NZIFF 2021: Pleasure (2021)

Somehow even amongst the more solidly film festival fare at Whānau Mārama – New Zealand International Film Festival, Sweden’s Pleasure manages to stick out, not least because it is very much set in the USA and is about a subject that feels somehow inextricably linked to LA, which is the adult film industry. And yet it’s still a festival film, an arthouse drama, a film that is about people working within that industry without (at least I don’t think) being exploitative or shaming, which most films dealing with the topic tend to do. It’s hardly uplifting, of course, but I admire what it does, though I daresay it will be controversial.


Isn’t it odd the way that films titled for an abstract noun with largely positive connotations often entirely lack that quality (my mind goes to films with titles like HappinessJoy and so forth). Well, it’s much the same here, although to my mind this film at least avoids the pitfalls of being preachy and moralistic. This is a film about Linnéa (Sofia Kappel), a young Swedish woman who travels to LA to get involved in the p0rn industry under the soubriquet Bella Cherry, but the film is not really interested in why she made that choice or about wagging its finger at her for having made it. As far as we see in the film, Bella just wants to do something she enjoys, and while her experiences aren’t uniformly positive, there’s a camaraderie that grows between her and others in the same industry that develops over the film. And though it could be said to sour towards the end, it’s not played for high melodrama or camp (as in, say, Showgirls) but instead is allowed to have a complex emotional range, chiefly expressed in the relationship between Bella, her imperious arch-rival (at least in Bella’s head) Ava, and her housemate Joy (Revika Anne Reustle), who falls lower down the pecking order it seems.

All of the cast seem to be taken from the adult film industry, and in most cases give pretty believable naturalistic performances, even the sleazier agents and directors. And while it is clearly going to be a divisive film, to my mind it doesn’t play as exploitative, but instead has a certain kinship to, say, Sean Baker’s films. There’s a beauty to all this mess, but primarily this a drama charting the messy but often healthy relationships that develop, as well as the pitfalls too. These latter are not exclusively amongst male-dominated sets, but are certainly exacerbated by certain male egos, and there’s a striking contrast made between the carefully delineated consent and constant attention she’s given in a bondage video directed and staffed by women, and a rather more naturalistic depiction of rough sex in a video made by men. Plenty of this is at times quite disturbing, but the film is judicious and balanced in its depiction of a sordid world.

Pleasure (2021)CREDITS
Director Ninja Thyberg; Writers Thyberg and Peter Modestij (based on Thyberg’s short film); Cinematographer Sophie Winqvist Loggins; Starring Sofia Kappel, Revika Anne Reustle; Length 105 minutes.
Seen at Roxy, Wellington, Wednesday 17 November 2021.

Criterion Sunday 477: Bergman Island (2006)

There’s a film with the same title directed by Mia Hansen-Løve currently doing the festival circuit rounds, but this is not that film, it’s rather the Criterion release of a documentary about Ingmar Bergman, filmed a few years before his death in his reclusive life on the island of Fårö. It’s edited down from a much longer conversation, and you can see snippets of the rest appearing as introductions to the various Bergman films in the collection as he talks about his own films. However for this documentary a lot more focus is on his own life as an artist, with a few clips from his films and some discussion of a handful of specific titles, but really it’s about him as a creator and about him as a person. The latter leads to the most revealing stuff, as he admits to having been a cruel man in his life, playing with women’s feelings (he had five wives, nine children and a string of affairs). But perhaps the most indelible turning point is his return to Sweden after being invited to a pool party by Barbra Streisand. I’m sorry, Ingmar, you made some good movies but that was the wrong choice.


FILM REVIEW: Criterion Collection
Director Marie Nyreröd; Cinematographer Arne Carlsson; Length 83 minutes.

Seen at home (Blu-ray), Wellington, Sunday 7 November 2021.

