If I were being flippant, I’d call this the best Saudi romcom I’ve seen, but of course the Saudi film industry is hardly developed (the only other film I can recall seeing from that country is 2012’s Wadjda, itself a German co-production). However, its existence in a very small industry aside, it’s actually — on any terms — a sweet story of romance, with two fetching leads (Hisham Fageeh as the male Barakah, and Fatima AlBanawi as the woman, though she goes by Bibi for short). It deploys many familiar structures to the romcom genre — the meet cute, the flirting, meeting the family — but these take on new meaning against the background of harsh social strictures designed to prevent any of these things from happening in real life. Barakah’s work as a civic functionary affords him little additional power (the unseen religious police have far more authority), and while it seems that Bibi’s far wealthier life makes her more able to shrug off religious obligations, even she has little power outside the private sphere of the home. Still, the film hardly dwells on such matters (given the wide-reaching grip of religious fervour within this society, it hardly needs to), and the tone remains light throughout: there are some great, properly funny scenes, and some touching ones too, as the two get closer.
Director/Writer Mahmoud Sabbagh | Cinematographer Victor Credi | Starring Hisham Fageeh, Fatima AlBanawi | Length 88 minutes || Seen on a flight from Beirut to London, Monday 29 May 2017
For all that it sounds on paper like some kind of heist film, in fact this is a story centred in female friendships, primarily the one between our title character (one of those involved in the heist, which is only seen obliquely in flashback) and her friend in Portugal (Silvia Reize), to whom she turns when things start going wrong. Yet there’s also the relationship between her and the young female bank teller (Katharina Thalbach) who witnesses her crime, and whose identification of Christa is key to the prosecution’s case. It turns out Christa’s motives were solid — she just wanted to help out a kindergarten she’d started for impoverished mothers, but it had run into financial difficulties — and, as played by Tina Engel, she presents a compelling central figure. It’s only a pity that the print this DVD is transferred from is so patchy; Margarethe von Trotta’s films may not be trendy or flashy, but they are definitely in need of some preservation.
Director Margarethe von Trotta | Writers Margarethe von Trotta and Luisa Francia | Cinematographer Franz Rath | Starring Tina Engel, Silvia Reize, Katharina Thalbach | Length 89 minutes || Seen at home (DVD), London, Thursday 18 May 2017
There’s something to Anocha Suwichakornpong’s filmmaking, a sort of dreamy, elliptical oddness that has long stretches of quiet watchfulness (long takes with a fairly static camera, though often handheld so a bit shaky)… but then there are these little flares of strangeness (and I still can’t help but thinking about fellow Thai filmmaker Apichatpong Weerasethakul in this regard). This is a story of two men: Ake, from a rich family, who has mobility issues (Phakpoom Surapongsanuruk); and the other, Pun (Arkaney Cherkam), his carer, from somewhat lower down the rungs of society. There’s almost an upstairs-downstairs dynamic (we also see the family’s cook), but that’s not really dwelt upon. What unfolds is largely this slow evolution of feeling between the two, with sort of mystical asides to astronomy and an unexpected scene of childbirth at the end (even the appearance of the opening credits 15 minutes in took me by surprise). I can’t explain what it’s doing, but it’s interesting enough for me to want to watch more by the same filmmaker (her more recent film By the Time It Gets Dark had much the same effect on me).
Director/Writer Anocha Suwichakornpong | Cinematographer Ming-Kai Leung | Starring Arkaney Cherkam, Phakpoom Surapongsanuruk | Length 82 minutes || Seen at home (DVD), London, Wednesday 1 March 2017
I was actually in Beirut and Lebanon the week this was released in UK cinemas (well, in one cinema), and I can attest to the fact it’s a very small country — we did some travelling within the country and it only takes a few hours to drive across the width of the country, through the fertile Bekaa Valley towards the Syrian border (there are some very beautiful Roman ruins at Baalbek), and it can’t be that much longer north to south. It is also, not just relatively but by most measures, a very peaceful country.
