Heremias: Unang aklat — Ang alamat ng prinsesang bayawak (Heremias: Book One — The Legend of the Lizard Princess, 2006)

Right, you probably all know this film is long: it’s Lav Diaz, and events will unfold as they will. Once you get over that — and the title which playfully suggests some kind of mystical/fantasy epic poem — the movement of time isn’t really an issue, and there’s necessarily a sort of documentary effect to the extreme length, as we watch our titular protagonist (Ronnie Lazaro) trudge along endless roads with a group of vendors selling their wares from ox-drawn carts. Heremias at length peels off on his own, and, at length, gets caught in a typhoon, from which he takes shelter. When he wakes, his cow has gone and his cart is burnt. By this point, we’re at around hour four and this is the mysterious crime he’s trying to unravel (after a fashion), but things go off track again and there’s a criminal conspiracy which reveals the limits of power in an autocratic society. So there are political themes (present in much of Diaz’s work that I’ve seen), and then there’s the repeated motif of roads stretching off across the landscape, into which (or from the horizon of which) Heremias trudges, seemingly endlessly. At great, great length.


SPECIAL SCREENING FILM REVIEW: Lav Diaz Journeys retrospective
Director/Writer Lav Diaz | Cinematographer Tamara Benitez | Starring Ronnie Lazaro, Sid Lucero | Length 510 minutes || Seen at London Gallery West, London, Friday 3 February 2017

Pojkarna (Girls Lost, 2016)

At one level this is a Swedish coming of age film, with intolerant school bullies picking on young women, who look to each other for love and support. However, it quickly becomes evident that one of them, Kim (Tuva Jagell), feels uncomfortable with her gender identity, while Momo (Louise Nyvall) has feelings for Kim. Via a fantasy expedient of a magical plant, the film allows the young women to transform Cinderella-like into men for a night, thereby experiencing facets of privilege and masculinist behaviour, in their interactions with a group of rebellious boys who go to their school. It’s actually done really well, at least from my admittedly gender-normative point of view. There’s a delicate artistry to the transformation sequences and it makes tangible, via its magical premise, some of the identity fluidity that’s (I think) natural when you’re growing up.


NEW RELEASE FILM REVIEW
Director/Writer Alexandra-Therese Keining (based on the novel by Jessica Schiefauer) | Cinematographer Ragna Jorming | Starring Tuva Jagell, Louise Nyvall, Wilma Holmén | Length 106 minutes || Seen at Curzon Bloomsbury, London, Thursday 10 November 2016

Criterion Sunday 101: Viskningar och rop (Cries and Whispers, 1972)

The experience of working through the Criterion Collection is one of having a slightly patchwork introduction to the ‘great directors’. We’ve had a few Fellinis, a bunch of Kurosawas and a clutch of Bergmans, amongst smatterings of Hitchcock and Powell/Pressburger, so I’m by no means an expert on these grand old men of the artform. However, my feeling is that for Ingmar Bergman, having largely moved on from his early, funny stuff (and I’m a fan of his 50s comedies like Smiles of a Summer Night and The Seventh Seal), he went through a more bleak period of introspective psychodramas, and amongst these Cries and Whispers is perhaps a good — if not the archetypal — example. It’s a chamber film, largely set in a single home in the late-19th century, as two sisters, Maria (Liv Ullmann) and Karin (Ingrid Thulin), take care of their dying third sister Agnes (Harriet Andersson), with the help of the family’s maidservant Anna (Kari Sylwan). No one really has much love for anyone else, save for Anna’s love and affection towards Agnes, as we learn in flashbacks. These depict each of the four struggling with earlier relationships, such as that of Karin with her husband, or Maria with a young doctor, and each is bookmarked by a brief image of the woman’s face in close-up, looming out of a red-filtered darkness. Indeed, red is a key colour in the film: formally, Bergman employs frequent fades to red to mark scene transitions, and in terms of the set design, one of the room’s in the home is the “red room” — truly a vision of bourgeois hell, though at least each of the sisters makes sure to wear white when they’re in there. It’s hardly genteel either, as under this etiquette-ridden formally-dressed exterior are all kinds of roiling emotions, expressed most forcefully by one scene of Karin’s self-mutilation in order to escape her husband’s attentions (which I’m sure didn’t escape Michael Haneke either). It has a certain cumulative force to it, though whether you love it depends on how you respond to Bergman’s moralistic hand-wringing.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman | Cinematographer Sven Nykvist | Starring Liv Ullmann, Ingrid Thulin, Kari Sylwan, Harriet Andersson | Length 91 minutes || Seen at a friend’s home (DVD), London, Sunday 12 June 2016

