Two 80s-Set Films by Pablo Trapero: El Bonaerense (2002) and The Clan (2015)

Both of these reviews, written back in 2016, are fairly short, but they deal with a filmmaker who’s considered one of the major forces in contemporary Argentinian cinema, crafting small dramas as easily as big family stories. The only other film of his I’ve seen was 2006’s Born and Bred, but his films have all been worth watching.


There’s a wash of grainy texture to El Bonaerense, a film set in the 1980s as far as I can tell (unless they really are as backwards as their morals), as a small town locksmith finds himself framed for a robbery. He’s swiftly swept up into the metropolitan police force (El Bonaerense, for Buenos Aires) by an uncle who’s owed a favour. That’s generally how the story proceeds, with even the ‘nice’ guys prone to taking bribes and administering a corrupt sense of justice. No one but the director comes out of this situation well.

Trapero remains a fine stylist for his more recent film The Clan, which is a true crime story also set in the heady Argentinean 1980s, and there are solid performances throughout. I gather that all crime films after Scorsese have to juxtapose their stories with cranked-up pop music, but if you’re going to do that, this film does it pretty well in following one Argentine family, who are up to all kinds of no good. Trapero seems interested in interrogating his country’s past via stories of low-lifers, and he keeps the films moving along a swift clip, with no little style to the way he frames and edits his work.

El Bonaerense film posterEl Bonaerense (2002) [Argentina/Chile/France/Netherlands]
Director Pablo Trapero; Writers Nicolás Gueilburt, Ricardo Ragendorfer, Dodi Shoeuer, Trapero and Daniel Valenzuela; Cinematographer Guillermo Nieto; Starring Jorge Román, Victor Hugo Carrizo; Length 105 minutes.
Seen at ICA, London, Sunday 28 August 2016.

The Clan film posterEl clan (The Clan, 2015) [Argentina/Spain]
Director/Writer Pablo Trapero; Cinematographer Julián Apezteguia; Starring Guillermo Francella, Peter Lanzani; Length 108 minutes.
Seen at Curzon Mayfair, London, Sunday 11 September 2016.

Mi amiga del parque (My Friend from the Park, 2015)

It feels like since the arrival of Lucrecia Martel in the new millennium, there’s been a flourishing of women directors in Argentine and South American cinema, covering a range of genres. Looking at her filmography, Ana Katz, an actor and director who emerged around the same time, has tended towards more populist forms like comedy, though this one sits much more in one character’s head, as a sort of psychological horror film of sorts.


An odd film which starts in the park of the title, then the comfortable apartment of lone mother Liz (Julieta Zylberberg), whose husband is off overseas working, and seems to be telling a story of a middle-class woman’s struggle to parent her baby by herself. It then sets up a meeting with another single mother, Rosa (played by the director, Ana Katz), an older woman who is clearly less well-off, in that park and starts to veer into psychological terror territory. It continues to flirt with playing out Liz’s increasingly paranoid fantasies, stopping just short of that, but nevertheless says something about the incipient terror of motherhood, not to mention being a story of the way class relations play out, as it maintains a constantly uneasy tone in the friendship between the two women.

My Friend from the Park film posterCREDITS
Director Ana Katz; Writers Inés Bortagaray and Katz; Cinematographer Guillermo Nieto [as “Bill Nieto”]; Starring Julieta Zylberberg, Ana Katz, Maricel Álvarez; Length 86 minutes.
Seen at home (Mubi streaming), London, Tuesday 3 April 2018.

Sonita (2015)

This week I’m covering documentaries which screened at the Sheffield Doc/Fest in the past (this year’s programme is online, and taking place this month), and the 2016 winner of the Youth Jury Award was this film about an Afghani/Iranian rapper who left to pursue her musical dreams and now finds herself a de facto activist against child weddings.


A sweet and likeable film about a young Afghani woman living in Tehran, Sonita Alizadeh سونیتا علیزاده, whose family want to sell her as a bride but she has different ideas. Specifically of course, as documented by the film crew who are following her, she wants to be a rapper. Along the way she drags the director into her plans and things take a different turn from what we expect. The film gives a strong sense of the intersection of tradition and patriarchal violence, and from a Q&A at the screening afterwards, Sonita’s dreams after the film were of becoming a lawyer and working against child marriage, so that’s pretty great too.