Prior to the war in Syria, it had somewhere around 4-4.5 million people, with a fairly even mix of religions, but now there’s fully a third more just of Syrian refugees, most of them Muslim. Everywhere you go, you can clearly see these encampments, and Lebanese resources are stretched thin dealing with the issue. It’s not of course just Lebanon’s problem, though, and there’s one European aid worker in the film (Fritz) who is very clear about the way that the western governments (who have done little to mitigate the effects of war in Syria, and much to fuel it) are largely derelict in their duty of care to those displaced.
What Lost in Lebanon does is to humanise the issue through focusing on a handful of those displaced from neighbouring Syria. It’s not all gloomy — they are all trying their best to help their fellow refugees, to get involved with educating the children, and trying to find a diplomatic solution and a way to keep improving facilities — but the film captures very well the frustration, the sadness and even, at times, the rage. Nobody wants to live away from their home, especially when it’s so close you can practically see it at times, and certainly not as a virtual prisoner within another country, unable to move around or take a job or get further education or improve your situation. That said, the people in this film do their best to present a vision of relative normalcy in what is an unfortunate situation, and one can only hope that one day Syria will return to stability and peace, and that the people here are able to be involved in its rebuilding.
NEW RELEASE FILM REVIEW
Directors Georgia Scott and Sophia Scott | Cinematographer Sophia Scott | Length 80 minutes || Seen at Curzon Bloomsbury, London, Thursday 1 June 2017
A story of three Arab-Israeli women who live together in Tel Aviv, this at its best feels effortless and modern. The linchpin is Leila (Mouna Hawa), a lawyer and party animal who has a blithe abandon to living her life which is delightful to watch. Salma (Sana Jammelieh) is her lesbian housemate, an aspiring DJ who takes work in a bar and hides her sexuality from her traditional (Christian) parents. They take in Nour (Shaden Kanboura) as a houseguest, a cousin’s friend who wears a headscarf and has a more traditional Muslim family. Thus is the set-up for the rest of the film, and it’s a venerable one at that, mined for plenty of films and especially television sitcoms. I really wanted it to be more upbeat, but plenty of stuff happens to the three that’s not exactly cheerful (thanks, traditional religious cultures and the patriarchy), and it moves towards a very much downbeat denouement, as the three regroup — not without hope, but at least a little knocked back. Still, picking up on one of the most commonly cited comparisons (Girls), I’d happily watch an entire TV series about these women because their lives seem set to continue apace.
SPECIAL SCREENING FILM REVIEW: International Women’s Day
Director/Writer Maysaloun Hamoud | Cinematographer Itay Gross | Starring Mouna Hawa, Shaden Kanboura, Sana Jammelieh | Length 96 minutes || Seen at BFI Southbank (NFT1), London, Wednesday 8 March 2017
Watching this film for a second time (albeit decades after my first viewing), I find it a curious experience. Obviously I knew the outcome but in a sense the film never really tries to hide it — you may not know the specifics, but it’s clear from the outset who the bad guy is, and once he’s selected his target, it’s broadly clear what happens to that person. The drama is in the details of the crime, and the single-mindedness of purpose of each of the three men wrapped up in this drama: our bad guy (Bernard-Pierre Donnadieu), our victim’s boyfriend (Gene Bervoets), and our director (George Sluizer). It prefigures some of what Michael Haneke would go on to do in the 1990s onwards, cynically manipulating audience expectation in quite a nasty way. I don’t like Haneke’s films but I have at least a respect for the craft, and so it is here.
FILM REVIEW: Criterion Collection
Director George Sluizer | Writers George Sluizer and Tim Krabbé (based on Krabbé’s novel Het Gouden Ei, “The Golden Egg”) | Cinematographer Toni Kuhn | Starring Gene Bervoets, Bernard-Pierre Donnadieu, Johanna ter Steege | Length 107 minutes || Seen at home (VHS), Wellington, May 2000 (and most recently on DVD at a friend’s home, London, Sunday 20 November 2016)
At a certain level, this could be a documentary about the crippling environmental effect of a fast-spreading algae across an inland lake on the Texas-Louisiana border, by the town of the film’s title… Except it’s not really about that, it’s instead about a few of the town’s residents, men lost to the world and to themselves, just trying to get by, find meaning, abide. The film creates a deep atmosphere of damaged people trying to repair their lives, while in the background others try to save the lake by essentially introducing the kind of biological conflict the humans have been trying to move away from (weevils that attack the algae; violence permeates the film). Anyway it’s all beautifully shot, with some of the finest scenery you’ll see.
