It’s interesting that Amma Asante’s debut film takes place entirely amongst white people (that is to say, people who look more like each other than — as the director said in a Q&A at the screening I attended — she looks like them), even if they find plenty of opportunity to sling racial slurs at one another (a Turkish character comes in for some particularly nasty abuse). In a modern climate of anti-immigrant sentiment, it’s clear this stuff has been growing for a while. Asante’s focus is on the small gang of friends in Cardiff, living with very little money and desperate to get by (by any means) — a way of life marked by teen pregnancy, drug use, petty crime, the usual. These are fairly depressing characters, and so it’s interesting that Asante finds some sympathy to them at times, though any short-lived moments of decency are always quickly overwhelmed by hate. I didn’t honestly like everything here — the music in particular seems ill-judged, and rather too redolent of 80s televisual plays. However, the largely non-professional acting is strong, and it seems to capture some of the intersecting ways of being an outsider.
SPECIAL SCREENING FILM REVIEW
Director/Writer Amma Asante | Cinematographer Ian Wilson | Starring Stephanie James | Length 93 minutes || Seen at Genesis Cinema, London, Tuesday 7 March 2017
I was actually in Beirut and Lebanon the week this was released in UK cinemas (well, in one cinema), and I can attest to the fact it’s a very small country — we did some travelling within the country and it only takes a few hours to drive across the width of the country, through the fertile Bekaa Valley towards the Syrian border (there are some very beautiful Roman ruins at Baalbek), and it can’t be that much longer north to south. It is also, not just relatively but by most measures, a very peaceful country.
Prior to the war in Syria, it had somewhere around 4-4.5 million people, with a fairly even mix of religions, but now there’s fully a third more just of Syrian refugees, most of them Muslim. Everywhere you go, you can clearly see these encampments, and Lebanese resources are stretched thin dealing with the issue. It’s not of course just Lebanon’s problem, though, and there’s one European aid worker in the film (Fritz) who is very clear about the way that the western governments (who have done little to mitigate the effects of war in Syria, and much to fuel it) are largely derelict in their duty of care to those displaced.
What Lost in Lebanon does is to humanise the issue through focusing on a handful of those displaced from neighbouring Syria. It’s not all gloomy — they are all trying their best to help their fellow refugees, to get involved with educating the children, and trying to find a diplomatic solution and a way to keep improving facilities — but the film captures very well the frustration, the sadness and even, at times, the rage. Nobody wants to live away from their home, especially when it’s so close you can practically see it at times, and certainly not as a virtual prisoner within another country, unable to move around or take a job or get further education or improve your situation. That said, the people in this film do their best to present a vision of relative normalcy in what is an unfortunate situation, and one can only hope that one day Syria will return to stability and peace, and that the people here are able to be involved in its rebuilding.
NEW RELEASE FILM REVIEW
Directors Georgia Scott and Sophia Scott | Cinematographer Sophia Scott | Length 80 minutes || Seen at Curzon Bloomsbury, London, Thursday 1 June 2017
A story of three Arab-Israeli women who live together in Tel Aviv, this at its best feels effortless and modern. The linchpin is Leila (Mouna Hawa), a lawyer and party animal who has a blithe abandon to living her life which is delightful to watch. Salma (Sana Jammelieh) is her lesbian housemate, an aspiring DJ who takes work in a bar and hides her sexuality from her traditional (Christian) parents. They take in Nour (Shaden Kanboura) as a houseguest, a cousin’s friend who wears a headscarf and has a more traditional Muslim family. Thus is the set-up for the rest of the film, and it’s a venerable one at that, mined for plenty of films and especially television sitcoms. I really wanted it to be more upbeat, but plenty of stuff happens to the three that’s not exactly cheerful (thanks, traditional religious cultures and the patriarchy), and it moves towards a very much downbeat denouement, as the three regroup — not without hope, but at least a little knocked back. Still, picking up on one of the most commonly cited comparisons (Girls), I’d happily watch an entire TV series about these women because their lives seem set to continue apace.
