectively and it drives them insane. They recruit an old friend of Frank’s, Eugene, to act as Ghost of Christmas Past in a bid to get him to change his act with hilarious consequences. What puts this episode in my top 5, however, is a musical stopmotion animation sequence that is gory, crude and absolutely hysterical. Showing Frank being tortured and mutilated by the Gang for his behaviour, it helps him come to terms with how he treats them.

3) “McPoyle vs. Ponderosa: The Trial of the Century”, Season 11

Sometimes there are episodes that only focus on one character and then there are those that bring everyone together. This episode is amongst the latter and is a hilarious conclusion to the Ponderosa-McPoyle wedding fiasco. Bill Ponderosa is being sued for spiking the punch with bath salts by Liam McPoyle who lost an eye during the wedding. Charlie’s Uncle Jack agrees to be Bill’s lawyer and it is Jack who delivers my personal favourite moment in any Always Sunny episode. Ever. Uncle Jack has an obsession with large hands and wears giant fake hands over his own so no one knows that his hands are small. When interrogating a witness, Jack dramatically points to the McPoyles and one of his hands flies off to which he shrieks “NOBODY LOOK” repeatedly and runs to collect the hand. It is truly one of the funniest moments in comedy and had me in stitches long after the episode. The episode also features the unnamed Lawyer, representing the McPoyles who is one of my favourite side characters in Always Sunny for his deadpan sarcasm.

2) “Mac Finds His Pride”, Season 13

One thing about Always Sunny is that it is able to balance its comedy and seriousness well. This episode is a prime example of that. In “Mac Finds His Pride”, we see Mac trying to find comfort in coming out publicly with the help of Frank. Throughout the episode, Frank states that he doesn’t understand it but he accepts Mac but Mac struggles with how to come out to his dad, Luther, who is in prison. The result is a dance sequence where Mac performs with a professional dancer in a piece that explores his journey to acceptance. It’s a beautiful routine that would have taken a lot of practice to perfect and it also shows Rob McElhenney’s dedication to the character. Doing this dance would have seemed so out of character for Mac a few seasons before but the way McElhenney has developed Mac’s character through the years, it is the perfect way to let him come out. It’s a bittersweet ending to a season that has seen Mac really come to accept himself for who he is.

1) “The Nightman Cometh”, Season 4

Probably the most iconic episode to date, “The Nightman Cometh” accumulates everything we love about Always Sunny and puts it into a 20 minute masterpiece. Charlie enters the bar and announces that he has written a musical which he and the gang will be performing. Incorporating characters created in the previous season, the musical tells the story of a boy’s journey to manhood by defeating a troll and the evil Nightman thus becoming Dayman. It’s bizarre and is full of dark undercurrents but the songs are catchy and hilarious. It shouldn’t work but it absolutely does and will have you falling on the floor with laughter. From songs such as “Tiny Boy, Little Boy, Baby Boy” to “Troll Toll” to the iconic “Dayman”, the musical is filled to the brim with innuendo but what makes it funny is that Charlie doesn’t intend for it to be rude at all. He is confused by the Gang’s concern over the lyrics and becomes irritated when they decide to take creative control over their characters. Even if you haven’t watched Always Sunny, I would definitely recommend giving this episode a watch. It’s hilarious, bonkers and shows what the Gang does best which is ruin everything.

So there you have it! My top five Always Sunny episodes. I think each choice perfectly shows a different reason as to why I love this show and there were so many that didn’t make the list that would be just as deserving. With the 15th season due to arrive in 2021, now is a perfect time to rewatch all of the seasons on Netflix in time.

What do you think of my list? Which Always Sunny episodes are your favourite? Let me know in the comments below!

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London Film Festival 2020: Mogul Mowgli

Having received press accreditation for my first ever film festival, the 2020 BFI London Film Festival I have been really excited to see a wide variety of films from all over the globe. The first film that I checked out was the debut feature, Mogul Mowgli by Pakistani-American director, Bassam Tariq who co-wrote the script with the film’s lead, Riz Ahmed. The film follows Zed (Ahmed), a British-Pakistani rapper who is on the cusp of fame when he is suddenly struck down by an unknown autoimmune disease. The film is an intricate look into identity and how becoming successful can cause conflict within oneself. The result is a mesh of culture intertwined with the fight to break out of the bodily harm Zed is faced with while discovering who he actually is. Zed’s Pakistani heritage is presented through dreams and hallucinations he has of a man whose face is shrouded by a veil of flowers.