NEW RELEASE FILM REVIEW
Directors/Writers Ewan McNicol and Anna Sandilands | Cinematographer Ewan McNicol | Length 82 minutes || Seen at ICA, London, Thursday 16 March 2017
I hardly expected to like this. It looks like the kind of unadventurous, softly patriotic nonsense that leads to dull dirges like that Vera Brittain adaptation with Alicia Vikander in it whose title I’ve already forgotten (it’s Testament of Youth now that I look it up), or thin jaunts like that one with Bel Powley as Princess Margaret and a bunch of other less enjoyable people that I sort of half-remember the title of (A Royal Night Out, it turns out). Well anyway, I might actually remember the title of Their Finest because I generally found it to be superior, and though it’s hardly a film for the ages, it does have a spirited Gemma Arterton playing Catrin, a Welsh screenwriter, with a scene-stealing Bill Nighy as, um… Bill Nighy, I guess (he plays an actor). A love story is present (not with Nighy, I should point out), but it feels to me that this film is about more than the romance, even if there is a certain romanticism to the idea of wartime England. I was manipulated duly by the film, overlong as it was (and that despite an actual line in the film about movies ideally being an hour and a half long!), and I feel fine about it, for it was all very jolly.
NEW RELEASE FILM REVIEW
Director Lone Scherfig | Writer Gaby Chiappe (based on the novel Their Finest Hour and a Half by Lissa Evans) | Cinematographer Sebastian Blenkov | Starring Gemma Arterton, Bill Nighy, Sam Claflin | Length 117 minutes || Seen at Curzon Victoria, London, Sunday 7 May 2017
There was a real passion to tell untold women’s stories coming out of the 70s, not in a flashy way but just, as here, on a relatively recent but largely overlooked subject, using archival clips, period music and interviews with the surviving women while they were still around to tell their stories. And they do that, very well. The film takes its name from an iconic figure of the woman factory worker used during World War II, and the women interviewed here tell of their recruitment to the war effort in factories and shipyards et al., then about the issues they faced around discrimination and (for the black workers) racism. The filmmaker cuts in some smug 40s patriarchal voiceover from a contemporary media source to tell us how hard women found the work (with such choice snippets as the women being “not used to working so hard”), as the women recall how after 8-10 hours on the assembly lines they had to come home to cook dinner for their husbands (if around) and families. There’s plenty of other recollections like this, and then about the struggle to keep the same kind of work after the war. It’s all affecting because it’s direct and from the women themselves. It also remains a fascinating story.
Director Connie Field | Cinematographers Bonnie Friedman, Robert Handley, Emiko Omori and Cathy Zheutlin | Length 65 minutes || Seen at home (streaming), London, Monday 8 May 2017
In telling the story of a South Korean woman who travels to the North (via her German citizenship; it’s a German-produced film) and makes a documentary there, this film seems to know it hardly need do more than just point a camera and bear witness to a still largely-unseen society. The North Koreans we hear often brim with enthusiasm (for the cause, for their fellow citizens, for possible reunification one day, for their leader), their daily rituals filled with songs and dances — almost all of them mentioning their dear political leaders, present and past — but the director doesn’t mock or belittle them. It’s more a frank testament to the people she encounters in various places — not just Pyongyang but a smaller city on the coast, and rural settlements where people farm the land. There’s some of that same spirit that Joris Ivens captured in How Yukong Moved the Mountains (albeit that was about the Chinese Cultural Revolution). There’s also a simplicity to the style — lots of slowed-down tracking shots, beautiful landscape and skyline photography, interviews between director and workers. We get a sense of some of the way people live, in so far as we are allowed to perceive it directly. Quite how accurate it is may not be knowable but it’s a fascinating document nonetheless.
NEW RELEASE FILM REVIEW
Director Sung Hyung Cho | Cinematographers Julia Daschner and Thomas Schneider | Length 90 minutes || Seen at Curzon Bloomsbury, London, Monday 8 May 2017