Clearly these two ageing women, scions of the Bouvier family (and hence related to Jackie O), make for great documentary subjects. They sit in their dilapidated Long Island home, bickering with one another in front of the camera. The mother Edith still seems like the sensible one and her daughter Edie flighty and irrepressible, prone to song and dance, improvising fashion including endless variations on headscarves to hide her greying hair, though wistful at the idea of living with so many cats and raccoons. Yet at the same time, it hovers on the edge of uncomfortable exploitation of what is clearly mental illness: Edie is very much aware of the camera and is equally clearly playing to it. She makes constant references to filmmakers David and Albert Maysles, flirting with them and at times opening up to them, and so their use of her at times feels like it could be stepping over a line. Of course, these two have wealth to continue being able to live like this, but there’s a basic dignity that’s not always evident and seems to me to push at the edge of documentary ethics.
FILM REVIEW: Criterion Collection
Directors Albert Maysles, David Maysles, Ellen Hovde and Muffie Meyer | Cinematographers Albert Maysles and David Maysles | Length 94 minutes || Seen at a friend’s home (DVD), London, Sunday 2 October 2016
I have, as it happens, already written a review of this on this blog so here it is. There’s little I’d want to add to it, aside from reaffirming that it does stand up under the weight of its cult status, not that it’s a film I myself am necessarily drawn back to, unlike…
Criterion Extras: … the fans depicted in the short piece Withnail and Us (1999), who show a fanatical fondness for the film that sometimes seems too much (obsessive quoting of movie lines has never been something I’ve been good at, nor had any inclination to do) but also reminds me of what’s genuinely appealing about the film’s bleak dark vision of England. Alongside the fans, the documentary also corrals a number of the actors to talk about the experience of making the film, and is an enjoyable half-hour for what it is.
FILM REVIEW: Criterion Collection
Director/Writer Bruce Robinson | Cinematographer Peter Hannan | Starring Paul McGann, Richard E. Grant, Richard Griffiths | Length 107 minutes || Seen at home (Blu-ray), London, Sunday 26 January 2014
With the director’s second film Moonlight gathering so much critical acclaim, there have been a few screenings (like this one) of his 2008 debut, which never made much of a splash over in the UK aside from a London Film Festival appearance. It’s a relationship drama set in San Francisco between two people. On the one hand, there’s a story of feelings (because “love” is probably too strong a term), as these two are roused the morning after a drunken one-night stand and spend the ensuing day in one another’s company. But it’s also the story, not coincidentally, of two black people. Two black people, to the point, who live in an increasingly white city, a rapidly gentrifying city — a city of coffee shops and kombucha and technology (MySpace — either a dated reference, or a thematically-loaded harbinger), a city of indie pop club nights and museums presenting black historical experiences which, being in a museum environment, have a certain alienated character. There’s a level at which this is like a terrifying sci-fi in which these two people are the last two in a bland expanse of corporatised white space. Or at least that feels like maybe the story Micah (Wyatt Cenac) is trying to tell, whereas Joanne (Tracey Heggins) isn’t exactly having it. In this dialogue on race and the city space, which enters and leaves the film periodically, their relationship pushes and pulls. Likewise, colour bleeds, almost imperceptibly at times, into and out of the image (for much of the time it’s a stark black-and-white). Still, ultimately this is a film about two people spending a day together, and at that it feels unforced and real. It feels a long way from Moonlight, but maybe in being about that contested space between two people, it’s not so far after all.
SPECIAL SCREENING FILM REVIEW
Director/Writer Barry Jenkins | Cinematographer James Laxton | Starring Wyatt Cenac, Tracey Heggins | Length 88 minutes || Seen at Picturehouse Central, London, Monday 13 February 2017
Less of a black comedy than some of Buñuel’s other French films, this is more a portrait of the upper-classes during the 1930s as seen by the maid of the title (played well by Jeanne Moreau). There’s perversity of course and, as you’d expect from Buñuel, a feckless priest, but this film touches more on the spectre of fascism, with the casual anti-Semitism of the rural peasantry and incipient nationalist fervour always in the background. Fine widescreen monochrome lensing gives a bourgeois finish to a troubling tale.