Criterion Sunday 416: Fröken Julie (Miss Julie, 1951)

I’ve actually seen this Strindberg adaptation before (16 years ago), and I’ve seen others too, but I don’t really retain anything of it, perhaps because I don’t particularly get on with the text. It feels a little bit pointedly about the terrible toll that an interest in women’s rights might get you to from a tut-tutting older Swedish man, and that may be a little unfair, but at the very least it’s certainly melodramatic. That said, this film is a stylish adaptation at times, which takes the play and interleaves past and present in an almost modernist way. This is most evident when the camera sweeps around from the present to the past in a single fluid motion, as the title character recalls her unhappy childhood and her fiercely independent mother, who is seen framed by flames with a wry smile on her face at one memorable point. Then there’s Julie’s romance with the groom, Jean (Ulf Palme), a mere servant though splendidly attired, which starts out flirtatiously but eventually descends into all the metaphorical angst in the world (caged and crushed songbirds, grand paintings collapsing on our leading man, flames and madness licking around this rotten world). There’s certainly stuff to like here, and Anita Björk gives an impressively imperious performance, but it’s Strindberg’s vision of the world that probably puts me off.


FILM REVIEW: Criterion Collection
Director/Writer Alf Sjöberg (based on the play by August Strindberg); Cinematographer Göran Strindberg; Starring Anita Björk, Ulf Palme, Märta Dorff; Length 90 minutes.

Seen at Tate Modern, London, Sunday 17 April 2005 (and most recently on DVD at home, Wellington, Sunday 18 April 2021).

Criterion Sunday 412: Gycklarnas afton (Sawdust and Tinsel, 1953)

There is, rarely, any film so bleak as one set in a travelling circus, it sometimes seems. This film predates Bergman’s travelling players of The Seventh Seal (a much funnier film), but is set closer to the contemporary world, and has some of the visual acuity he would continue to display in later films. There’s a gorgeous use of monochrome cinematography, deep and penetrating shadows and blown-out sunny shots (as in the flashback retelling of the clown’s humiliation) thanks to Sven Nykvist, his first collaboration of what would be many with Bergman. That early scene with the clown (Anders Ek), though, is very much a microcosm of what the film ends up being about: men and women humiliating one another in love. Our circus master Albert (Åke Grönberg) is desperate, it turns out, to leave behind the carny’s life, his younger girlfriend Anne (Harriet Andersson) finds herself attracted to an actor (Hasse Ekman) who turns out to be a creepy abuser, and some desultory fighting ensues that leaves everyone needing to pick up the pieces. There’s not much hope in the end, just ruined lives, and if the characters keep on living them, you get the sense that it won’t be long before they try again to get out by whatever means necessary.

CRITERION EXTRAS:

  • There’s relatively little in the way of extras on this Blu-ray, but there’s a short introduction by Bergman filmed in 2003, in which he relates some scathing contemporary reviews he received, as well as the feeling that he quite likes this early film of his.

FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographers Hilding Bladh and Sven Nykvist; Starring Åke Grönberg, Harriet Andersson, Hasse Ekman, Anders Ek, Gunnar Björnstrand; Length 92 minutes.

Seen at home (Blu-ray), Wellington, Friday 2 April 2021.

Ouaga Girls (2017)

Following this morning’s review of Even When I Fall, my mini-theme today (within my Sheffield Doc/Fest week) is documentaries that take us to different parts of the world. Although this is of course something that a lot of documentaries do, finding a subject that hasn’t been covered can sometimes be difficult, but it’s fair to say there aren’t many documentaries out there about women’s vocational training centres in Burkina Faso, so it’s great to see inside this one.


The film takes the familiar route of following a small number of people amongst those studying at this Ouagadougou auto mechanics training centre, women who are taking car bodywork lessons to go to work for garages in what is repeatedly referred to as ‘men’s work’. The personalities of the various women all come out slowly, not least because at school they are all largely respectful and quiet (perhaps the situation, or maybe it’s the presence of the camera), but there are some strong words about the importance of this education to them. The film is also made with a fair bit of style of its own, carefully edited and framed well, especially in the introductions near the start. On the whole, it’s a likeable and interesting film about women in an unlikely place.

