This screening at the UK Jewish Film Festival was introduced by a programmer, reading from the festival brochure.
This recent Israeli film makes a fascinating companion piece to The Diary of a Teenage Girl, released earlier this year. I loved that film intensely, but there’s definitely another side to that film’s coming-of-age story. Whereas Diary hardly depicted a healthy set of relationships (whether between the protagonist Minnie and her mother, Minnie and her mother’s boyfriend, or between the two adults), the film via its narrator seemed intent on locating some kind of power within these, however tenuous. In Princess, Adar (Shira Haas) is also alienated from her studies and starting to show interest in a wider society, particularly latching on to the androgynous Alan (Adar Zohar Hametz), but the persistent attentions of her mother’s boyfriend Michael (Ori Pfeffer), which begin innocuously and even playfully, are by several orders creepier and more difficult for her to repel than in the US film. Still, for all its similarities in set-up (and even the actors have a broad physical resemblance; at many junctures I could imagine Kristen Wiig in the same role as played here by Keren Mor), this is a quite different film in tone. There’s a persistent thread within the film of gender-fluid identities, recalling the French films of Céline Sciamma. Alan and Adar are filmed at times interchangeably, such that you’re not entirely sure at the start of the scene who we’re watching, given their broadly similar shape and hairstyle. Meanwhile, Michael teases each with gender-swapped names (he uses “Prince” for Adar). There’s a languid narrative and filmic style, as the film builds its characters incrementally, only slowly introducing the full of extent of Michael’s abusive relationship with the younger characters, and the way that Alma isolates herself from this. There may be no easy way forward for Adar, and no easy way for the film to conclude, the nurturing relationship between her and Alan does at least provide some small window of hope.
FILM FESTIVAL FILM REVIEW: UK Jewish Film Festival Director/Writer Tali Shalom Ezer | Cinematographer Radek Ładczuk | Starring Shira Haas, Keren Mor, Ori Pfeffer, Adar Zohar Hanetz | Length 92 minutes || Seen at Everyman Hampstead, London, Wednesday 11 November 2015
NEW RELEASE FILM REVIEW || Seen at Odeon Camden Town, London, Thursday 6 November 2014 || My Rating excellent
I’m no connoisseur of horror films. In fact, I can hardly remember the last time I went to see one in the cinema (it might have been The Others back in 2001… so, a long time ago, basically). But every so often I feel the need to shake up my viewing habits, and currently I’m trying to get along to see as many films by woman directors as possible, so here’s this one, it’s Hallowe’en time of year, and it’s a horror film. Thinking about the genre, and why I don’t really get into it, it feels to me like its signifiers — the silence preceding the fright, the things jumping out at the viewer unexpectedly due to very careful control of the point-of-view, the threatening music cues — are often deployed for no greater effect than just to scare people. That has its value of course, and I get that lots of people enjoy the ride, but when it does things right — horror no less than any genre film — it ties its frights into something rooted in character. That’s certainly what The Babadook does. It’s about a single mother Amelia (Essie Davis) and her son Samuel (Noah Wieseman) who live together in — naturally — a creaking old wooden house with a dark basement and strange noises at night. When Amelia starts reading the eponymous children’s pop-up book to her son, a book which has appeared mysteriously on their shelves, things start getting scary. So far, so generic — albeit with an excellent sense of depicting empty threatening space, and with a quiet narrative momentum — but what the film does particularly well is to root the terrors in a formative act of horror: the tragic death of Amelia’s husband while rushing her to the hospital to give birth to Samuel. It’s this experience that opens the film, as Amelia wakes from another nightmare about it, and it’s implied that this has resulted in Samuel’s difficulties forming attachments, and it certainly informs the way that the family deals with the monster of the title. The film never really gets nasty at a visual level (this is no ‘torture p0rn’ of the Saw variety), but the sense of mounting terror and threat — which at times seems to emanate as much from Amelia’s grief and depression, and then from her son’s bitterness, as from any scary monsters — provides a series of chills and scares, and does so increasingly effectively. So maybe I need to get over my hang-ups with the horror genre.
CREDITS || Director/Writer Jennifer Kent | Cinematographer Radek Ladczuk | Starring Essie Davis, Noah Wieseman | Length 94 minutes