It’s been a while since I’ve posted a non-Criterion Collection review, but as 2022 is done and dusted (well, the year, not my viewing of films from that year, which will undoubtedly stretch out for years to come), it seems like a fitting theme for my first few posts of this year would be to cover some of my favourites from last year. This small British indie film was my favourite, until I eventually catch up with everything else. You can see my full list here though.
After a year of watching fairly unchallenging films at the cinema (sadly I missed my city’s annual film festival), it’s nice to see one that properly challenges audiences. Which is, I suppose, one way of saying it’s slow and sad — and thus probably not for everyone — but I think it has depths to it, and I miss a film with depths. Texturally, it reminds me of the early work of, say, Lynne Ramsay and that’s not just because its period setting reminds me a little of Ratcatcher in its lugubrious mood (though where that film went back a few decades to the 70s, this one takes us back to the 90s). Partly too that’s the way that the evocation of the era doesn’t rely on period hairstyles and music, but rather on some far more oblique signifiers of the era like the grain of the camcorder films (though, okay, there’s also the “Macarena”).
However, the more resonant aspect of the film is that sadness that haunts its tale throughout, though is never explicitly reckoned with. There’s the feeling evoked by the dark, heavily strobing club dancefloor sequences that punctuate the narrative, the emptiness of the video framings being watched by someone looking back on this period of life, and the quiet moments in the story of a young dad and his 11-year-old daughter on holiday in Turkey that are punctured by the dad’s attempt to be upbeat and positive. (It should be said up front that the darkness isn’t anything to do with sexual abuse, so don’t go in worried about that. The relationship between these two is clearly loving and strong, in both directions.) But there are strong hints throughout of the elegiac nature of this 90s holiday, and the way it resonates in the present, such that in a sense this is a coming of age film that goes beyond the innocuous flirtations on the beach or the innocent kisses by the poolside with teenage boys, into more delicately shifting psychological territory.
I imagine it will hit a long more strongly for those who are parents, but it feels beautifully cathartic in a way that relies on the audience to make the connections and draw out the emotional threads, and that’s just a nice change of pace.
Director/Writer Charlotte Wells; Cinematographer Gregory Oke; Starring Paul Mescal, Frankie Corio; Length 101 minutes.
Seen at Penthouse, Wellington, Sunday 11 December 2022.
After two Italian films (Rome Open City filmed during WW2, and Paisan after it), the third in Rossellini’s “War Trilogy” turns to the bombed-out ruins of Germany, with not a word of Italian spoken throughout. And somehow it manages to be not just the bleakest of the trilogy but perhaps amongst just about any film. That’s not evoked by anything graphic, though, but merely through the pathos of this character he follows, a young boy called Edmund (Edmund Moeschke) who is torn between childhood and the need if not the desire to be a man and help his impoverished family. In the background there are all kinds of hints towards the kind of behaviour that flourishes in this environment — albeit none ever spelled out, but left as rather disturbing little asides — such as of women and girls like Christl turning to prostitution, and of predatory older men. The most disturbing characters are probably thus Edmund’s former teacher Herr Henning (Erich Gühne) and a mysterious almost aristocratic figure he seems to be sending boys to (it’s unclear exactly what’s happening there), but who seem to express their feelings pretty clearly in the way they caress Edmund. Henning is still openly devoted to Hitler and has Edmund flog recordings of the Führer to occupying troops on the down low, while feeding him lines about sacrificing the weak to ensure the strong can survive, which gives Edmund ideas when he sees his father slowly dying and drives him to the film’s denouement, a bleak trawl back through everything we’ve seen as Edmund looks for some kind of absolution. Even more so than in Rome, perhaps, this is a city of bleak finality and that’s where the film leaves Edmund and us as viewers.
FILM REVIEW: Criterion Collection
Director Roberto Rossellini; Writers Rossellini, Max Kolpé and Carlo Lizzani; Cinematographer Robert Juillard; Starring Edmund Moeschke, Erich Gühne, Ernst Pittschau; Length 73 minutes.
Seen at home (Blu-ray), Wellington, Saturday 5 February 2022.
Whānau Mārama – New Zealand International Film Festival showcased films from plenty of countries, and among the films from the Islamic world that I saw, Souad may not have been the finest (the films from Iran were, as usual, far richer and more accomplished) but this showcases a different side of Egyptian filmmaking from what I’m familiar with, perhaps something more akin to a little indie film in its sensibilities.