Riz Ahmed’s performance is a fantastic standout and shows his ability to lead a film. A lot of Ahmed’s film roles in mainstream blockbusters have been supporting but hopefully he will be advanced to leading roles with the release of this phenomenal performance. From the opening scene in which we see Zed rap to himself which then turns out to be a successful gig performance to his eventual collapse and stay in hospital due to his autoimmune disease, Zed is put through a whole spectrum of emotions. We see the joy as he is booked to open for a famous rapper on his European tour followed by the disappointment as he learns that he is being replaced by a rapper who is known for his song “Pussy Fried Chicken”. It should also be noted that Ahmed’s rapping is impeccable and has that spontaneous feeling incorporating wordplay and build-ups in his raps, successfully telling Zed’s story. Zed’s journey is one of many layers from his physical deterioration to the clash between who he wants to be and his heritage. He raps about his heritage and his experience growing up as a Muslim in Britain but as pointed out by his girlfriend at the start, he hasn’t gone back to Britain in years. How can he talk about the importance of his family and heritage if he has become so detached from them? The film’s sole focus on Zed can be a put off for some but I love a character study and it works well in my opinion.

The supporting cast does a great job and helps the audience with gaining that rounded view of Zed. Every character has some link to Zed whether it be his family or his colleagues in the music industry. The standout support in my opinion is Alyy Khan who plays Zed’s father, Bashir. Seen as a voice of reason and a respected figure in his family, Bashir is a man who would do anything to secure the safety of his family. His story of travelling to Pakistan from India by hiding under clothes when he was younger is shown in parallel to the events of the film. Zed’s struggle with his identity has some similarities with Bashir leaving his home country. Khan’s performance is subtle and calming and yet can also be firm at times. The scene in which he helps Zed in the bathroom makes for an emotional father/son moment. The reactions of both characters is very authentic as Zed is reluctant to ask for help and Bashir also feels uncomfortable as they try to navigate their way in the tiny space.

The highlight of this film besides Ahmed’s performance is the script co-written by Tariq and Ahmed. It’s a tight script filling the 90 minute feature and there was plenty of space for more. Together, they managed to write a script that conveyed the chaos going on in Zed’s life showing the numerous conflicts he has on the surface as well as emotionally. As Zed flits in and out of consciousness through his fights and seizures, the script becomes a product of magic realism. The scenes featuring Toba Tek Singh become symbolic and haunting as he grows more aggressive with each appearance. Eventually, Zed acknowledges the meaning of Singh and what he represents in these dreams. One scene in which this is presented beautifully takes place in a mosque. Zed prays alongside other men but clearly feels out of place. When he turns around he sees Singh stood beside him and they stare at each other. It’s a scene of no words and yet speaks volumes.

Overall, the film is a poignant look into the search for identity and how one can stay anchored to the heritage and ancestry that came before them. I wouldn’t be surprised to see the film up for some major awards this season, particularly for Ahmed’s performance and the script. The film felt like the joining together of a jigsaw as Zed began to put himself back together as his father’s journey from India to Pakistan is played in parallel to Zed’s own struggles.

Film number one complete and even more reviews to come next week when London Film Festival 2020 continues so stay tuned! Mogul Mowgli will be released in the United Kingdom on 30th October by BFI Distribution. Be sure to check it out if you can!

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The Farewell (2019)

Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.

Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.

In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.

There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.

Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.

What did you think of The Farewell? Let me know in the comments

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The Peanut Butter Falcon (2019)

One of the films I was dying to watch last year but not got round to watching was the stellar The Peanut Butter Falcon. A first time directorial effort by Tyler Nilson and Michael Schwartz and featuring their close friend and aspiring actor Zack Gottsagen who dominates in his first performance as Zak, a young man with Down Syndrome who wants nothing more than to be a wrestler. Escaping the retirement home he has been forced to live at for the past two and a half years, Zak encounters local troublemaker Tyler (Shia LaBeouf) and the two embark on a journey to find a prestigious wrestling school so Zak can start his training. Also featuring Dakota Johnson as Zak’s carer and friend and Bruce Dern in a welcome cameo as Zak’s roommate Carl, The Peanut Butter Falcon is an outstanding debut that will make you laugh and cry as it explores the development of friendship and kinship between its characters.

