Latest Posts
Pause
At the Raindance film festival, London, UK, 27 October–6 November 2021 When is she going to crack? It’s the question asked by Tonia Mishiali’s feature debut, Pause (aka Paúse), and then answered in a series of gotchas. Pause as in Menopause, the film’s working title, and in an opening scene that’s more amusing to watch than it would be to experience, middle-aged Greek woman Elpida (Stella Fyrogeni) is being examined in gynaecological stirrups after which she’s told that she’s going through the menopause. The male doctor runs through a list of what Elpida can expect – night sweats, body odour, weight gain, allergies, bleeding, osteoporosis – a list that goes on so comically … Read more
The Hater
The Hater (Sala Samobójców. Hejter in the original Polish) slots in alongside Brechtian “man on the make” dramas like The Resistible Rise of Arturo Ui, or the novel/film Room at the Top, or even Mephisto, the Klaus Mann novel and 1981 movie by István Szabó. It’s a film about a young man who believes in himself rather than anything else, and we meet Tomasz (Maciej Musialowski) just as he’s being thrown out of law school for plagiarism, though he doesn’t seem overly concerned about the fact that he’s trashed his own prospects. Later, at the apartment of the aunt and uncle who’ve been sponsoring his studies, he keeps quiet about what’s happened while … Read more
Tommaso
Tommaso is a film by Abel Ferrara that’s essentially a film about Abel Ferrara, with Willem Dafoe in the lead role as an avatar of the writer/director, a creative dude trying to live out his golden years in Italy but finding old demons constantly resurfacing. It’s an uncomfortable and not entirely gripping drama, though Dafoe’s amazing performance does almost get it over the line. We first meet the talented, accomplished and open Tommaso at a language school learning Italian, making the effort because he has a much younger wife at home (Ferrara’s own wife, Cristina Chiriac) and an infant daughter (Ferrara’s own daughter, Anna). He’s a film-maker, still working, and because of a … Read more
Sami, Joe and I
At the Raindance film festival, London, UK, 27 October–6 November 2021 Swerving the woe-is-me of the issue-driven drama, Sami, Joe and I (Sami, Joe und Ich) takes on the sort of problems teenage girls encounter without becoming a hostage to them and also celebrates the vital force of female friendships without becoming sappy. Quite a feat. We’re in Switzerland, with three 16-year-old girls, all the offspring of migrants, as the summer holidays arrive and the wider world beckons. They’re a fiercely cliquey threesome, high on youth, hyperventilating with optimism, a band of sisters of Three Musketeers camaraderie and feistiness. Writer/director Karin Heberlein doesn’t overdo the “offspring of migrants” bit, but it’s there – … Read more
Relic
Relic is a horror film that’s abnormally effective because it’s about something that’s going to happen to us all – old age (if we’re lucky) and death. As it opens Grandma Edna (Robyn Nevin) has gone missing. And so her daughter, Kay (Emily Mortimer) and granddaughter Sam (Bella Heathcote) have turned up at her house to find out what’s happened. Grandma has got to the age where forgetfulness is nibbling away at her memory, and physically she’s at the point where family members are having whispered conversations about her which Grandma isn’t party to. That doesn’t sound like a horror film, and in fact you could strip out all the horror elements from Natalie … Read more
The Noise of Engines
At the Raindance film festival, London, UK, 27 October–6 November 2021 French-Canadian film-maker Philippe Grégoire’s debut feature The Noise of Engines (Le bruit des moteurs) starts off with various shots of cars donutting away in rubber-burning circles, going nowhere, but fast. It’s a metaphor, of sorts, for a story about a young man who seems to be going nowhere, but slowly. Perhaps the contrast is a deadpan joke. There is a lot of deadpan joking going on here. The story is a lift from Grégoire’s own life. He worked part-time for the Canadian customs force to finance his way through college and he comes from a small town near the border with the … Read more
As Far As I Know
At the Raindance film festival, London, UK, 27 October–6 November 2021 As Far As I Know (Legjobb tudomásom szerint in the original Hungarian) is the smart and subtle feature debut of Nándor Lörincz and Bálint Nagy, a writing/directing duo who have been working together for ten years, with a run of shorts and a couple of TV comedy series under their belt. Lörincz and Nagy are in their mid-30s and their movie is about two people they might hang out with – a smart, cosmopolitan, hipsterish couple from Budapest whose lives are about to be changed for ever by the arrival of a baby. They’re adopting, for reasons which are not initially spelled … Read more
Free Guy
An update on the Truman Show idea, Free Guy follows a Non Player Character in a game – the ones who get shot at or driven into in shoot-em-ups and driver games – who starts to get an inkling of what he is. Ryan Reynolds plays the guy called Guy – he’s got a buddy called Buddy (played by Lil Rel Howery, en route to stardom) – in this immensely smart and fairly funny CG-heavy actioner full of great talent in front of and behind the camera. Not as funny as Deadpool, though it’s not aiming for quickfire quippery, there’s a thoughtful and meditative aspect to Free Guy and its ruminations on artificial intelligence … Read more
Best Sellers
At the Raindance film festival, London, UK, 27 October–6 November 2021 Formula written, if you’re feeling grouchy, inspired by Hollywood’s golden era, if you’re not, Best Sellers has two great performers at its centre – Michael Caine, still pumping out the charisma and deadly comic timing at 88, and Aubrey Plaza, who ups her ante to stay in the game with a wily old master and puts a soft edge on her usual smart sexy sarcasm. Here’s the formula. He’s an aged writer who wrote a best seller 50 years ago but has done nothing since. She’s the poor little rich girl who’s inherited a publishing house and is now watching it collapse … Read more
I Do Not Care If We Go Down in History as Barbarians
In I Do Not Care If We Go Down in History as Barbarians (originally Îmi este indiferent daca în istorie vom intra ca barbari), Romanian auteur Radu Jude takes on the his country’s treatment of the Jews in the Second World War, as part of Hitler’s Final Solution. The title comes from a speech made by Romanian leader Ion Antonescu in 1941, which effectively initiated the campaign of mass murder on the Eastern Front. Romania was allied with the Nazis at the time. Ioana Iacob stars as a stand-in for Jude, playing Mariana, a Romanian director attempting to put on a show about Romanian wartime atrocities and getting pushback at every turn. Researching … Read more
The Green Knight
Sailing into the gap opened up by Lord of the Rings and Game of Thrones, The Green Knight is the latest addition to the crowded medieval/supernatural genre and writer/director David Lowery’s latest experiment in giving a hot genre a cool treatment. It’s Dev Patel as Gawain (emphasis on the first syllable, not the second), the would-be knight who steps forward after pagan spirit creature the Green Knight gatecrashes Christmas festivities and demands that one of the assembled satisfy his challenge – take a free pop at me, but I require that in one year from today I do back to you whatever you are about to do to me. Gawain gives this film … Read more
Candyman
Gory but not too scary, 2021’s Candyman is a direct sequel to 1992’s Candyman, which means it builds on the narrative and the lore of the first film rather than the 1995 and 1999 sequels. It also builds on the lore and narrative of Tony Todd’s Candyman, the first mainstream black horror whacko, someone to be pitched alongside Freddie Kruger or Leatherface in a nightmare beauty pageant. Clive Barker wrote the original story, The Forbidden, and set the action in rundown Liverpool. Bernard Rose relocated the whole thing to Cabrini-Green in rundown Chicago for the 1992 version he adapted and directed, reshaping the story to his liking – for example, in Barker’s version … Read more
