LFF 2016 Day Six

I missed days four and five of the London Film Festival what with being away for the weekend for my birthday (I was in Manchester at a beer festival). Anyway, I returned on Monday 10 October and resumed watching films…


LoveTrue (2016)

LoveTrue (2016, USA, dir./DOP Alma Har’el)
Psychodrama is a new one on me, but it fits into a burgeoning interest in examining the intersection between the stories we have in us and the ways they can be presented: the focus seems very much to be on documentary-as-performance (with, notably, some acted recreations of events, though the actors are clearly identified and the nature of this collaboration becomes part of the film at several points). Here, there are three central protagonists (in Hawaii, Alaska and NYC) but the ways they deal with the other players in their lives, specifically at the level of love, are quite different. I think the achievement of Alma Har’el’s film is getting under the skin of characters who can be quite unlikeable (here I’m speaking chiefly of the men), and making them empathetic at some level. Romantic love almost seems like an illusory idea by the end, but there are definitely other forms of love that haven’t been abandoned in all three, and in the telling it goes in some surprising emotional directions. [****]


Interchange (2016)

Interchange (2016, Malaysia/Indonesia, dir. Dain Iskandar Said, wr. Said/June Tan/Nandita Solomon/Redza Minhat, DOP Jordan Chiam)
There’s an interesting film in here about the appropriative gaze of white colonialists, whose early-20th century photography was thought to steal the soul of tribal peoples. This idea is parlayed into a vampiric metaphor (people literally sucked of life and turned inside out) within a detective thriller genre framework, which would be fine if it didn’t rest its characters and narrative on so many other referential crutches (Se7en, Hitchcock films like Rear Window and Vertigo, not to mention a whole strand of Hong Kong police thrillers and that kind of thing). Ultimately I just couldn’t care about photographer Adam, or the police detectives — or anyone really — and too much of the characters’ dialogue was filled with portentous platitudes. Still, it never fails to look stylish, and there are some beautiful images. [**½]


Nong Hak (Dearest Sister, 2016)Nong Hak (Dearest Sister) (2016, Laos/Estonia/France, dir. Mattie Do, wr. Christopher Larsen, DOP Mart Ratassepp)
This is something unusual — a Lao-Estonian-French co-production — though as the director mentioned in a post-film Q&A, there’s no real Lao cinema to speak of (all her local actors are non-professional, even if they all do a great job). The film is ostensibly a ghost story, looping in supernatural lottery prediction, but the heart of the drama is of class and social mobility dividing the rich city woman Ana (who is losing her sight, her sense of perspective — do you see) from her poor country cousin Nok, whom Ana barely knows but who has been moved in to help her around the home by the rich woman’s white (Estonian) husband Jakob. The film is also canny about calling out the presence of western NGOs and their workers’ assumptions about Lao women. But this is not a film which fits into South-East Asian horror stereotypes, nor does it quite match up to the kind of slow-burn Thai weirdness of, say, Apichatpong Weerasethakul (though I’d put it closer to that). It has its own rhythms, and uses a tightly-focused handheld aesthetic to help put across some of the terror and uncertainty felt by its blind central character. [***½]

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The Raid 2: Berandal (The Raid 2, 2014)

NEW RELEASE FILM REVIEW || Seen at Cineworld Haymarket, London, Wednesday 23 April 2014 || My Rating 3 stars good


© Sony Pictures Classics

I’ve not seen the film to which this is a sequel, but I had heard it was very violent. Maybe you’ve heard that said about this sequel. It’s been mentioned quite a bit in reviews, and it’s worth repeating, because this is extremely, incredibly, punishingly, brutally violent. The row of lads sat behind me in the cinema were fighting for breath at times; it’s not for the squeamish. That said, it’s quite fun.

There’s some kind of plot which has our hero Rama (Iko Uwai) infiltrating a criminal organisation to extract vengeance for his brother’s death (which we see in the opening sequence). His target is a renegade criminal, who has allied himself with the son of a local mafia-like don, who is making a power play for his father’s empire by antagonising a Japanese clan. Around the edges of this battle are corrupt police and many, many expendable thugs. It’s the latter who make the most impact — taking their turns being beaten to a pulp in successive martial arts fight sequences — because the intricacies of the story take some time to become clear. Then again, all you really need to know is that Rama is the hero and everyone will submit to the beating he doles out.

There’s filmmaking skill here, though, because you can’t have so much frenetically-paced action fighting without a good sense of how to choreograph and edit such a scene (well, you can try, but it ends up being incoherent, as in all too many recent Hollywood flicks). So there’s fighting, armed combat, and a fair bit of body horror (the film doesn’t shy away from gore), but it stays grounded in the hero’s vigilante revenge quest, as we vicariously imagine ourselves having his skills in exacting punishment for his anger. In amongst all that there are some nice little sequences that have a go at pathos, and which incidentally lift motifs from some of my own favourite films (use of Händel’s Sarabande in one emotional scene recalls Barry Lyndon, while one death communicated via blood spattering across a blade of grass in the dying light of day suggests The Thin Red Line), though this is all quite incidental to the core of the film.

As an action film, it’s a brutally elaborated, if rather elongated, revenge fantasy put together with a fair amount of technical craft. It’s hardly like to win awards from those not already partial to a spot of the old ultra-violence, but it will keep you entertained.


CREDITS || Director/Writer Gareth Evans | Cinematographers Matt Flannery and Dimas Imam Subhono | Starring Iko Uwais | Length 150 minutes