The screenplay is also written by Nilson and Schwartz and it’s clear they took their time with it to make sure the tone was just right. The pacing is quick and constantly moving as all good road movies do and every minute adds more layers to the relationships between the characters. We learn about Tyler’s background through short flashbacks which are then paralleled with his new friendship with Zak and it’s enough to create that extra dimension for his character. Zak’s character on the other hand is the physical driving force of the movie as the literal journey is to visit the wrestling school that he wants to train at. The dialogue is tight and even the supporting characters are fleshed out enough despite the film’s short running time. It’s the type of screenplay that many spend years trying to craft but can never quite get the tone right.Shia LaBeouf and Zack Gottsagen are nothing short of spectacular and it is clear that their friendship goes beyond the silver screen. The rapport they have makes for one of the best duos I have seen in a film in quite some time. The contrast between the two is also important to consider when looking at this film. Gottsagen holds his own with ease against LaBeouf who has been acting since he was a child and has been showing real development in his film choices over recent years. I have always been a fan of LaBeouf’s acting since his early acting days in Holes (2003) and Even Stevens (2000-2003) to his more recent roles in Nymphomaniac (2013) and Fury (2014) showing his full transition from family films to more mature films. Compared to Gottasgen who is a complete newcomer, the casting could have caused serious unbalance but the two bounce off each other brilliantly. It’s obvious they are having fun with their roles and it makes it wonderful to watch from the audience perspective. Not to mention the groundbreaking inclusion of Gottsagen being an actor with Down Syndrome who is playing the lead in a film that celebrates talents and shows that dreams can come true without being overly sentimental. It’s a film that will be remembered and should be remembered thanks to its heart.

Dakota Johnson is also brilliant as retirement home nurse, Eleanor. Eleanor is naive and thinks she knows what is best for Zak but slowly comes to realise that he is capable of thinking for himself. I think Johnson really came into her own as the lead in Luca Guadagnino’s 2018 film Suspiria, a remake of the iconic 1977 Dario Argento film of the same name. She looks to be continuing her streak of good role choices as Eleanor presents a new challenge. Unlike her performance as ballet student Susie, Eleanor works tirelessly taking care of others while also dealing with her own loss having lost her husband. She refuses to be swayed by the consistent flirting by the men she encounters when finding Zak and has no problem putting them in their place.

Another aspect I enjoyed in the film is its soundtrack. The film takes place in North Carolina and this is reflected in the bluegrass tracks that provide the backing in the film. The music adds to the authenticity and rawness that Nilson and Schwartz were going for. The selection of songs are not too heavy and feel relaxed and stripped back, much like Zak and Tyler’s attitudes when they find comfort in their friendship.The Peanut Butter Falcon is a great film to watch with friends and family as well as being a film that can resonate with its audience really well. I am looking forward to seeing where Gottsagen career will go after this and see this film as a huge welcome to his career. I also hope that the studios act on the discussions of being more inclusive when casting.

What did you think of The Peanut Butter Falcon? Let me know in the comments below!
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I’m Thinking of Ending Things (2020)

One of the most anticipated films of 2020 comes in the form of this psychological horror from the genius that is Charlie Kaufman. I’m Thinking of Ending Things is based on the 2016 novel of the same name by Iain Reid with Kaufman adapting the screenplay and directing. Oscar-winning writer enlists Jessie Buckley and Jesse Plemons as the film’s leads following Buckley as a Young Woman who is hesitant with her new boyfriend, Jake (Plemons). In true Kaufman fashion, the dialogue is complex and layered as the Young Woman’s open voice over is interwoven into the discussions that she partakes in as though the other characters can hear her thoughts. The film takes place during a visit the Young Woman and Jake take to the latter’s parents and the impending mental breakdown that ensues when they are all trapped due to a snowstorm.

