Dreamcatcher (2015)

The British documentarian Kim Longinotto is clearly used to making films with relatively few resources, which is somewhat apt, given her subjects are so often those (primarily women) who are systematically excluded by structures of control and discourse. (Even her archival compilation earlier this year Love Is All touches on these themes, while otherwise seeming rather unlike the rest of her output.) Still, for all this, her latest work Dreamcatcher is never anything less than immaculately crafted, and follows the story of a woman called Brenda, who runs an outreach programme named the Dreamcatcher Foundation. The programme focuses on helping women working the streets of her area of Chicago, a life that Brenda grew up in, and it’s her story and those of the women she meets that form the backbone of the documentary. In a sense, it’s not really about prostitution though, but about the ways in which a climate of abuse and poverty can narrow life choices to such a point that hope can seem elusive, and it’s alleviating that particular problem which the Foundation focuses on (Brenda’s paid day job is working in a women’s prison). Brenda is not only seen driving around the streets of Chicago by night, but also working with troubled kids at a local high school, at her prison job, and at home — which is where we really see the struggle it can sometimes be for her to maintain her fearless public persona (sometimes just through small humanising moments like her looking for the right wig to wear that day). Despite the treacly sentiment that the poster’s tagline suggests, both the filmmaker and Brenda steer clear of judgmentalism or preaching (there’s very little reference to religion, for example), and thanks to this focus on Brenda and some of the more articulate women she works with and helps, the film steers clear of the kind of doomy pessimism you might expect given some of the heartwrenching stories of childhood abuse and neglect that are recounted. There’s certainly plenty of such material to give one pause, but it’s the focus on doing small things to help improve her community that makes the documentary well worth catching.


© Dogwoof

NEW RELEASE FILM REVIEW
Director Kim Longinotto | Length 104 minutes || Seen at BFI Southbank (NFT1), London, Sunday 8 March 2015

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LFF: Jenseits der Straße (Harbour Drift, 1929)

BFI London Film Festival 2013 This is the first film I saw at the 2013 BFI London Film Festival, aside from the preview screening of The Epic of Everest (1924), and I shall be presenting relatively short reviews of the films I saw at the Festival over the next week or two.


FILM FESTIVAL FILM REVIEW: London Film Festival || Director Leo Mittler | Writers Willy Döll and Jan Fethke | Cinematographer Friedl Behn-Grund | Starring Lissy Arna, Paul Rehkopf, Fritz Genschow | Length 94 minutes | Seen at BFI Southbank (NFT1), London, Sunday 13 October 2013 || My Rating 4 stars excellent


© Prometheus-Film

Film history has a tendency to memorialise only a few films as exemplars of passing trends and styles. In part this is due to the demands of film history texts, which can hardly include everything, but also reflects the way that certain films are more easily categorisable. The so-called “German expressionism” of the 1920s has its Das Cabinet des Dr. Caligari (The Cabinet of Dr Caligari, 1920) and Metropolis (1927), while Die Büchse der Pandora (Pandora’s Box, 1929) is often recalled for its star Louise Brooks’s style. In the absence of a stand-out star or a definable style, perhaps Jenseits der Straße (literally “Beyond the Street”; the origin of the more common English language title is obscure, presumably relating to its dockside setting, much of it filmed in Rotterdam) has fallen through the cracks in film history. Or maybe, as is the way with a lot of silent films, it just didn’t really exist in a physically viewable version for critics and viewers to discover until this recent restoration. A lot of films have dropped out of film history that way, too. In any case, it deserves to be reinstalled as a classic of the Weimar cinema of Germany and as one of the great silent-era films.

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Foxy Brown (1974)


FILM REVIEW || Director/Writer Jack Hill | Cinematographer Brick Marquard | Starring Pam Grier, Antonio Fargas | Length 94 minutes | Seen at home (Blu-ray), Thursday 5 September 2013 || My Rating 2.5 stars likeable


© AIP

I’m by no means an expert on the so-called ‘blaxploitation’ genre, but this particular title seems to get a lot of play in popular culture. Quentin Tarantino, after all, sampled the title character’s name — not to mention its actress, Pam Grier — for his own Jackie Brown, and generally Foxy is considered an icon of embattled black femininity striking back at an unjust system. Yet for all the rhetoric around it, the film itself is a rather sleazy little piece of low-budget exploitation cinema, as is perhaps hardly surprising.

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Vivre sa vie: film en douze tableaux (My Life to Live, 1962)

“God knows where He leads us but we know not the path of our journey.”
“Deliverance?”
“Death.”

— Carl Theodor Dreyer, La Passion de Jeanne d’Arc (The Passion of Joan of Arc, 1928)

After he’d got his start in feature filmmaking with À bout de souffle at the age of around 30, Godard maintained a prodigious output, through all his many phases. This film, known variously in the English-language world as My Life to Live or It’s My Life, came just a couple of years after his debut but already he’d made two features and a short film, and his 1960s output would be sustained at two or even three features a year thereafter.