As an aside, it was also interesting for me to watch this right after Nelly Kaplan’s La Fiancée du Pirate (1969), as that feels in retrospect like a satirical extension of the psychosexual undertow of this film, and if you get a chance to see it, do.
FILM REVIEW: Criterion Collection
Director Luis Buñuel | Writers Luis Buñuel and Jean-Claude Carrière | Cinematographer Roger Fellous | Starring Jeanne Moreau, Michel Piccoli, Françoise Lugagne, Georges Géret | Length 97 minutes || Seen at a friend’s home (DVD), London, Sunday 11 September 2016
Right, you probably all know this film is long: it’s Lav Diaz, and events will unfold as they will. Once you get over that — and the title which playfully suggests some kind of mystical/fantasy epic poem — the movement of time isn’t really an issue, and there’s necessarily a sort of documentary effect to the extreme length, as we watch our titular protagonist (Ronnie Lazaro) trudge along endless roads with a group of vendors selling their wares from ox-drawn carts. Heremias at length peels off on his own, and, at length, gets caught in a typhoon, from which he takes shelter. When he wakes, his cow has gone and his cart is burnt. By this point, we’re at around hour four and this is the mysterious crime he’s trying to unravel (after a fashion), but things go off track again and there’s a criminal conspiracy which reveals the limits of power in an autocratic society. So there are political themes (present in much of Diaz’s work that I’ve seen), and then there’s the repeated motif of roads stretching off across the landscape, into which (or from the horizon of which) Heremias trudges, seemingly endlessly. At great, great length.
SPECIAL SCREENING FILM REVIEW: Lav Diaz Journeys retrospective
Director/Writer Lav Diaz | Cinematographer Tamara Benitez | Starring Ronnie Lazaro, Sid Lucero | Length 510 minutes || Seen at London Gallery West, London, Friday 3 February 2017
By this point, Kurosawa knew pretty well how to craft a samurai film as a version of a Western. There’s an effortless feel to his filmmaking, probably helped here by focusing the story so much around not Toshiro Mifune’s warrior, but instead the foolish comedy characters of the peasant duo (Minoru Chiaki and Kamatari Fujiwara) whose avarice constantly blinds them to the dangers they’re in. Of course Mifune does his eye-catching thing of being strong and supportive as the General of a defeated tribe, while the tribe’s Princess (Misa Uehara) shows quite a bit of self-determination, even if she can’t be in a scene — even ostensibly disguised as a peasant — without looking obviously imperious. To that extent, some of the adventurous heroics strain credulity, but the film never sacrifices character-grounded observation to action setpieces or silly plot contrivances. This is a film that remains invested in its characters most of all.
FILM REVIEW: Criterion Collection
Director Akira Kurosawa | Writers Shinobu Hashimoto, Ryuzo Kikushima, Akira Kurosawa and Hideo Oguni | Cinematographer Kazuo Yamasaki | Starring Toshiro Mifune, Misa Uehara, Minoru Chiaki, Kamatari Fujiwara | Length 139 minutes || Seen at a friend’s home (DVD), London, Friday 26 August 2016
I’ve dedicated this as a year of catching up with classic movies, and 20 years on from Selena‘s release, I’d heard this film had become something of a classic — at least, amongst those whose experiences it reflects. After all, like I’m sure plenty of British people, I don’t know anything about Tejano music or cumbia, or indeed about the singer at the heart of this story. Incredible as it may be, it’s true that this film wasn’t made to reflect or reconfirm anything I experience or know about the world — but that’s a quality I like in films and I like it here. Sure you could say it’s about all those ‘universal themes’ (growing up under a demanding father, finding your voice in the world, love against the odds or at least against aforementioned father, all that kind of thing), but it’s grounded in a specifically Texan (or ‘Tex-Mex’) reality, of sparkly 90s fashion, and of music I have already confessed to knowing nothing about (so won’t say anything about). I do like that the director enters the story via mainstream ‘white’ music with the backstory of Selena’s father Abraham cross-cut with her 1995 set at the Houston Astrodome, which incidentally illuminates the outsider experience of America — a fascinating topic now as ever. I like too Jennifer Lopez’s performance, but I’ve always been a fan of her acting. It’s a full-throated biopic that tips occasionally into melodrama and has the hint of hagiography but on the whole is radiant with life and colour (where it could easily have been about death and tragedy).