Ouaga Girls film posterCREDITS
Director Theresa Traoré Dahlberg; Cinematographer Iga Mikler; Length 82 minutes.
Seen at Curzon Bloomsbury (Bertha DocHouse), London, Friday 20 October 2017.

Criterion Sunday 321: Jungfrukällan (The Virgin Spring, 1960)

Every exploitation genre has its austere or vaunted arthouse predecessor, and just as slasher horror in 1960 had Psycho, so the rape-revenge film has Ingmar Bergman here. That said, I don’t mean to impugn it by association; the bleakness and moral ambiguities are very much intended by Bergman, and you can tell what’s coming by quite how innocent and jolly the opening third is, as Karin (Brgitta Pettersson), the daughter of farmer Töre (Max von Sydow), prepares for a journey to church through — of course — a big scary forest, the very sight of which seems to push their servant (Gunnel Lindblom) into overacting/breakdown. In that sense the folktale elements loom large (and is indeed adapted from a 13th century narrative, though these are themes that recur throughout fairytales and legend), and the fate of our titular virgin is pretty clear as soon as these elements are introduced. I think what sets the film apart is the moral complexity and even dubiousness that’s cast on the revenge, and though the father purifies himself and atones for his sins, there’s a clear sense that what he’s doing has some equivalency to the crimes he’s punishing, albeit given thin justification with invocations of God (and I don’t think Bergman is presenting this as a particularly Christian victory). This film also marks his first major collaboration with Sven Nykvist, the cinematographer who could go on to make most of the rest of his films, and it is immaculately lensed, with great expressive pools of light and dark as the film progresses.


FILM REVIEW: Criterion Collection
Director Ingmar Bergman; Writer Ulla Isaksson (based on the traditional ballad “Töres döttrar i Wänge” [“Töre’s Daughters in Vänge”]); Cinematographer Sven Nykvist; Starring Max von Sydow, Birgitta Valberg, Gunnel Lindblom, Birgitta Pettersson; Length 90 minutes.

Seen at home (Blu-ray), London, Sunday 31 May 2020.

LFF 2019 Day Six: 37 Seconds, The House of Us, Noura’s Dream and And Then We Danced (all 2019)

Day six and another four film day. I’ve actually managed to stay awake for all 16 of the films I’ve seen so far, but this writing them up at the end of the evening is the worst part. Still, I must put my thoughts down or I’ll forget these films, so here are some more reviews. Today I’ve visited Japan, South Korea, Tunisia (again) and Georgia.

Continue reading “LFF 2019 Day Six: 37 Seconds, The House of Us, Noura’s Dream and And Then We Danced (all 2019)”

Criterion Sunday 264: Dokument Fanny och Alexander (The Making of Fanny and Alexander, 1984)

What’s interesting about this “making of” documentary is that, rarely enough, it is actually what it says: it shows in great detail the actual making of the film. It’s not so much bothered about contextualising the production, about where it was made or how long the shoot was (though that sort of comes out in a roundabout way), nor even the preparation or the post-production. This is focused strictly on Bergman himself making the film, with his actors on the sets, with his DoP Sven Nykvist, and just in the flow of eliciting the performances and ensuring that the vision being created by the camera and the lighting matches his. In that sense it can be a little claustrophobic, because you’re just in these houses with him constantly, but it imparts a little sense of how engaged and focused he is on the task, and about some of what it means to be a director: it’s about getting the performances you want to see from your actors, and about having the right people around you to deal with the other stuff.

CRITERION EXTRAS:

  • This feature was originally accorded its own spine number, but in the Blu-ray re-release of the box set, is essentially just one of the supplements. The others I mention on the page for the box set.

FILM REVIEW: Criterion Collection
Director Ingmar Bergman; Cinematographer Arne Carlsson; Starring Ingmar Bergman; Length 110 minutes.