Sonita film posterCREDITS
Director/Writer Rokhsareh Ghaemmaghami رخساره قائم مقامی; Cinematographers Behrouz Badrouj بهروز بدروج, Ali Mohammad Ghasemi علی محمد قاسمی, Mohamad Hadadi محمد حدادی, Arastoo Givi ارسطو گیوی, Parviz Arefi, Torben Bernard, Ala Mohseni; Length 82 minutes.
Seen at Ritzy, London, Friday 11 March 2016.

The Black Panthers: Vanguard of the Revolution (2015)

The historical antecedents to the current turbulent relationship between Black people and entrenched white power in the contemporary United States stretch back a long way, obviously starting with slavery, but developing through the Civil War, Jim Crow policies in the South, the Great Northward Migration of the early-20th century (on which topic The Warmth of Other Sons by Isabel Wilkerson is excellent), and then the Civil Rights era. It is during this latter period that the Black Panther Party for Self-Defense (they subsequently shortened their name) were a key player. Agnès Varda filmed a short documentary about them in 1968, but a more thorough retrospective work is this one by Stanley Nelson. Incidentally, you can see a bit of their current work in Roberto Minervini’s documentary What You Gonna Do When the World’s on Fire? (2019). The Black Panthers continue to be committed to supporting their own communities in straitened times. The hope for revolution may have receded, but systemic change is very clearly still very much required, and ever more urgently so.


A solid, involving and engrossing story that is rooted in the displacement and fallout from the Civil Rights movement of the 1960s which leads to the formation of the Black Panther Party, which took a rather more militant stance towards (white) aggression but also underpinned it with radical transformative community-based care. It’s in some sense a story of resistance to power, an almost utopian viewpoint albeit one grounded in bitter reality, undone by the forces of the state — and this is where the film’s real bad guys, the FBI (supported by the police), come in. Of course, the story is never really straightforward, and there’s some infighting and fall-outs along the way from within, but on the whole this film is clear about what the Black Panthers were offering, and how tantalisingly close they came to true revolution before being targeted and all-but-destroyed by J. Edgar Hoover’s Feds.

The Black Panthers: Vanguard of the Revolution film posterCREDITS
Director Stanley Nelson Jr.; Cinematographers Rick Butler and Antonio Rossi; Length 115 minutes.
Seen at home (DVD), London, Thursday 24 October 2019.

มหาสมุทรและสุสาน Maha samut lae susaan (The Island Funeral, 2015)

Thai cinema isn’t exactly filled with women directors, so one of the few who is working (sporadically), since her first feature film in 2003, is Pimpaka Towira. This Thai film, like the recent Pop Aye I reviewed earlier, is also a road movie of sorts, tracking its way slowly across the Thai countryside.


A strange, slow film with a very conscious way about it, moving slowly across the Thai landscape. It’s a road movie featuring a trio — a brother and sister (Aukrit Pornsumpunsuk and Sasithorn Panichnok) and the brother’s friend Toy (Yosawat Sitiwong) — who are journeying to their aunt, who it turns out lives on an island quite far from the urban trappings of civilisation. Other reviews I’ve seen have talked about the political references, but those are for people deeply embroiled in Thai politics and culture — as a lay viewer, I didn’t really pick up on much of that at all. Rather this feels like a spiritual quest in which several characters are challenged by their situation to find new ways of relating to one another and the world — or something of that nature. It’s also beautifully shot, with a graceful wandering camera which encompasses these characters, often in long sinuous takes. However, it requires a tolerance and patience for its slow cinema approach to unfolding the drama.

The Island Funeral film posterCREDITS
Director Pimpaka Towira พิมพกา โตวิระ; Writers Towira and Kong Rithdee ก้อง ฤทธิ์ดี; Cinematographer Phuttiphong Aroonpheng พุทธิพงษ์ อรุณเพ็ง; Starring Sasithorn Panichnok ศศิธร พานิชนก, Aukrit Pornsumpunsuk อุกฤษ พรสัมพันธ์สุข, Yosawat Sitiwong ยศวัศ สิทธิวงค์; Length 105 minutes.
Seen at Close-Up Film Centre, London, Thursday 27 September 2018.

