Visages villages (Faces Places, 2017)

Agnès Varda made a lot of documentaries, and her final one, Varda by Agnès (2019), was the most direct film to deal with her own work. However, this penultimate film — while ostensibly being about pseudonymous French street photographer and sort-of-graffiti artist JR — is about her own practice as an artist in some way, or at least captures something of the spirit she brought to her feature filmmaking.


This is a sweet film in much of the way of Varda’s documentary works (a lot of which are extras for DVD releases, and all of which are worth watching), a very self-consciously confected tale of two people meeting and collaborating on artworks across a series of small French villages. JR’s art seems to involve photographing people and pasting them on buildings and other large-scale public spaces, which is fairly whimsical, and then there’s a made-up meet-cute and they hit the road in a picaresque tale of encountering small-town people on their level and then (very literally) aggrandising them. I’d feel weird about seeing myself on walls, but most of the people here don’t, and perhaps that’s Varda’s power. She is so sweet but always there’s that slight undercurrent of shade, such as hinting at JR being a Godard-like figure and then revealing later that Godard is a bit of a pr!ck (or a lot of one, though she’s quite nice about it). It ambles along amiably enough as a film, and perhaps that’s all any film needs.

Faces Places film posterCREDITS
Directors Agnès Varda and JR; Writer Varda; Cinematographers Romain Le Bonniec, Claire Duguet, Nicolas Guicheteau, Valentin Vignet and Raphaël Minnesota; Length 89 minutes.
Seen at Curzon Bloomsbury (Bertha DocHouse), London, Sunday 16 September 2018.

Journey’s End (2017)

War films of the last few years have understandably been focused more on World War I, given its centenary, as does the new release 1917. I’ve hardly been following all of them (though I wasn’t a huge fan of Testament of Youth, to take one example), but one of the strongest was this film based on a 1928 play. It has a stagy feel to it, but set in the trenches that feels somewhat appropriate.


I was taken along to see this war film, and honestly had no expectation of liking it (it’s not a film or a genre I would have sought out otherwise), but it’s a really solidly mounted, excellently acted character study of men under duress in World War I. When I say solidly mounted, I mean it looks like a film with a big budget, but I expect it didn’t have that — I suppose it helps that it’s set largely in the trenches, but it never feels cheaply done. It really helps too to have acting as good as Paul Bettany gives here (and of course Toby Jones is no slouch either), and the whole project is immensely lifted by the way he plays his character: genial, world-weary, not given to false optimism, but never defeated by the grinding awfulness of the men’s lives. (We see a fair bit of that.) And when I say it never feels cheap, I mean too that it’s not prone to being overly sentimental — there are opportunities for tears (I found the letters home particularly poignant), and many of the men are emotional enough on screen — but it eschews the orchestral in favour of a cleanly minimal score, and it’s the telling moments of class divisions and generational conflicts that are among the most interesting bits.

Journey's End film posterCREDITS
Director Saul Dibb; Writer Simon Reade (based on the play by R. C. Sherriff); Cinematographer Laurie Rose; Starring Sam Claflin, Asa Butterfield, Paul Bettany, Tom Sturridge, Toby Jones; Length 103 minutes.
Seen at Vue Piccadilly, London, Wednesday 22 January 2018.

Nervous Translation (2017)

I’ve covered Filipino mainstream romcom films directed by women, and also a personal essay film, but this is a tender indie festival drama about a young girl growing up in the 1980s, an impressive film from a new director who has made a couple of period dramas so far this decade.


In many ways this is quite a wonderful film, in the way it focuses on a child’s point-of-view without being cute or sentimental, and sets it in a period (the 1980s) without overreliance on reducing that era to a series of easy cliches. Yael (Jana Cassandra Agoncillo) is a quiet, slightly lonely child who listens to tapes sent by her father from Riyadh, and there’s a growing sense throughout of why he’s there and what’s going on with the family, but it’s never fully developed because the point-of-view remains rooted in the young girl. This means that while it can be frustrating not always knowing quite what’s going on, there’s a really consistent and beautifully evocative sense of atmosphere, with a precise use of camera and a sure visual sense suffusing the whole piece.

