Steve

Laurin

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Dóra Szinetár as Laurin

Robert Sigl was about 25 when he started making Laurin (aka Laurin: A Journey into Death), his remarkably atmospheric feature debut. It did well at the festivals when it came out in 1989, and Sigl picked up a rake of awards. More personal movies should have followed. But since the distinctive 1994 TV mini-series Stella Stellaris, Sigl seems to have been content to scratch the idiosyncratic itch with a series of occasional shorts; to keep the wolves at bay he’s done gun-for-hire work on German TV. Atmosphere, atmosphere, atmosphere is what Laurin is about, a Hammer horror meets Mario Bava/Dario Argento affair full of red-haired women, crimson lipstick, creepy churchyards, rolling mists, an … Read more

Upgrade

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Grey Trace

Leigh Whannell started as an actor, became a writer – of the horror franchise Saw and its sequels most notably – became a producer, then eventually a director. Upgrade is his second film behind the camera, having familiarised himself with the controls on Insidious: Chapter 3. Here he wears all the hats apart from the actor’s, in a film that’s attempting a genre blend – superhero origin meets detective thriller meets social commentary – in a techy story about a paraplegic guy who has his functions restored, upgraded even, after being implanted with a computer chip designed by a squillionaire tech mogul called Eron. Ahem. Upgrade was released in 2018, which was the … Read more

100 Years of… The Ten Commandments

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Moses with the tablets of stone

Cecil B DeMille’s The Ten Commandments, so good he made it twice. This is the original 1923 version, which came about after DeMille held a public competition asking for suggestions as to what he should make next, maximum shock and awe being the big idea. The winning entry started with the line “You cannot break the Ten Commandments – they will break you,” and that was that as far as De Mille was concerned, a theme and a challenge all in one. He shot some of it in two-strip Technicolor, while the rest of it was tinted, as was common at the time. That’s all gone now; restorations come in a standard black and white. … Read more

Looking for Venera

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Kosovare Krasniqi as Venera

Men are mostly lurking presences rather than characters in Looking for Venera, Norika Sefa’s film which she says is about showing the world that life in Kosovo isn’t all about poverty and exotica. Sitting in London, it looks pretty poor and exotic to me. Sefa opens with a shot of a teenage female having pounding sex with a man in the woods, observed sight unseen by another teenage female. Later we learn that the young woman having sex is Dorina (Rozafa Celaj) and the one watching is Venera (Kosovare Krasniqi). They are not friends, but after Venera pulls Dorina aside to quiz her about what she was up to on her back among … Read more

Lunacy

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Charlota and Jean

The last man standing at the surrealists’ party, Czech animator Jan Svanmajer is as good as his tag in 2005’s Lunacy (aka Sílení), a blend of live action and trademark stop-motion, using two Edgar Allan Poe stories and the life of the Marquis de Sade as inspiration. Svankmajer himself pops up just before the story gets going, in front of a white screen, to inform us that art is almost dead and has been replaced with advertising, that the deep has been replaced by the superficial, the implication being that what we’re about to see is a) art and b) deep. Bold claim. He’s also told us that his film is about two … Read more

Medusa: Queen of the Serpents

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Megan Purvis as Carly

An admission. Medusa: Queen of the Serpents isn’t the film I was after. I was aiming towards plain old Medusa, Anita Rocha da Silveira’s follow-up to Mate-Me Por Favor (Kill Me Please). Both films came out about the same time and when you type Medusa into Amazon, the covers of both films come up. Both feature a woman’s face and a greenish background. They’re pretty similar. Hence…  Failure explained. Preamble over, let’s dive into a film that also dives pretty hard, and with great enthusiasm, into its low-budget ethos. It’s all set on a grim caravan site somewhere in low-rent UK, where a trio of working girls – Carly (Megan Purvis), Simone (Sarah … Read more

The Executioner

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The executioner (left) with the undertakers

It’s only towards the end of The Executioner (El Verdugo) that it becomes really obvious what writer/director Luis García Berlanga is up to. Released in 1963 during the Franco era in Spain, when to criticise the regime was to court disaster, it looks to all intents and purposes like a light comedy, maybe like Italian ones starring Marcello Mastroianni, or British ones featuring Leslie Phillips, or the ones Billy Wilder was still reliably turning out in the USA. It focuses on José Luis (Nino Manfredi) a young undertaker in Spain who’d rather be an engineer in Germany, who we meet at a prison where he’s about to take delivery of a body recently … Read more

Let It Be Morning

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Alex Bakri as Sami

Sam and Mira are a Palestinian couple back in the village where he grew up. They’re at the wedding of his brother, a big, rowdy affair, with the extended family out in force, music, dancing, kids running around, it’s a lot of fun. It’s being held in his father’s half-built house and as Sami wanders off around it to grab some air and a moment to himself, he discovers exactly who is doing the building, one of the “daffawis”, as Palestinian refugees are disparagingly known by Sami’s far less woke brother in law. This refugee is a ragged looking guy and he’s camping out in a shell of a room with his young … Read more

Meshes of the Afternoon

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Maya Deren at the window

Scan the most recent (2022) of Sight and Sound magazine’s polls of the greatest films of all time (critics are polled every ten years) and you’ll see films you know intimately (Singin’ in the Rain or Vertigo, maybe), films you might have seen once or twice (The Searchers, Playtime) and films by directors you’ve heard of but maybe aren’t over-familiar with (Ozu, Murnau, Varda, Renoir, Denis). And then, in the number 16 slot there’s Meshes of the Afternoon. Chances are you’ve not heard of it, or of its makers, Maya Deren and Alexandr Hackenschmied. But there it is. It stands out for other reasons too. It was made in 1943 and is silent … Read more

Seriously Red

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Fake dolly with fake Kenny

“Find out who you are and then do it on purpose.” Seriously Red starts out with this pithy aphorism from Dolly Parton then dives into the story of Raylene “Red” Delaney, an Australian property valuer who really really wants to be the Tennessee country star herself. Red is a lovely woman but a terrible valuer, and director Gracie Otto and writer Krew Boylan’s film wastes no time in getting her fired from her job for being too empathetic, not quite pencil-skirted enough, and then putting Red on the road to glamour and glory as she goes all in on being a Dolly impersonator. But can you be true to yourself by being someone … Read more