The Invitation (2015)

The thing about devoting a week to American indie cinema of the last couple of decades is that it tends to cohere around a fairly self-contained representation of society, which is to say it’s very middle-class and white, with a lot of films about struggling post-university 20-somethings and relationship dramas. This is why I wanted to loop in more class-based dramas like Skate Kitchen which deals with a poorer subsection of the otherwise familiar New York City, and while today’s film is about well-off people having a talky social gathering, it does differ a least in tone as it increasingly moves towards horror. (Indeed, there’s actually a subgenre of “mumblecore” dubbed “mumblegore” and while this film isn’t that, it’s interesting to see the way that indie cinema has mutated and spread into genre filmmaking.)


Most horror films, I suppose, are based around the externalisation of fear as something which can attack you, but this one seems to be using grief instead. It’s about a man (Logan Marshall-Green) and his girlfriend (Emayatzy Corinealdi) who are invited to his ex-wife’s (Tammy Blanchard) for dinner, where their relationship history is revealed (not such a surprise, but affecting) and something else seems to start taking place. There’s a sense of it developing like one of those Buñuel films, except replacing gradually-mounting absurdism with terror. The director shows her assured control here: there are some great compositions and a slow-building tension that grips throughout.

The Invitation film posterCREDITS
Director Karyn Kusama; Writers Phil Hay and Matt Manfredi; Cinematographer Bobby Shore; Starring Logan Marshall-Green, Emayatzy Corinealdi, Michiel Huisman, Tammy Blanchard; Length 100 minutes.
Seen at home (Netflix streaming), London, Tuesday 2 August 2016.

Unexpected (2015)

Another filmmaker working in the same vein of improv and talky comedy-drama as Lynn Shelton and the “mumblecore” scene is Kris Rey (née Williams), credited at the time of this, her third film, as Kris Swanberg, given she was married at that time to Joe. I think it’s fair to say she has her own sensibilities, of course, which find good expression in this solidly-wrought and well-acted small ensemble piece.


I wonder if maybe the title is a joke, because really there’s nothing particularly surprising that happens here, but maybe I’m just becoming used to Cobie Smulders appearing in this kind of low-stakes gently-twee American indie/improv film (she was in Andrew Bujalski’s Results the same year, as well). That said, focusing on a pregnancy isn’t all that common a theme — outside jokey Knocked Up-type films about loser dads — and everyone does a good job. Smulders is a teacher, while Anders Holm has another of those smugly infuriating nice guy roles as her husband (he had a similar role in The Intern, again made the same year). The film loops in class concerns by having a parallel story of one of her black school students (Gail Bean) who’s in the same situation, though without Smulders’ race- and class-based privileges that she is entirely unaware of, and that’s really what the film is interested in exploring. It may not be challenging, but it’s sweet and pleasantly undemonstrative and after some of her former-partner’s works that can definitely be a very good thing.

Unexpected film posterCREDITS
Director Kris Rey [as Kris Swanberg]; Writers Megan Mercier and Rey; Cinematographer Dagmar Weaver-Madsen; Starring Cobie Smulders, Gail Bean, Anders Holm, Elizabeth McGovern; Length 90 minutes.
Seen at home (Netflix streaming), London, Thursday 15 September 2016.

The Fits (2015)

This isn’t a new film (and it took a couple of years to make it to London), but I wanted to fit it into my week of American films directed by women, as I really liked it. You can rent it on BFI Player or YouTube, and it’s well worthwhile, a really strong atmosphere piece.


At a superficial level there are similarities with the previous year’s The Falling, but this film is very much its own thing, and a striking debut at that. It deals with young women, part of their high school’s dance team, having fits, but actually that’s only one element, sort of an allegorical rendering of what we already see in lead character Toni’s story (played by the incredibly named Royalty Hightower). It’s really a film about fitting in, though initially I had yet another reading of the title, as I assumed it was about people who were just particularly into fitness (the pre-credits sequence is Toni doing sit-ups, and there’s a lot of repetition of exercise throughout). Indeed I’d say that one of the strong threads in the film is the idea that you can become good at something through repetitive practice (Toni starts out as not very good at dancing), and if sport and dance are the only things we see these kids doing at school, there’s an implication there too about their life options perhaps. What hooks me most though, the acting aside, is the filmmaking vision. The framing is very precise and there’s a minimum of shot-reverse shot sequences (several scenes have characters showing Toni something while the camera just look at her watching). I think this director has great promise, but most of all this is a compelling film about school, in an already crowded field.

