The topic of resistance includes not only stories about revolutionaries but the stories of their legacy and influence, particularly on their children. These two films are about two such children, who may have grown up either surrounded by conflict and in the often painful absence of their parents (as in the Palestinian story of What Walaa Wants) or, at the other extreme, in complete ignorance of their parents and revolutionary activities, having begun a new life in exile away from those traumas (as with the Iranian daughter of revolutionaries living in Germany, in Born in Evin). Neither film can be entirely satisfactory, because it feels like two people grappling with uncertainty about how to exist in the world, given these backgrounds, but both are illuminating about the generational nature of resistance and trauma.
One of the primary ways in which I tend to use YouTube is as a resource for watching short films, which are often ill-served by other platforms (whether online streaming services or physical media, not to mention film festivals and cinematic screenings, or even TV). Whether that’s catching up on the work on the LA Rebellion’s women filmmakers, random recommendations like Possibly in Michigan, the short films that feature on Jonathan Rosenbaum’s favourite 1000 films list (one of which, Adynata, I review below), some short films littering the lower depths of Kristen Stewart’s filmography (I can’t bring myself to review them here though I pondered doing a post), or of course music videos, amongst other ephemera. There’s a lot there to enjoy, and I expect if I do future posts about short films, YouTube will be a key resource.
If there’s one thing that Netflix is most commonly criticised for, it’s the relentless focus on the new. If you want old films generally you go to other places, like the Criterion Channel or TCM (if you’re in North America), or Mubi, or even Amazon Prime. Still, you can sometimes find some vintage classics on Netflix, and that’s the film I’m covering today, because yes the year 2000 is now a good 20 years’ away in time. I should mention, as an aside, I have not read nor at this point would I read the original novel on which this was based; it has its adherents, but I don’t think I need to welcome the voice of Mr Ellis into my life.
For Christmas Day, my wife and I watched this film, what I would now consider a modern classic (and almost a Christmas film itself), though I’m not sure I was quite so sold on it when I first saw it almost 20 years ago. If anything, I think age has only made the satire sharper and more resonant, though the core of the film remains the monologues of Patrick Bateman (Christian Bale), often critiquing popular music of the era, which he delivers in a completely straight way that only heightens their comic impact. For me the key thing the film does is blur the line between what’s actually happening and what’s in Bateman’s head, to the extent that it’s never clear where anything lies as the film progresses. It’s a film about the opulent allure of specifically American wealth creation, and a nasty dissection (as it were) of all the flaws inherent in corporate consumerism, about the way it turns society against itself, and leads to the murderous psychosis that’s at the film’s heart, and which it very clearly links to the functioning of American capitalism itself. Plus, it’s beautifully shot and acted. I wonder that Mary Harron never again had a chance to emulate its success, but this film at least stands as proof of her talent.
Director Mary Harron; Writers Harron and Guinevere Turner (based on the novel by Bret Easton Ellis); Cinematographer Andrzej Sekula; Starring Christian Bale, Willem Dafoe, Jared Leto, Samantha Mathis, Chloë Sevigny, Reese Witherspoon; Length 101 minutes.
Seen at Embassy, Wellington, Saturday 9 September 2000 (and most recently on Netflix streaming at home, London, Wednesday 25 December 2019).
Hello and belated greetings to a new week. I got back from holiday and had my first day at work yesterday (Monday) so I failed to put a post up. Now I’m working from home, and may be for a while. This week’s theme is ‘films available on Netflix’ (and probably all directed by women). Maybe in future weeks I will cover other online streaming services. “But why now?” I hear you ask. “Why would you do a themed week about films available to watch online?” Well, I shall leave that for you to guess. I’m going to start with one of the most impressive little indie films from the last year, with a resonant title.