Nervous Translation film posterCREDITS
Director/Writer Shireen Seno; Cinematographers Albert Banzon, Jippy Pascua and Dennese Victoria; Length Jana Cassandra Agoncillo, Angge Santos, Sid Lucero; Length 90 minutes.
Seen at home (Mubi streaming), London, Friday 31 May 2019.

Two Filipino Romcoms Directed by Women: That Thing Called Tadhana (2014) and I See You (2017)

There actually seems to be a large number of Filipino films directed by women, especially along the more commercial, mainstream end of film production. A swathe of comedies and romcoms have filtered through, in particular, to Netflix and much of them have a light, fluffy tone and likeable lead actors (who may be the same ones as we see in the serious arthouse festival dramas, but playing much different characters). Some are fairly tedious in the way of such films, but there are plenty which reward viewing and provide a rather likeable distraction from some of the more serious artfulness we associate with the Philippines and its cinema.

Continue reading “Two Filipino Romcoms Directed by Women: That Thing Called Tadhana (2014) and I See You (2017)”

嘉年华 Jia Nian Hua (Angels Wear White, 2017)

Following my review of Dead Pigs earlier today, another recent Chinese film to make waves, and not just because it was the only film directed by a woman in competition at the prestigious Venice Film Festival in 2017, is this one, Angels Wear White. In it second-time director Vivian Qu challenges sexually predatory men within Chinese society, part of what is implied to be wider corruption at the heart of the society, and a welcome challenge no doubt.


There’s a lot of discussion these days (and rightly so) about the destructive effect of sexual violence within patriarchal and authoritarian power structures can have on young women, and this film is a fine example of a situation in which institutional deficiences fail the people society is supposed to protect. It sets up a scenario involving a number of characters, each of which has their reasons for overlooking or excusing a horrific crime (the rape, not seen on camera, of two young girls by a corrupt police official). In many ways this is the same setup as another film I saw in the London Film Festival the same year (Beauty and the Dogs) but it’s done far more sensitively to my mind. The girls’ point of view is necessarily laconic, but we see their parents find reasons not to press charges, preferring to think about payouts and education in an area deprived of resources for this, while another strand follows a witness to the crime: a slightly older girl who has similarly been mistreated, having run away at a young age and is now living without the necessary government ID required to receive any support, doing menial cash jobs for little reward. In many ways she represents the younger girl a few years later, having toughened up and run away to a bigger city, but still prey to predatory men hanging around, offering the basic necessities of life in exchange for money or favours. It’s a corrupt society, no mistake, only exacerbated by the literally enormous metaphor of female sexuality on high heels that stands overlooking the seaside resort where it’s set.

Angels Wear White film posterCREDITS
Director/Writer Vivian Qu 文晏; Cinematographer Benoît Dervaux; Starring Vicky Chen [or Wen Qi] 陳文淇, Zhou Meijun 周美君; Length 107 minutes.
Seen at Curzon Soho, London, Thursday 18 October 2018.

团鱼岩 Tuan Yu Yan (Turtle Rock, 2017)

There are no shortage of challenging documentaries about Chinese history (such as last year’s Dead Souls), many of which get a little bit too political for the Chinese state. However, films like Turtle Rock take a less overtly political viewpoint in tracking the rhythms of life in a small Chinese village. (NB Although the main credited director, Xiao Xiao, is a man, the co-director/producer is a woman, Lin Lin, hence my use of the ‘directed by a woman’ tag and inclusion on related lists.)


There’s such an enormous range of documentaries in the world, it’s ridiculous to put this in even the same category as something you might find hyped on Netflix. In its textures and its setting, this is far closer to a filmmaker like Lav Diaz — it is, after all, very much in the vein of ‘slow cinema’, with long tracking shots in lush black-and-white, with very little in the way of narrative to drive it. That said, it’s not boring: it presents this small mountainous village (where the director grew up), the rhythms of daily life and ritual, the gossip amongst the inhabitants, and little vignettes of their existence. Bamboo cropping early on provides the indelible sight of these enormously long stalks being carried precariously by a man and woman to a truck in the background, but the film manages to find wonderful images throughout, whether misty vistas or close-ups on pets, looming haggard faces crunching through nuts, or a woman chopping up garlic and chillis while haranguing an unseen neighbour about his poor tiling skills. It tends to avoid any overt political commentary aside from the postscript that this community had been formed many generations ago by those escaping mid-20th century war, and one imagines there have been many hardships over the intervening years, but people in the film seem to be getting along just fine without much of the modern world.