Formally — and, as flagged in its very title, it is very much concerned with form — Vivre sa vie is a provocation. The structure is 12 chapters (“douze tableaux”) which are each set out with an intertitle featuring, as in a screenplay, a description of the setting, but also a laconic précis of what will happen. If this strategy means to flag the film up as a constructed work of fiction, then the viewer is left in no doubt by the distancing tactics in the first scene proper, which presents a conversation between the protagonist Nana (Anna Karina) and her husband Paul from the backs of their heads (first hers then, at length, his). It’s a bold aesthetic choice, which is carried through to the rest of the film (and shows up increasingly in Godard’s later films), though it happens we’ve already seen Karina’s face, first in profile, then head on, and then profile from the other direction, beneath the opening credits. It’s a hint that whatever else the film might deal with, it’s above all interested in Karina — yes, at some level with her character Nana, but also Karina as both an actress and as a wife.

Karina was Godard’s first wife and their marriage was quite recent when the film was being made. Indeed, with such a tireless work ethic, it’s no surprise perhaps that the feelings and issues Godard was dealing with in real life should have suffused the films he made. If certain aspects of his use of Karina do not reflect well on his opinion of her — she is one of the first of his central characters to play a prostitute, and far from the last — there’s still plenty of self-criticism too. The men in her life are ineffectual and treat her with barely-suppressed contempt: the final sequence is shocking as much for the off-handedness with which it unfolds as for its outcome. Godard and his cinematographer Raoul Coutard hold Karina at the heart of the film and if the narrative keeps the film at a studied distance from the audience, the camera certainly doesn’t do likewise for Nana. She rarely gets the chance to escape the camera’s gaze, in fact — the camera loves her, or at the very least is fascinated by her. In this, she is like Renée Falconetti in La Passion de Jeanne d’Arc (1928), Dreyer’s great silent film about Joan of Arc shot in disorienting close-up, which Nana goes to watch in a cinema. At the same time, she is in a sense trapped (as a character into prostitution, as an actor by the camera) — during the sixth ‘chapter’, shortly after falling into prostitution, Karina/Nana looks directly at the camera with a haunted look. Like Joan, Nana is a doomed icon, filmed in evanescent black-and-white.

Nana’s move into prostitution is never precisely explained — she asks several people early in the film if she can borrow 2000 francs, she is seen running from her landlords, and speaks of getting work as an actress — but ultimately the prostitution theme seems more a part of Godard’s interest in commodification. The quotations he uses and the narrative influences he takes (Brecht is only the most prominent in this film) just foreshadow his later decisive move into overtly political filmmaking (his late-60s and 70s work engages with a Marxist-Leninist dialectic). It’s all part of the society Godard is analysing, where Nana becomes a chattel traded amongst men just like the records she’s seen selling early on in the film. Her status as object is in some ways not just a thematic concern but is integrated into the very formal and visual strategies the film adopts, not just the Brechtian distancing of the chapter headings, but also Godard’s prominent frontal staging and lateral tracking shots as well as, most notably, his insistence on lighting scenes so as to minimise depth of field — all strategies that would be extended over the decade and can still be perceived, ever more distilled, in Tout va bien ten years later.

Quite aside from these formal and thematic concerns, I think the film stands as a wonderful piece of cinema, with Karina’s gaze having since become an iconic image of the French nouvelle vague. There’s still a freshness and enthusiasm to the performances that belies the very rigid ways in which the camera moves, though even here Raoul Coutard’s black-and-white cinematography has never been more beautiful. For me, in many ways, Vivre sa vie stands as the film in which the formal concerns that would come to dominate Godard’s later period are merged most easily with his pulp influences to produce a film that remains a wonderfully invigorating piece of cinema that stands up 50 years later.


© Panthéon Distribution

DIRECTOR FOCUS FILM REVIEW: Jean-Luc Godard
Director/Writer Jean-Luc Godard | Cinematographer Raoul Coutard | Starring Anna Karina | Length 83 minutes || Seen at university library (VHS), Wellington, October 1998 and June 2000 (and most recently on DVD at home, London, Wednesday 14 August 2013)

My Rating 4.5 stars a must-see


Next Up: For me, Godard’s most formally ambitious film of his early phase is Le Mépris (1963), a reflection on the nature of filmmaking itself, featuring international stars and a spectacular use of widescreen colour compositions, but retaining an appropriately Olympian detachment that makes it difficult to love wholeheartedly.

Like Someone in Love (2012)


NEW RELEASE FILM REVIEW || Director/Writer Abbas Kiarostami | Cinematographer Katsumi Yanagijima | Starring Rin Takanashi, Tadashi Okuno, Ryō Kase | Length 110 minutes | Seen at ICA, London, Tuesday 25 June 2013 || My Rating 3.5 stars very good


© Sundance Selects

Lately, I seem to walk as though I had wings
Bump into things like someone in love

The title of this film comes from an old jazz standard. If it’s a hint as to why the characters in the film act the way they do, it’s no more than just a hint. I’d call this latest film by Iranian director/auteur Abbas Kiarostami inscrutable if it weren’t for the overtones of orientalist cliché in such a term, yet surely few modern directors have crafted an oeuvre of such opacity as Kiarostami. Perhaps then this move to Japan for the setting of his latest film isn’t so far-fetched, though I can’t honestly pretend to any great fluency with either Iranian or Japanese culture; I sometimes feel lost dealing with etiquette and mores even in my own corner of the world.

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