This isn’t a particularly showy film, though it does some things that other films make a big deal about. For a start, it’s shot like a Dardenne brothers film, in these long sinuous handheld shots, moving with people almost continuously, with very few perceptible cuts. However, the subject matter isn’t particularly aggrandising, as instead it deals with the aftermath of domestic violence, about one (professional, middle-class) woman, Aila (played by one of the directors, Elle-Máijá Tailfeathers), helping out Rosie (Violet Nelson), a poorer, pregnant woman she finds standing barefoot in the rain with a bruised face. Both are of First Nations origins, although that doesn’t necessarily help them get along — class seems to be the more evident dividing line, and Rosie finds it difficult to feel comfortable in the situation. The film is about trying to find some truth in these circumstances, of how difficult it is for those who are abused to accept help, and how difficult it is for those who want to give it, to accept that it may not always be wanted. The film journeys into a lot of difficult emotional terrain, and I think it’s a credit to the film that nothing is resolved easily. However, there’s a grace to it, and a sustaining power of just witnessing peoples’ lives and perhaps learning what it is to be helpful in such circumstances.
Directors/Writers Elle-Máijá Tailfeathers and Kathleen Hepburn; Cinematographer Norm Li; Starring Elle-Máijá Tailfeathers, Violet Nelson; Length 75 minutes.
Seen at home (Netflix streaming), London, Sunday 1 December 2019.
My Asian diaspora film week is drawing to a close and I just belatedly remembered the films of Mina Shum, her three most well known of which I only recently caught up with. Although born in Hong Kong, she has lived and worked in Canada almost her whole life, and resists the “Chinese-Canadian director” label, which is quite understandable. Obviously I wish that my little themed week were able to present with more rigour all the different ways it’s possible to work and present identity, but really it’s just a bunch of films I quite like that are made by or deal with ideas of being identified as Asian outside of that part of the world. In several of Shum’s films, and all the ones here, one for the last three decades, she’s worked notably with Canadian actor Sandra Oh, who’s been having something of a career lift recently, though she’s been doing great work in films for years (I’ve reviewed 1998’s Last Night on my blog already, for example).
I have to admit that some of my film choices in watching Australian cinema (or indeed, a lot of older cinema) are driven by what’s in the collections at my local DVD rental store, Close-Up — yes we still have one in London, and when I say “local”, I mean that it’s the only one (so far as I’m aware) in the city. It has a pretty diverting selection, but it also means I can’t claim any comprehensive overview of the development of the national cinema, which would in any case surely be beyond the purview of a video shop halfway around the world. Still, there are a few interesting titles, including a number of films directed by women, some of which — as these ones do — show their age a little bit. The early-2000s, after all, does feel like a hangover from the 90s.
Like so many in the region, Libya is a country with a troubled recent history, and so there has been little filmmaking as such from there. The documentary I cover in the review below is therefore primarily a British production by a British woman director (whose father was from Libya), and takes an unusual subject matter: women involved in sport. In that respect, it recalls for me the recent Canadian-Palestinian documentary Speed Sisters (2015).
Like a lot of documentaries this was a labour of love over many years with a lot of disparate sources of funding, but it remains a portrait of modern Libya as told through the stories of women on a Libyan football team (not really the national squad, exactly, because there’s little enough recognition for women’s football, but they might as well be). The strength of the movie — again like a lot of documentaries — is in its subjects, who come from a broad range of backgrounds, from well-educated middle-class daughters of prominent conservative families, to ones from various parts of the country covering differing ethnicities and backgrounds. One even hails from what is now a ghost town, from which its entire population was displaced due to conflict.
They are united by sport, perhaps, but maybe more by the desire for a different future, and of course we see a bit of the country’s political turmoil in the background — online images of conservative clerics, news footage of fighting and fires and revolutionary change — while the intertitles date the footage from the “Libyan revolution” (in this case, the civil war of 2011), but the film remains focused on the women. They express themselves on the field, and in rides with the director in their cars, where they sing along and eat ice cream and generally get to speak out more freely. That’s perhaps part of what the title is alluding to: this isn’t just about football (in fact, it’s not until quite late in the film that we get to see them actually competing), but about women’s liberation more generally, a struggle that’s ever continuing, especially in Libya.
Director/Writer/Cinematographer Naziha Arebi نزيهة عريبي; Length 97 minutes.