Turtle Rock film posterCREDITS
Directors Xiao Xiao 蕭瀟 and Lin Lin 林林; Cinematographer Xiao; Length 101 minutes.
Seen at BFI Southbank (NFT3), London, Monday 21 January 2019.

The Beguiled (2017)

Sofia Coppola’s career has taken in a lot of hothouse environments of young women, guiding and socialising with one other largely independent of men, from her debut feature The Virgin Suicides. Her 2017 feature, from a novel already adapted in 1971 by Don Siegel, received a lot of criticism at the time for its elision of Black people in its southern US Civil War-era story, and there may of course be merits to those criticisms but there are other films that deal with these events, and Sofia Coppola is probably not the best-placed director to do justice to such themes. Instead, it takes the setting as a backdrop for another of her stories about young women’s coming of age, in difficult circumstances.


Sure, there are plenty of valid criticisms you could make, but I like Sofia Coppola’s work and I like what she’s doing with this film. A group of women isolated from their country and society isn’t exactly new territory, and if it’s not quite the masterpiece that The Bling Ring (2013) and Marie Antoinette (2006) were, it’s still very assured. Beautiful cinematography turns on a tightly judged acting performance from each of the women (and Colin Farrell), in which allegiances and sympathies shift markedly with only very subtle changes in the relationships (until it becomes less subtle and then the film just ends, rather swiftly). I don’t know if it says anything really about the period of the Civil War-era America or the end of the antebellum South, but I would venture that it’s more about sex and desire in a cloistered environment.

The Beguiled film posterCREDITS
Director/Writer Sofia Coppola (based on the novel The Painted Devil by Thomas P. Cullinan); Cinematographer Philippe Le Sourd; Starring Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning, Angourie Rice; Length 94 minutes.
Seen at Living Room Theaters, Portland OR, Friday 30 June 2017.

Professor Marston and the Wonder Women (2017)

One of the more overlooked biopics of recent years was about the creator of the Wonder Woman character, which was released to capitalise on the DC Comics tie-in movie, but explored very different territory. It’s a lovely evocation of an era, and of unconventional sexuality which comes under misguided public scrutiny.


I love a good love story, and this one may namecheck its Harvard professor (played by Luke Evans) in the title, the creator of the Wonder Woman character, but it’s really about the two women in his life, Elizabeth (Rebecca Hall) and Olive (Bella Heathcote). As a piece of filmmaking, it’s every bit as burnished and handsomely mounted as any other period biopic (Hidden Figures say), but where it excels (like that film) is the quality of the performances, particularly that of Rebecca Hall, who is fantastic as Elizabeth, moving convincingly through a range of emotional responses over the course of her character’s life, as I did while watching her and this film. Solid, humanist stuff capturing something about the power dynamics in relationships — however unconventional this one may have been.

Professor Marston and the Wonder Women film posterCREDITS
Director/Writer Angela Robinson; Cinematographer Bryce Fortner; Starring Luke Evans, Rebecca Hall, Bella Heathcote; Length 115 minutes.
Seen at Odeon Leicester Square Studios, London, Sunday 12 November 2017.

Films by Kevin Jerome Everson

Kevin Jerome Everson has been working for fewer than two decades but has already amassed a prodigious body of work, including a huge number of short films. A number of his features and a few short films were presented online as part of a retrospective on Mubi in 2018, which introduced this filmmaker to my attention. Clearly he has his themes and his interests, but with so many films it’s difficult to give more than a hint at his distinctive style.

Continue reading “Films by Kevin Jerome Everson”

Two 2017 Films Directed by Expatriate Iranian Women: They and Gholam

Iranian cinema may have its own domestic identity, but plenty of creative talents from the country have been nourished overseas, in exile (whether formal or self-imposed) from their home country. Women like Mania Akbari or Ana Lily Amirpour have become quite well-known in their respective areas (whether visual art or genre cinema), and there are several others who have had some success. I focus on two below who made films in 2017.

Continue reading “Two 2017 Films Directed by Expatriate Iranian Women: They and Gholam”