Criterion Sunday 80: The Element of Crime (aka Forbrydelsens element, 1984)

I’ve never been a huge fan of Danish cinematic bad boy Lars von Trier, but this, his first feature film, is certainly made with a fair amount of energy and a bold (if dark) cinematic vision, taking its apparent cue from film noir thrillers, not to mention recycling some of Tarkovksy’s imagery. Stylistically, though, my overall feeling is that it’s more akin to Terry Gilliam’s Brazil of the following year, with all those fussy, busy details in all corners of the frame. The plot is in a sense fairly straightforward, as Detective Fisher (gruff-voiced Michael Elphick) is tracking down a serial killer using the methods of his mentor Osborne (Esmond Knight), in which he is aided by prostitute Kim (Meme Lai). Yet this plot is nested within layers of memory and obfuscation, attaining something of a dream-like trance state, emphasised by the line delivery of the actors, who move around almost as if underwater. The chief cue to this altered consciousness is the visual style, which is almost monochrome in its (usually red-tinged) intensity, like something Guy Maddin might make, tipping its hat at one level to silent film, but creating its own world of grainy distanciation — the characters may not actually be underwater, but they are certainly submerged in this grimy dark monochrome world. I can’t say it ever really coheres for me (and Meme Lai’s role requires little more than that she hang around and take off her clothes occasionally, though it’s a small part in any case), but there’s plenty here of interest to those who like an arty thriller with pretensions.

Criterion Extras: Aside from the trailer, the main extra of interest is the medium-length documentary Tranceformer: A Portrait of Lars von Trier (1997), directed by Stig Björkman (with help from Fredrik von Krusenstjerna), filmed around the time of von Trier’s The Kingdom (1994) and Breaking the Waves (1996). It’s rather an amusing jaunt through (von) Trier’s life from his upbringing by lefty liberal parents to his early schoolboy filmmaking attempts, through film school and his early film work, along the way self-aggrandisingly awarding himself the aristocratic ‘von’. The film features behind the scenes footage of his directing the two films (which has its own fascination), as well as talking head interviews with his colleagues and actors (and it’s particularly nice to see Katrin Cartlidge, who sadly died far too young), giving an impression of him as a man with plenty of phobias and quirks such that it’s surprising he can get any films made at all. Von Trier pops up periodically to talk us through his life and foibles, and there’s a warmth to the film’s portrait of him, so he never comes off too badly, beyond what he says about himself.


FILM REVIEW: Criterion Collection
Director Lars von Trier | Writers Lars von Trier and Niels Vørsel | Cinematographer Tom Elling | Starring Michael Elphick, Esmond Knight, Meme Lai, Jerold Wells | Length 103 minutes || Seen at a friend’s home (DVD), London, Sunday 14 February 2016

Criterion Sunday 71: Trollflöjten (The Magic Flute, 1975)

© The Criterion Collection

This is a slight oddity in Ingmar Bergman’s filmography, being essentially a film version of a staged opera, albeit one staged specifically to be filmed for television. Therefore, it largely works on the quality of the staging (of Mozart’s 1791 opera) and the singing, which is in the Swedish language but by trained opera singers (about whose performances I am in no position to critique). It’s all very colourful as one might expect given the fantastical and ridiculous plot (pretty much a standard feature of any opera in my experience). Small directorial flourishes can be detected around the edges, like the scenes during the overture of the audience watching (including Bergman’s daughter, to whom the camera returns periodically throughout the film), and referential nods towards other inspirations, such as one of the characters reading a script for Parsifal in a backstage intermission moment. However, for the most part this is just straight opera, and can be enjoyed easily on that level.

Criterion Extras: Given the box rhapsodises over the transfer’s colours and its stereo score as bonus features, we can safely conclude there is nothing beyond the presentation of the film, aside from the liner notes. A bare bones release.