Jessie Buckley is brilliant as expected. Proving herself to be a true rising star in the acting game thanks to her turns in Beast (2017), Wild Rose (2018) and the TV drama Chernobyl (2019), Buckley shows off a flawless American accent as the Young Woman who descends into madness as she loses her grip on what she wants and what she should do with her life. Opposite Buckley is Jesse Plemons who has rapidly risen in the acting ranks in recent years. Known to most for his turn on the final season of Breaking Bad (2008-2013), Plemons has built a fantastic portfolio starring in films like The Master (2012) and Vice (2018). It’s refreshing to see both actors lead in a film that is reliant on their performances. The rapport between them is credit to the perfect casting and their ability to bounce off each other naturally despite the complexity of the writing.

In the supporting roles we have Toni Collette and David Thewlis as Jake’s parents who unsurprisingly bring phenomenal performances. Jake’s Mother is aloof and eccentric contrasted with his Father who is opinionated and direct. The casting again is top notch as it is great to see two relative newcomers and two acting veterans bouncing off one another and building onto the tension up to breaking point. Collette is flying high on a streak of brilliant roles she has taken in recent years including her lead performance in Ari Aster’s 2018 hit Hereditary and it’s nice to see Thewlis working with Kaufman again after playing the lead in the 2015 animated masterpiece, Anomalisa.

The dinner scene in which the new couple and the parents break the ice and get to know each other. What Kaufman has always been brilliant at is fleshing out his characters to a point where you know them but at the same time you don’t know everything about them. The characters cannot be fully trusted but because Kaufman writes it this way. These extra dimensions and layers allow the plot to naturally unravel. The film is directed from the Young Woman’s perspective so as she begins to doubt everything that happens, so does the audience. Its depiction of mental and emotional breakdown starts subtle but soon enough, the audience is thrust into a confusing narrative where stories change, the ages of characters change and even the protagonist’s name changes. The audience doesn’t truly know who the Young Woman is and so she could be any of these woman; a scholar, a waitress or an artist but her inner conflict in who she is and what she wants means that the uncertainties that unfold in Jake’s parents’ household are not as peculiar as it may seem.

Another unspoken aspect that is worth mentioning is the brilliant decision made to cut out music from the majority of it so the natural soundscapes provide the background noise. The opening piece composed by Jay Wadley is wonderfully intense underlying the horror aspects of the film as the Young Woman talks about her relationship and her outlook on life as a whole. The ballet sequence later in the film is driven by the musical narrative that Wadley composes and complimented the dancing perfectly.

Kaufman has knocked it out of the park again with his strong direction and distinctive writing and insight into the human condition. I’m Thinking of Ending Things is available on Netflix and I would definitely recommend giving it a watch. The ups and downs of the relationship is reminiscent of Kaufman’s screenplay for the 2004 film Enternal Sunshine of the Spotless Mind while still remaining original and developing its own DNA. I wouldn’t be surprised to see I’m Thinking of Ending Things in discussion when it comes to awards season. Thrilling and indulgent, it is a film that demands to be watched more than once.
Have you seen I’m Thinking of Ending Things yet? Let me know what you think in the comments below!
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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!

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Robert Eggers: Double Feature

In my series where I look at the emerging directors this century, it was only matter of time before I discuss the work of horror director Robert Eggers. Usually associated with his A24 cohort Ari Aster, Eggers’ two films are psychological studies of its characters with a darker colour palette than Aster’s work. His 2015 debut The VVitch was an instant success and a major talking point among the film community on release. There hadn’t been a film quite like it and it’s unapologetic take on the breakdown of a family. His 2019 film The Lighthouse couldn’t be more different. Whereas The VVitch was full of female empowerment and the emergence of a strong young woman finding her place in the world, The Lighthouse is heavily masculine and becomes a double character study rather than the spotlight being on a single character. The overall style of Eggers’ films is a perfect mix of gritty realism with a hint of fantasy and magic. Despite the unrealistic elements, the films are definitely grounded in their realism and the audience reaction is unaffected.

Both of his films were distributed by A24 and are currently discussed alongside Ari Aster’s films Hereditary and Midsommar as they are A24 and horror as well but Aster and Eggers have completely different angles. If anything, each film is a great example of how horror has becoming the best genre to look at current topical issues. I have written on Aster which can be read here and recommend watching his films but here are my mini reviews for Robert Eggers’ films The VVitch and The Lighthouse.