Director/Writer Gregory Nava | Cinematographer Edward Lachman | Starring Jennifer Lopez, Edward James Olmos, Jon Seda | Length 127 minutes || Seen at home (DVD), London, Saturday 28 January 2017
This film is generally acclaimed as a classic of the heist genre and justifiably so. Indeed, there are some pretty clear reasons, chief among them the impressive way in which an extended, almost silent, sequence of the gang breaking into a safe is handled. Nevertheless, for all writer/director/star Jules Dassin’s nous behind the camera — and indeed in front of it, decked out as he is in a stylish bowtie (why can’t gangsters have that kind of style anymore?) — the film devolves into a morality play for its last half that feels a little backwards looking. Again, it’s all classic genre stuff nowadays: the criminal gang divided amongst themselves, fractured not just by the investigations of the police but by internecine squabbling over the lucre. Still, the style and the performances of Rififi carry it ably.
FILM REVIEW: Criterion Collection
Director Jules Dassin | Writers Auguste Le Breton, Jules Dassin and René Wheeler (based on the novel by Le Breton) | Cinematographer Philippe Agostini | Starring Jean Servais, Robert Manuel, Carl Möhner, Jules Dassin | Length 115 minutes || Seen at a friend’s home (streaming), London, Thursday 4 August 2015
Unquestionably a singular and odd film by veteran filmmaker Seijun Suzuki, revisiting themes in his early-career masterpiece Branded to Kill, albeit with a woman assassin. The ‘opera’ aspect of the title shouldn’t be underestimated, as, although without songs, it has a lot of the theatricality of that format: the frontal staging, addresses to camera, the high-key lighting in a very clear and uncluttered frame, and the very frugal use of movement. Suzuki at times prefers to use empty shots with strong sound effects over people doing things in frame. So in short, it’s not your ordinary film. Like opera, though, the plot is actually fairly straightforward: an assassin (Makiko Esumi), ranked #3 by her Guild, has to contend with her fellow assassins (not least the mysterious Hundred Eyes, #1), in order to claim the first place, while also being stalked by a 10-year-old wannabe (Hanae Kan). It may be filmed in a very idiosyncratic way, but it’s never without visual flair and parades an array of gorgeous saturated colours.
Director Seijun Suzuki | Writers Kazunori Ito and Takeo Kimura | Cinematographer Yonezo Maeda | Starring Makiko Esumi, Sayoko Yamaguchi, Hanae Kan, Masatoshi Nagase | Length 112 minutes || Seen at home (DVD), London, Tuesday 17 January 2017
I suppose at one level nothing much really happens, nothing overtly melodramatic, but really everything does. There’s an entire relationship in these two hours — between Chris (Lars Eidinger) and Gitti (Birgit Minichmayr), on holiday in Italy — and for a change it’s a fairly believable one. It sort of channels the awkward, uncomfortable feeling you get when you’ve made a couple-y in-joke at an inappropriate moment in mixed company and your spouse glares at you and you shrink inside (well, that’s just Chris’s side). The extent to which you believe these two have a future probably depends on where you are yourself in respect to a relationship, but I’m inclined to the German Weltanschauung. I’m guessing hell is everyone else when you’re together (there’s a particularly dull second holidaying German couple introduced later on), or maybe it’s just these two. It’s a film that’s deeply suggestive (about love, about work, about possible futures) without ever tipping over into judgement.
Director/Writer Maren Ade | Cinematographer Bernhard Keller | Starring Birgit Minichmayr, Lars Eidinger | Length 119 minutes || Seen at home (DVD), London, Monday 16 January 2017