Seen at ICA, London, Thursday 11 October 2018.
I had this idea that I watched this film with my stepbrothers when I was a kid, but if I did I certainly didn’t get it at the time (nor do I remember any of it upon rewatching so I may just be imagining it). However, as a result, I’ve probably spent more of my life than is reasonable believing I wasn’t really ‘into’ David Cronenberg’s brand of body horror combined with media satire. That said, I’ve seen plenty of his films since, and I’ve liked most of them quite a lot, but yet still retained some core of that original belief, perhaps modified somewhat into some idea that he’s just an outré auteur who panders to horror-soaked fanboys’ wet dreams… and clearly — look, you all know this already — but I’m wrong.
Videodrome looks from the outside as something nasty and exploitative, but it feels more like an advance warning from a Nostradamus of the early-1980s about everything we have in our culture now. The technology may look a little clunky but the effects still hold up really well. It’s the kind of film that you probably need to rewatch a number of times to figure out its particular configuration of the televisual exploitation of sleaze, sex, sexual violence and depravity, the way that links to notions of masculine performance (James Woods, who nowadays probably really is that guy he’s playing here, hallucinates a literal vagina opening across much of his torso), added to which there’s the fetishisation of videotapes. There are also so many layers of hallucinatory dream life that it stops being clear what’s real and what’s just in the head of Max/Nicki/Prof O’Blivion/Cronenberg/whoever else might be imagining this stuff.
In short, it opened up my head like Barry Convex’s in this film, and I don’t know if I can be the same again. The 1980s was the decade of Cronenberg, no doubt.
FILM REVIEW: Criterion Collection
Director/Writer David Cronenberg; Cinematographer Mark Irwin; Starring James Woods, Debbie Harry, Sonja Smits; Length 89 minutes.
Seen at home (Blu-ray), London, Monday 6 May 2019.
I’m going to kick off my (hopefully regular) Wednesday series on women filmmakers with the one to whom I’ve most recently been introduced, courtesy of the streaming platform Mubi, whose canny programming has brought my attention to a number of directors I’d never previously encountered. Latin American cinema, in particular right now, seems to be booming with talented women directors, and in that regard one may look to the career of Argentinian director Lucrecia Martel, who came to prominence at the turn of the millennium with La Ciénaga (2001), and about whom I shall undoubtedly write in coming months. She is hardly the first woman to direct films in the Latin American world, but she is among the most rigorous and visually precise of all active filmmakers in the region, and one of the foremost (and most championed) auteurs in the world, I would say. In her wake there has been no shortage of excellent films by women working in the cinemas of Mexico, Chile, Venezuela, Brazil and Peru, amongst others.
I worry that this is a film for those who like to vaunt the magisterial status of author William S. Burroughs, or who laud the cinematically outré and self-consciously cultish qualities of David Cronenberg as director — and I assume many of the same people will rep for Fear and Loathing in Las Vegas (Gilliam and/or Thompson) in many of the same ways, or perhaps something out of the filmography of David Lynch. For this is a film about being a writer as well as a habitual user of narcotics, and is made with an attendant kind of insane dream logic that leads to hallucinatory bugs-as-typewriters who speak through anus-like holes and set up complex plots in alternate worlds (the Interzone) that touch as much on Burroughs’ own life (his well-known murder of his spouse for one) as on any kind of verifiable reality. Peter Weller is a capable straight man for this carnivalesque creepshow, which has some of the qualities of Paul Verhoeven’s Total Recall (maybe I’m thinking of the prosthetics) and a typically Gilliam-esque crowded mise en scène, while of course the spirit of Kafka seems to hover over it all… and if any of these swaggering artistic men do not thrill you, then perhaps this is not the project for you.
FILM REVIEW: Criterion Collection
Director/Writer David Cronenberg (based on the novel by William S. Burroughs); Cinematographer Peter Suschitzky; Starring Peter Weller, Judy Davis, Ian Holm, Roy Scheider; Length 115 minutes.
Seen at a friend’s home (DVD), London, Monday 16 July 2018.