SPECIAL SCREENING FILM REVIEW: International Women’s Day
Director/Writer Maysaloun Hamoud | Cinematographer Itay Gross | Starring Mouna Hawa, Shaden Kanboura, Sana Jammelieh | Length 96 minutes || Seen at BFI Southbank (NFT1), London, Wednesday 8 March 2017
There’s almost a subgenre of documentary that deals with activist issues of social justice campaigning, and that’s very much the wheelhouse of the Human Rights Watch Film Festival. Complicit is a fine example, focusing on the global electronics industry, specifically their factories in South-Eastern China (on the Pearl River Delta). It’s not so much the sweatshop conditions here as the workers’ exposure to dangerous chemicals (benzene most notably, which causes leukaemia), a situation not really being tackled by the enormous global companies contracting out the work. The filmmakers here are canny to focus not on the Chinese government but on these companies in their (as the title suggests) complicity with human rights violations — though that complicity obviously extends to the audience also, those who use these electronic devices (a certain fruit-based designer is particularly targeted). It’s the stories of the workers, and their often futile attempts to get recompense from or to even be heard by the companies, which are the heart of the film.
SPECIAL SCREENING FILM REVIEW: Human Rights Watch Film Festival
Director Heather White and Lynn Zhang | Writer Christopher Seward | Length 82 minutes || Seen at Barbican Cinema, London, Monday 13 March 2017
At a certain level, this could be a documentary about the crippling environmental effect of a fast-spreading algae across an inland lake on the Texas-Louisiana border, by the town of the film’s title… Except it’s not really about that, it’s instead about a few of the town’s residents, men lost to the world and to themselves, just trying to get by, find meaning, abide. The film creates a deep atmosphere of damaged people trying to repair their lives, while in the background others try to save the lake by essentially introducing the kind of biological conflict the humans have been trying to move away from (weevils that attack the algae; violence permeates the film). Anyway it’s all beautifully shot, with some of the finest scenery you’ll see.
NEW RELEASE FILM REVIEW
Directors/Writers Ewan McNicol and Anna Sandilands | Cinematographer Ewan McNicol | Length 82 minutes || Seen at ICA, London, Thursday 16 March 2017
I hardly expected to like this. It looks like the kind of unadventurous, softly patriotic nonsense that leads to dull dirges like that Vera Brittain adaptation with Alicia Vikander in it whose title I’ve already forgotten (it’s Testament of Youth now that I look it up), or thin jaunts like that one with Bel Powley as Princess Margaret and a bunch of other less enjoyable people that I sort of half-remember the title of (A Royal Night Out, it turns out). Well anyway, I might actually remember the title of Their Finest because I generally found it to be superior, and though it’s hardly a film for the ages, it does have a spirited Gemma Arterton playing Catrin, a Welsh screenwriter, with a scene-stealing Bill Nighy as, um… Bill Nighy, I guess (he plays an actor). A love story is present (not with Nighy, I should point out), but it feels to me that this film is about more than the romance, even if there is a certain romanticism to the idea of wartime England. I was manipulated duly by the film, overlong as it was (and that despite an actual line in the film about movies ideally being an hour and a half long!), and I feel fine about it, for it was all very jolly.
NEW RELEASE FILM REVIEW
Director Lone Scherfig | Writer Gaby Chiappe (based on the novel Their Finest Hour and a Half by Lissa Evans) | Cinematographer Sebastian Blenkov | Starring Gemma Arterton, Bill Nighy, Sam Claflin | Length 117 minutes || Seen at Curzon Victoria, London, Sunday 7 May 2017
In telling the story of a South Korean woman who travels to the North (via her German citizenship; it’s a German-produced film) and makes a documentary there, this film seems to know it hardly need do more than just point a camera and bear witness to a still largely-unseen society. The North Koreans we hear often brim with enthusiasm (for the cause, for their fellow citizens, for possible reunification one day, for their leader), their daily rituals filled with songs and dances — almost all of them mentioning their dear political leaders, present and past — but the director doesn’t mock or belittle them. It’s more a frank testament to the people she encounters in various places — not just Pyongyang but a smaller city on the coast, and rural settlements where people farm the land. There’s some of that same spirit that Joris Ivens captured in How Yukong Moved the Mountains (albeit that was about the Chinese Cultural Revolution). There’s also a simplicity to the style — lots of slowed-down tracking shots, beautiful landscape and skyline photography, interviews between director and workers. We get a sense of some of the way people live, in so far as we are allowed to perceive it directly. Quite how accurate it is may not be knowable but it’s a fascinating document nonetheless.