I don’t think this film is perfect by any means, but it does feel like something a bit different from the Egyptian films I’ve seen, a bit more naturalistic and less reliant on melodrama to carry its story. It deals largely with two sisters, and the guy who (in some ways) comes between them but also is largely unseen for much of the film, and thematically it’s dealing with what is already now a hoary old chestnut of the dangerous effects of social media. However, given the strict conservatism that exists for interpersonal relationships in the milieu this is set in, there’s an implicit critique of the orthodoxy that’s driving young people to popular social media sites that encourage toxic and self-destructive behaviour. In a sense though that’s just in the background, albeit rather powerfully at times, and mostly I enjoyed this as a story of two sisters that takes a surprising turn part of the way through, but is carried ultimately by those performances. Like many modern films, it ends on an unresolved note that feels a bit abrupt but also suggests the story goes on, and who knows what it will bring for any of the characters we see.
Director Ayten Amin آيتن أمين; Writers Amin and Mahmoud Ezzat محمود عزت; Cinematographer Maged Nader ماجد نادر; Starring Bassant Ahmed بسنت أحمد, Basmala Elghaiesh بسملة الغيش, Hussein Ghanem حسين غانم; Length 96 minutes.
Seen at City Gallery, Wellington, Sunday 21 November 2021.
I am genuinely clueless as to why this short film co-directed by Yukio Mishima wasn’t just an extra to the Paul Schrader film. I can somewhat understand it having its own release, given it’s his only film as a director and he is a totemic and divisive cultural figure, even just as an author. However, his interest in nationalist ideology, including the formation of his own militia group, made him something of what would presumably today be called a cultural influencer (and I can’t be the only one who can imagine him complaining about being silenced if he were still around), but this all becomes very clear in Patriotism. It’s a silent work with an elegant filming style that self-consciously draws on Noh theatre, but my god is Mishima not fixated on the ritual honour of seppuku, which takes up the bulk of the running time (after a long text-based introduction). Perhaps in other hands this might have functioned as some kind of critique of Japanese militarism, and certainly it’s not unreasonable for there to be critiques about Japan and its treatment after World War II, but in Patriotism the militarism and death just feels fetishised, an extreme of gore that doesn’t feel like it adds much beyond illustrating Mishima’s own pathology.
FILM REVIEW: Criterion Collection
Directors Yukio Mishima 三島由紀夫 and Domoto Masaki 堂本正樹; Writer Mishima (based on his own short story); Cinematographer Kimio Watanabe 渡辺公夫; Starring Yukio Mishima 三島由紀夫, Yoshiko Tsuruoka 鶴岡淑子; Length 27 minutes.
Seen at home (YouTube), Wellington, Thursday 27 May 2021.
I think there are a lot of opinions one could hold about the films of Paul Schrader as about the art of Yukio Mishima, and though I’ve read a novel of his and enjoyed it at the level of writing, you don’t have to dig very deep into his life to get profoundly concerned. He’s the kind of man who would probably in our modern age have connected far more readily with the army he was looking for, and perhaps we can be glad of the times he lived in that this didn’t happen. He wanted to roll back post-war changes in Japanese society that he detested and restore Japan to its rightful place of honour, or something along those lines. And Schrader’s own work has been so boldly sadomasochistic and masculinist at times that it feels that matching the two might make for discomfort, and yes it’s certainly not easy to watch this story, either as a character study of a man fixated on honour and death, but also at a formal level it can be challenging to follow. After all, as the title suggests, it’s split into four chapters but is further fractured by various re-enactments of his works (shot in luridly saturated colours) as well as flashbacks in black-and-white to foundational moments in Mishima’s development, as played by Ken Ogata. Still, it remains a beautiful work, with gorgeous lighting and framing and a transcendent Philip Glass score which for a change doesn’t overwhelm the film (mainly because the filmmaking has a strong enough visual look and narrative structure to withstand Glass’s hammering and repetitive musical cadences). I will surely never feel any kinship with Mishima’s ideas but the film does give a visceral sense of his strange relationship to his society, and the fact that this is made by an American creates a strange thematic connection to some other contemporary titles in the Criterion Collection, like The Ice Storm (a quintessential suburban white American story as told by a Taiwanese filmmaker) or The Last Emperor (in which Chinese political history is interpreted by an Italian).
FILM REVIEW: Criterion Collection
Director Paul Schrader; Writers Leonard Schrader and Paul Schrader; Cinematographer John Bailey; Starring Ken Ogata 緒形明伸; Length 120 minutes.
Seen at home (Blu-ray), Wellington, Tuesday 25 May 2021.