Seen at home (Blu-ray), London, Monday 19 August 2019.

Criterion Sunday 263: Fanny och Alexander [The Theatrical Version] (Fanny and Alexander, 1982)

Having seen this film for the first time a few weeks ago in its “TV Version”, I now watch the “Theatrical Version” — although the latter is really just the former cut in half (they’re both films) — and I have the sense of seeing some things for the first time. I suppose it’s just the necessarily more clipped way that things progress, but some of these moments just never really struck me so much when it played out in full. In either case, Bergman’s artistry as a filmmaker is fully evident, with long scenes filled with detail and artifice playing out almost effortlessly, though they must have taken a fair bit of staging and practice. However, the brevity brings its own rewards, and in some ways the little moments of the supernatural or hallucinatory — the way dead figures come to life in front of our young protagonists’ eyes, for example — seem to have more of a punch to them in the shortened version. In any case, this remains a film about Alexander primarily, a portrait of the artist as a young man if you will (for he is the Bergman stand-in). Every element is crafted with deep care, particularly the set design of the various family apartments and the austere parson’s lodgings. I had perhaps not expected to like this coming of age period costume drama as much as I did, but it’s a towering achievement.

CRITERION EXTRAS:

  • There’s a commentary on the film by Peter Cowie, but I’ve not listened to it yet.

FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Sven Nykvist; Starring Ewa Fröling, Jan Malmsjö, Allan Edwall, Bertil Guve, Erland Josephson, Jarl Kulle; Length 188 minutes.

Seen at home (Blu-ray), London, Sunday 15 September 2019.

Criterion Sunday 262: Fanny och Alexander [The Television Version] (Fanny and Alexander, 1982)

I started watching this under the impression that, as a “television version” which is ostensibly split into four episodes, it would therefore be watchable in small chunks. However, do not be fooled, for despite its five act structure (plus a prologue and epilogue), and the separate credit roll at the end of each “episode”, this is essentially a single 312-minute film, so I ended up watching most of it in a single sitting.

There are different ways to use this kind of duration and Bergman focuses on the characters. There are essentially three households at the heart of this film: the Ekdahls (with Ewa Fröling as the key figure, Emilie), a rich theatre-owning family in whose company we start the film, as they throw a grand Christmas gathering; that of the austere Bishop Vergérus (Jan Malmsjö); and the Jewish moneylender Isak (Erland Josephson), who is more a passing background character for much of the film. The title may put the emphasis on Emilie’s two children, and their experiences guide the structure of the film (Bertil Guve’s Alexander is the character that director Ingmar Bergman identified with, and whose point of view we mostly adopt), but Emilie is the film’s linchpin.

Intended perhaps to be his swansong, this is a gloriously mounted production, which carefully contrasts the burnished colours, deep rich saturated reds, brocaded fabrics and warm lights of the Ekdahl household, with the gloomy bare prison-like atmosphere of the Bishop’s home, with his wan, dispirited serving women and authoritarian mother. In fact, generally Bergman is pretty savage with this man of the cloth, although religious belief runs throughout the film and is hardly all the kind of dour torture that the Bishop cleaves to, even if that’s the most “Bergmanesque” passage of the film. But it’s mostly a film about family and growing up, a warm remembrance of childhood and of a certain kind of cultured middle-class upbringing. The acting is all superb, too, with a vast roster of talent familiar from many other Bergman works.

But this remains very much a film, not a TV series.

[NB This version was released the year after the feature version, in 1983, although I would consider it an alternate cut of the same film, so I’m sticking with the original release year on the heading of this post.]

CRITERION EXTRAS:

  • There are no extras on this disc, as they are all on a separate supplements disc.

FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Sven Nykvist; Starring Ewa Fröling, Jan Malmsjö, Allan Edwall, Bertil Guve, Erland Josephson, Jarl Kulle; Length 312 minutes.

Seen at home (Blu-ray), London, Friday 16 August 2019.