The Fits film posterCREDITS
Director Anna Rose Holmer; Writers Holmer, Saela Davis and Lisa Kjerulff; Cinematographer Paul Yee; Starring Royalty Hightower, Alexis Neblett; Length 72 minutes.
Seen at ICA, London, Friday 24 February 2017.

तलवार Talvar (aka Guilty, 2015)

Today we sadly learned of the passing of the great Irrfan Khan, so I’m taking a break from this week’s theme on my blog to watch one of his performances; while this review below is unlikely to be of his best film, it’s still a decent crime investigation thriller in which he capably plays a slightly ambiguous character. Others have seen some of his higher profile films — of those, most in English, I’ve only seen Slumdog Millionaire (as well as smaller parts in Jurassic World and The Darjeeling Limited) — but I have enjoyed him in romcoms like Piku and the recent Qarib Qarib Singlle, and his career stretches back to a small role in Mira Nair’s Salaam Bombay! (1988). He’s an actor that seemed able to play both complex less than heroic characters (as in this film), as easily as likeable easygoing charmers. In any case, he’s usually the moral centre of the films he’s in, all too often playing authority figures we can trust (even if that reputation is played with at times, as with this film).


One of the difficulties Talvar has to get over, in presenting its true-crime torn-from-the-headlines case of a young girl found murdered in her family home near their similarly-slain servant, is that it was never really solved. And so we get, in the now-cliched Rashomon-like way, flashback recreations of multiple different viewpoints on what happened, with all kinds of ridiculous suggestions being put forth (some of them reported gleefully in public) by first the police investigators and then the “CDI” (Central Dept of Investigation) of whom Irrfan Khan’s Ashwin is leading the case. Even more than the criminal investigation, the film is keen to show how messy and disorganised India’s justice system can be, with incompetent cops and bosses who seem (it is implied) more interested in ensuring their old classmates are exculpated of any wrongdoing than in getting a satisfactory conclusion to the case. There’s a hint of Touch of Evil too in the way that Ashwin’s methods can be little better than torture at times — if he’s the hero of the film, he’s an antihero at best — but he’s still more impassioned than most of the guys milling around him, who are mostly looking out for their own careers or their friends. I think it works well, and it’s all very well put together, even if the film itself has a bit of a TV true-crime thriller feel at times; it nevertheless maintains a consistent tone, anchored by Khan’s empathetic performance.

Talvar film posterCREDITS
Director Meghna Gulzar मेघना गुलज़ार; Writer Vishal Bhardwaj विशाल भारद्वाज; Cinematographer Pankaj Kumar पंकज कुमार; Starring Irrfan Khan इरफ़ान ख़ान, Konkona Sen Sharma কঙ্কনা সেন শর্মা, Neeraj Kabi नीरज काबी; Length 133 minutes.
Seen at home (Netflix streaming), London, Wednesday 29 April 2020.

Films by Khalik Allah

Khalik Allah has built up a distinct style over a number of short films and now a couple of feature films — lyrical imagery of people at the bottom of the power structure, previously the down and out denizens of NYC street corners (of his early shorts and first feature), as well as the inhabitants of Jamaica in his most recent feature Black Mother and an earlier short. His filmmaking seems to have predated his photography, but having taken up the latter form, it has become integral to his vision as a filmmaker, it appears. Sound and image, in particular, are usually rendered separately in his films, often working together but sometimes juxtaposed to make points that photography itself cannot always do so successfully. His art feels particularly masculine, though even in the gritty urban portraits there’s a softness to his approach, an empathy so often lacking in such environments. He has also notably contributed to Beyoncé’s film Lemonade as a cinematographer. A number of his short films are available on YouTube, which is where I watched many of them and hence I’m fitting this post into my seen-on-YouTube themed week.

Continue reading “Films by Khalik Allah”