The VVitch (2015)

Eggers’ debut was talked about a lot on release because of its unrelenting dismantling of the family home. Following Thomasin (Anya Taylor-Joy), a young girl on the verge of womanhood struggling with her place in the family home after they are banished to fend for themselves after rejecting a Puritan colony. The family are then convinced there is a witch causing mayhem and won’t stop until the entire unit is killed. Starting with the baffling disappearance of her baby brother, Samuel after playing peekaboo with him, Eggers isn’t afraid of tackling taboos that even classical horrors don’t dare venture. Critics were more favourable towards the film whereas audiences weren’t as convinced although it was still a success at the box office. I think that because it was marketed as a straightforward horror, audiences weren’t expecting the many layers that this film has. It is more about Thomasin’s characterisation than the gruesome death scenes or jump scares. Taylor-Joy is nothing short than spectacular as Thomasin and brings that juxtaposition between childlike innocence and the more adult curiousity. She feeds into the fear to her twin brother and sister innocently at the beginning but then the more sinister intentions underlying the film begin to creep out. It’s definitely a horror film for the 21st century and helped to pave the way for more horrors that have intricate character studies. The VVitch could be viewed as a film exploring female empowerment and rejecting the traditional patriarchal society.

The Lighthouse (2019)

One of the most anticipated films of 2019, The Lighthouse stars Robert Pattinson and Willem Dafoe as warring lighthouse keepers, Winslow and Wake, respectively, who are stranded on an island during the storm. It’s not a horror in the traditional sense but the rising tension and characters’ waning sanity are the perfect combination to making one of the best horrors in recent years. Pattinson and Dafoe are pretty much the only characters for the majority of the film with Valeriia Karaman making an appearance as the Mermaid who seduces Winslow. The Lighthouse is a film unlike any other nevermind a horror film unlike any other. FIlmed in black and white 1.19:1 aspect ratio, the film is reminiscent of a claustrophobic vintage horror, reflective of the era it is trying to portray. Loosely based on the short story “The Light-House” by Edgar Allen-Poe, Eggers and his brother Max Eggers worked the script to a late 19th century setting and wanted to keep the focus on the deterioation of its male protagonists. I have written a more in-depth review of The Lighthouse which can be read here. Every aspect of this film is perfect from the casting to the writing to the set design. It was nominated for one Academy Award for Best Cinematography which was very well-deserved but I really feel that it should have been nominated for more, especially Willem Dafoe for Best Supporting Actor. Dafoe consistently brings his A game and the fact that The Lighthouse is among his best says a lot.

Eggers is currently working on his upcoming project The Northman which will star mega stars like Nicole Kidman and Alexander Skarsgard as well as reuniting the director with Anya Taylor-Joy and Willem Dafoe so needless to say there are high expectations. From what I can tell, this new film will be the first Eggers film not to be distributed by A24 as 20th Century Studios have locked it in which shows the faith the big budget studios have in him. Hopefully the studio will give him the freedom to follow his vision through like A24 do. There is no doubt that Eggers has a hugely exciting future ahead of him in the film industry and it will be interested to see what else he comes up with.

Which Robert Eggers is your favourite? Let me know in the comments below!

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Steve McQueen: Film Ranking

One of the most revolutionary film directors to emerge this century so far is Steve McQueen. A Turner Prize winning artist who has turned his attention to feature films, McQueen’s realistic and fearless approach to exploring serious topics such as domestic abuse and slavery as well as taboo subjects such as sex addiction. When it comes to mcQueen, nothing is off limits and he isn’t afraid to expose the realities of the film’s subjects. He is also the first black filmmaker to win the Acaemy Award for Best Picture for 12 Years a Slave. I also think he should have been rewarded the Best Director Oscar as well although Alfonso Cuarón did a great job with Gravity.

Given the current landscape, I think it is now more important than ever to highlight the talent and calibre that people of colour bring to the film industry. The film industry is so important when it comes to representation and sadly, it just isn’t where it should be. Film is a fantastic medium to express personal stories, provide escapism and bring relevant topics and subjects to the forefront as point of discussion. I thought it best to take a look into McQueen’s amazing filmography and do a ranking of his films. There are only four films but each one is a standout in their own right so as usual, it will prove to be a challenge.