NEW RELEASE FILM REVIEW
Director Sung Hyung Cho | Cinematographers Julia Daschner and Thomas Schneider | Length 90 minutes || Seen at Curzon Bloomsbury, London, Monday 8 May 2017
As a film about guilt and grief, those mainstays of the low-budget indie drama repertoire, this does better than many films. It gets into the character of Clover (Ellie Kendrick) very well, as we get to understand her relationship to her father Aubrey (David Troughton) and recently deceased brother better over the course of its taut running time. There are thriller elements as she slowly gathers the information about her brother’s last days and hours, but there’s also an almost documentary interest in the day-to-day running of her dad’s farm, from which she left (or was forced out) to go to university. The acting has a peculiar way about it, perhaps from the screenplay, and to me it all seems a bit too stagy, deliberate and careful, but those are positive attributes in the editing and pacing of the film, which remains quite beguiling. I’ve seen a lot, lot worse films in this vein.
NEW RELEASE FILM REVIEW
Director/Writer Hope Dickson Leach | Cinematographer Nanu Segal | Starring Ellie Kendrick, David Troughton | Length 83 minutes || Seen at Curzon Bloomsbury, London, Saturday 13 May 2017
For a film that’s been controversial in its native country (though I gather it’s more to do with politics external to the film itself), and for one with an 18 certificate, this isn’t quite what I expected. Primarily it’s that the tone is so unhurried, and lacking in melodrama. It’s a quiet film that takes its time to observe the elderly Clara as she lives her life by the beach in an upscale area of Recife. Recounting the plot (her desire to stay where she is leads to conflict with the building’s owners, who want to redevelop the site) suggests a kind of film that this really isn’t. Through this pleasant miasmatic haze of beachfront living there are periodic little breaks — tiny brief shots that jolt the audience: a body being disinterred, a baby which has messed itself being cleaned, some graphic sex — but these are just hints at the direction perhaps a flashier more insecure director might have gone. This is a character study, and a very fine one.
NEW RELEASE FILM REVIEW
Director/Writer Kleber Mendonça Filho | Cinematographers Pedro Sotero and Fabricio Tadeu | Starring Sônia Braga | Length 140 minutes || Seen at Curzon Bloomsbury, London, Wednesday 29 March 2017
Perhaps going in with low expectations from some decidedly lukewarm reviews helped, but I ended up really rather liking this story of confused identity. It’s an emotive subject matter (mix-ups at birth have been the subject of several good films) but the film doesn’t wring it out for melodrama. That said, I found it affecting (in a low-key way) and the lead character Pierre’s clash with his new family to be quite moving. The gender fluid identity issues — specifically the believability of his emotional journey (and I use the masculine pronoun because that’s the one used in the film by the character, played by Naomi Nero) — aren’t an area I can really comment on, but although they do seem to be a reflection of deeper familial divisions being explored, it doesn’t feel like they are being deployed exploitatively, though of course I’d be keen to read some trans opinions. What I’m left with is the lead actor’s defiance of normative expectations about his behaviour, and the seething undertow of anger from his birth father, though the film ends with a touching moment of emotional openness.
SPECIAL SCREENING FILM REVIEW: BFI Flare Film Festival
Director/Writer Anna Muylaert | Cinematographer Barbara Alvarez | Starring Naomi Nero | Length 82 minutes || Seen at BFI Southbank (NFT2), London, Friday 24 March 2017