I think you could probably construct a small cinematic canon of works that deal with characters who are profoundly depressed and suicidal, but I don’t think there are a huge number which confront it head on. And by ‘head on’ I do mean that this is a film entirely about a man adrift. The protagonist moves around Paris, from a clinic in Versailles where he’s trying to clean up his alcoholism, into town where he tries — disconsolately, lackadaisically — to meet up with former friends and acquaintances. He seems to be seeking something, some connection that will convince him not to kill himself, but he’s also pretty set on not finding it, and that makes for uncomfortable watching. Don’t get me wrong, as played by Maurice Ronet, Alain Leroy is charismatic and can be good company, but it becomes increasingly clear that he is adrift and that things aren’t going to work out for him. The filmmaking matches his mental disarray at times, and underpins his emotions with the similarly desolate piano work of Erik Satie (which is too often misused in films in my opinion, but works rather well here).
FILM REVIEW: Criterion Collection
Director/Writer Louis Malle (based on the novel [also translated as “Will O’ the Wisp”] by Pierre Drieu La Rochelle); Cinematographer Ghislain Cloquet; Starring Maurice Ronet; Length 108 minutes.
Seen at home (DVD), Wellington, Monday 24 May 2021.
A film named after ritual suicide was never likely to be a thrilling prospect (at least not to me; you do you if that kind of thing gets you excited). However, it turns out this Japanese samurai-era thriller has very little actual seppuku in it, indeed one could argue that the very idea of this kind of ritual dishonour is what the film is keen to address, because neither of the masterless samurai (ronin) who enter the Iyi clan house, both looking haggard and desperate, is really looking to commit suicide. Instead, through a series of elegant shots and beautiful compositions arranged around the hardened and determined face of Tatsuya Nakadai in the lead role as Hanshiro, we get a series of flashbacks that make it clear that there is little honour in the samurai code and that plenty of people (like the Iyi chief played by Rentaro Mikuni) manipulate it to their own ends. In fact, there’s an ultimate bitterness and anger at the way in which those who have fallen on hard times are treated, and the brutality of the Iyi response is what Hanshiro is seeking to confront. It’s a film with depths of darkness in every frame, as within each character, and while it has a lot of the generic tropes that other more famous films (those of Kurosawa for example, and Rashomon doesn’t feel too distant to this one), but it twists them in complex ways: a fight sequence isn’t just a bit of fun swordplay, it’s a fundamental question of honour, and unlike in Kurosawa’s films it’s just one man against a (flawed, ignoble) system.
- There’s a ten-minute introduction by film scholar Donald Richie about the themes and meaning within Harakiri.
FILM REVIEW: Criterion Collection
Director Masaki Kobayashi 小林正樹; Writer Shinobu Hashimoto 橋本忍 (based on the novel 異聞浪人記 Ibunronin ki by Yasuhiko Takiguchi 滝口康彦); Cinematographer Yoshio Miyajima 宮島義勇; Starring Tatsuya Nakadai 仲代達矢, Rentaro Mikuni 三國連太郎, Akira Ishihama 石濱朗; Length 134 minutes.
Seen at home (Blu-ray), London, Friday 20 March 2020.
For the next two weeks I’m in Australia, and even though I’ve already done one Australia theme week, here’s another. I probably don’t have enough films left to manage even one more week, to be honest, so I’m not sure what the theme will be next week, but here goes a few more Oz flicks.
Small town Australia in 1969 has the kind of vibe we’ve become accustomed to in American films about the 1950s, of communities made up of like-minded individuals with pent-up issues around women and racism that resolve themselves in violent, self-lacerating ways — the same director has already handled this very time period (albeit in a comedic musical format) with Bran Nue Dae (2009), while Celia (1989) deals with a similar small town vibe (albeit set in the 1950s). Jasper Jones is named after the part-Aborigine boy (played by Aaron L. McGrath) who is distrusted and blamed by most of this small community, but it’s really mostly about a kid called Charlie (Levi Miller) who gets involved with the (possible) suicide of a girl in the town, which he spends much of the movie trying to uncover the truth about. It’s a stylish evocation of a period, and is mostly very successful, with some fine filmmaking and acting (not least from the ever-reliable Toni Collette). After the initial shock of them finding the girl’s dead body, glimpsed only briefly (thankfully), the tone evens out into being a slow-burning drama about the secrets being hidden within this community. It may not perhaps be surprising, but it’s all done very well.
Director Rachel Perkins; Writers Shaun Grant and Craig Silvey (based on Silvey’s novel); Cinematographer Mark Wareham; Starring Levi Miller, Aaron L. McGrath, Angourie Rice, Toni Collette, Hugo Weaving; Length 105 minutes.
Seen at home (Amazon streaming), London, Sunday 22 December 2019.