Here are my mini reviews for each McQueen film follows by the ranking:

Hunger (2008)
McQueen’s feature debut stars Michael Fassbender as IRA protestor, Bobby Sands, who takes part in a hunger and no-wash strike. This is a fantastic debut for McQueen and deservedly won him a BAFTA for Special Achievement by a British Director, Writer or Producer for their First Feature Film. We watch as Sands figuratively and literally begins to fade away as he becomes the symbol for the strike. McQueen doesn’t hide the dirtiness and the discomfort in watching Sands lose the majority of his weight to the point where he can’t function. Technically, the film appears simple but it is comprised of many brilliant shots, one in particular being a 17 minute non-stop conversation between Sands and Father Moran (Liam Cunningham). By bringing a minimalist and realistic angle to the film, it actually exemplifies the horrors of the strike. Hunger put both McQueen and Fassbender on the map and it made way for the former’s unapologetic point of view approach to filmmaking.

Shame (2011)
For his second feature, McQueen reunites with Fassbender who plays Brandon Sulliven, a business executive who has an addiction to sex. Much like Hunger, McQueen does not flinch away from the realities that sex addiction has. There is nudity, both male and female, in abundance as well as underlying issues of family conflict and self-harm. This is not a film to be watched lightly as it is even more uncomfortable than its predecessor but it talks about a topic that people consider taboo. It also explores classism and the idea of the untouchable rich white male. During his usual work day, Brandon religiously watched pornography on his computer and when this is discovered, it is automatically assumed that his intern is the one who has been downloading and watching it. The idea that someone like Brandon couldn’t be associated with sex addiction is an idea that McQueen rejects in Shame. Brandon surrounds himself with sex to avoid the fact that he is lonely and unfulfilled.

12 Years a Slave (2013)
The film that propelled McQueen to the major awards circuit, 12 Years a Slave is possibly the most explicit and “real” feature film about slavery in mainstream cinema. Based on the memoir of the name same by Solomon Northup, a New-york born black man who was kidnapped and sold as a slave in Louisiana. Northup is played by Chiwetel Ejiofor with Lupita Nyongo’o as fellow slave Patsey and Fassbender in his third McQueen film as slave owner Edwin Epps. It’s a star-studded cast but what McQueen does so well is focus so much on the characters and their development that the audience forgets which actors they are watching and it becomes almost documentary like. McQueen does not hold back on the brutality that the slaves face and it goes beyond daily beatings as we see Epps rape Patsey and Epps’ wife feel resentment for Patsey rather than her husband. It’s a film that demands conversation and McQueen refuses to allow the film to be whitewashed or edited to appeal to white audiences in the way that films such as Song of the South does.

Widows (2018)
The latest feature film released by McQueen is an amazing tour de force starring Viola Davis as Veronica, a woman recently widowed after her bank robber husband, Harry (Liam Neeson) and his cohorts are killed when their car blows up. Veronica along with the other widows of the men who died must work together to get some money that is owed to a crime boss. The team comprises of Veronica, Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Belle (Cynthia Erivo) and it’s so empowering watching such a huge film led by women and more importantly such a diverse cast of women. Anyone who claims that women cannot lead a film because it doesn’t bring in money is mistaken as the film was a critical and commercial success. What makes the film so engaging is how well-rounded each of the women are. We get a grip of their backgrounds in a few scenes and yet the audience understands their story and motivations to get the money. Even when Belle, who wasn’t one of the original widows is brought into the plot, is introduced, her backstory as both a beautician and babysitter is made clear highlighting her struggling financial position.

Although it is not the longest filmography, McQueen has proven why he is one of the most exciting filmmakers working today. I have included discussions of each of the films above when talking about Michael Fassbender and Viola Davis’ best roles which you can read here and here, respectively. I think that only demonstrates McQueen’s talent as director that he is able to create career-best films for his stars. His ability to create characters that are well-rounded is flawless and he has only demonstrated improvement as we go from a single standout performance in Hunger to four equally developed characters in Widows where he allows women to take the lead.

Here is my ranking of McQueen’s film:

1) 12 Years a Slave (2013)

2) Widows (2018)

3) Hunger (2008)

4) Shame (2011)

Do you agree with my ranking? Which McQueen film is your favourite? Let me know in the comments below!