February 2018 Film Roundup

So I’m back again this month with the second episode of my 2018 challenge to watch an unseen film (something new or new to you) every day. February is a shorter month but I still packed plenty in (including two visits to see Lady Bird at the cinema). Plus, as anyone in Europe knows, it’s been getting quite cold the last few days, so sitting inside watching films seems like a particularly fine pastime; when it gets to the summer months, I feel my challenge will be more stretched. Anyway, I’m still posting notes on all of them over at Letterboxd, but a round-up is required.

Top 5 New Films (on their first release in the UK)

The Nothing Factory (2017, dir. Pedro Pinho)
Phantom Thread (2017, dir. Paul Thomas Anderson)
Princess Cyd (2017, dir. Stephen Cone)
Black Panther (2018, dir. Ryan Coogler)
Lady Bird (2017, dir. Greta Gerwig)

Continuing last month’s theme of poetic documentaries screened at the ICA (Institute of Contemporary Arts), my favourite film of the month was another slightly leftfield experimental work released by them, a three-hour-long Portuguese documentary-like fiction feature set amongst the workers at a factory, who’ve been laid off and want to wrest back control. It’s thoughtful and artful, covering a range of genres and formal discourse while reflecting carefully on the state of the worker under capitalism: it can be boring at times, but it’s also compelling and beautiful.

Netflix was also responsible, finally, for releasing a good film in the form of Princess Cyd, which had a screening last year at London Film Festival, but slipped under the radar and got the modern equivalent of the straight-to-DVD. Well, it’s exquisitely made, and deals beautifully with its middle-class characters. (Although I’m being a bit mean about Netflix, since they also had a film on my last listMy Happy Family, another fine drama.)

There were also several ‘big’ releases that stood out too. As I mentioned, I went to Lady Bird twice, probably because that was the most straightforwardly enjoyable: small town, closely-studied characters, the beauty of which is in their interactions (so, not entirely unlike Princess Cyd). However, I loved P.T. Anderson’s newest film, finding it less about an awful man, as about the subtle warping of traditional power dynamics of the controlling mercurial artist (a great performance from Vicky Krieps). And of course Black Panther was a phenomenon which I was happy to get on board with, world creation in a way that seemed fresh and new after all the tiresome bombast of some previous superhero films (although still with, well, plenty of bombast).

Top 10 Old Films (but new to me)

Il posto (1961, dir. Ermanno Olmi)
The Act of Seeing with One’s Own Eyes (1971, dir. Stan Brakhage)
Thelma (2017, dir. Joachim Trier)
Boy (2010, dir. Taika Waititi)
I fidanzati (1963, dir. Ermanno Olmi)
The Blood of Jesus (1941, dir. Spencer Williams)
Initiation Love (2015, dir. Yukihiko Tsutsumi)
Dirty Gertie from Harlem U.S.A. (1946, dir. Spencer Williams)
Black Panthers (1968, dir. Agnès Varda)
Bad Moms (2016, dir. Scott Moore/Jon Lucas)

Streaming services again offered up a few interesting recent films I’d somehow missed, and while only Thelma makes it onto this list (via Mubi), it stands up to the other Joachim Trier film they screened last month (his 2006 Reprise) — this one may indeed be better, but it’s mysterious enough that I think I need to let it sit with me a while. Still, it has a fantastic control of atmosphere.

Continued Criterion watching threw up the wonderful Ermanno Olmi films listed there, as well as the challenging Brakhage, all of which I will give fuller write-ups in time, when their entries show up on my Criterion Sunday feature.

The two Spencer Williams movies were from the Pioneers of African-American Cinema box set that I helped to Kickstart, and because it’s Black History Month, it seemed like a good idea to crack on through (I also watched some slightly sub-par Oscar Micheaux features from the early sound era). The Williams ones, though, are fascinating in the way they are pulled between overt moralising and also the thrill of sinfulness: the acting can be amateurish, but the period detail is wonderful. Black Panthers, too (a short Varda documentary from the late-60s), seemed a propos not just in relation to black history but also the feature film of (almost) the same name — well, it at least contextualised Oakland, CA’s symbolic importance through its footage of the activist group.

There was a short season of Japanese cinema at the ICA by the Japan Foundation which threw up a few intriguing films, best of all for me being Initiation Love, which I believe was a made-for-TV movie but with a bold time-looping premise and a big twist that makes it all retrospectively even more interesting (although the film is enjoyable enough as a relationship drama). Plus, I finally got around to watching Taika Waititi’s early feature Boy, which is as charming and delightful as most of his work has been, and almost entirely set amongst a poor, working, rural Maori community in New Zealand. Incredibly, it’s only just had a DVD release in this country.

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