FILM REVIEW: Criterion Collection
Director Ingmar Bergman | Writers Emanuel Schikaneder, Alf Henrikson and Ingmar Bergman (based on the opera Die Zauberflöte by Wolfgang Amadeus Mozart and Emanuel Schikaneder) | Cinematographer Sven Nykvist | Starring Josef Köstlinger, Håkan Hagegård, Birgit Nordin | Length 135 minutes || Seen at a friend’s home (DVD), London, Wednesday 30 December 2015

Criterion Sunday 60: Höstsonaten (Autumn Sonata, 1978)

The two (unrelated) Bergmans — director Ingmar and film star Ingrid — brought together at last, the advertising copy no doubt blared. However, in terms of thematics, this is firmly within Ingmar’s frostier territory, as mother and daughter psychologically battle it out in a confined chamber drama. Ingmar was always feted for his ‘women’s pictures’, though the women are invariably under some kind of terrifying emotional onslaught, in this case Liv Ullmann’s Eva coming to terms with abandonment by her internationally-famous concert pianist mother Charlotte (Ingrid Bergman). Perhaps there’s an underlying angst of Ingmar’s relationship with his home country of Sweden (he’d been in exile in West Germany for a decade or so), but in any case nobody really comes out particularly well, especially once the red wine — and the accusations — starts flowing. There’s something that seems peculiarly 70s about having a disabled character as little more than a metaphor for the disfiguring effect of emotional dishonesty (or whatever), so this daughter Helena’s periodic appearance remains unsettling, but for the most part the film’s moody melodrama is well-handled and ends with a hope of some forgiveness in the offing.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman | Cinematographer Sven Nykvist | Starring Ingrid Bergman, Liv Ullmann | Length 99 minutes || Seen at a friend’s home (DVD), London, Sunday 1 November 2015

Min lilla syster (My Skinny Sister, 2015)

This well-meaning Swedish drama deals with two sisters, as you might expect from the title, one of whom has an eating disorder. However, rather than taking the more usual point-of-view of an authority figure like the parents (who here are clearly well out of their depth) or doctors, the film is told from the younger sister Stella’s viewpoint. Being around the age of 12, Stella has the curiosity of youth combined with a naïveté which actor Rebecka Josephson puts across quite well, as she is first perplexed by her sister Katja’s odd secretive habits and then starts to show more concern. Katja, an aspiring figure skater, is played by a Swedish pop singer (Amy Deasismont, who apparently performs under the name Amy Diamond), so just by the casting, the film is tying the story into a wider one of body image issues and creating a contrast betweeen the glamorous and apparently-confident older sister and the gawky younger one. There’s an underlying issue-film-of-the-week format lurking beneath the surface, which might have fitted it for a TV domain, but the filmmaking is too strong and the acting too interesting to totally fall into that kind of ghetto. There’s no glamorisation of the disease — it remains a nasty, pernicious thing — although perhaps the film suffers in comparison with the work of Catherine Breillat, whose masterpiece À ma sœur (2001) comes to mind when the initial sisterly drama is set up (of course the two films are ultimately doing different things, but there’s something of a physical resemblance to the leads). Whether Katja can break out of this eating disorder remains uncertain — as it should given the nature of the disease — but this is a worthwhile attempt to get inside the way this kind of illness can affect a family.


© Tangy

NEW RELEASE FILM REVIEW
|| Director/Writer Sanna Lenken | Cinematographer Moritz Schultheiß | Starring Rebecka Josephson, Amy Deasismont | Length 95 minutes || Seen at Curzon Bloomsbury, London, Thursday 3 December 2015

LFF: Flocken (Flocking, 2015)

BFI London Film Festival This film was presented at the London Film Festival. There was no introduction, so I presume there was also no Q&A afterwards.


I think it’s reasonable to say that many films in recent years have been concerned with the impact of technology and changing patterns of communication on societies, particularly young people (it was a central theme of the first film I saw at the Film Festival as well, Mountains May Depart). So it is with this story, based loosely on real events I understand — and sadly, all too believable — about a young woman, Jennifer (Fatime Azemi), who speaks out about her experience of rape by fellow classmate Alexander (John Risto). She is quickly shunned by her classmates and her family ostracised by their small rural community, as nobody is willing to believe the truth of what she says, while her attacker, without his saying very much at all (either affirming or against the allegations), finds himself protected by his family and all the town’s institutions. There’s a strong suggestion that the allegations have divided the town along class lines — Jennifer and her family seem to be viewed as somehow lesser than golden boy Alexander — but it’s all presented very understatedly. Indeed, the film’s style is beautifully controlled, the tension in the script cued up right away with a brief scene of Jennifer and two of her classmates doing little more than carrying a cake at a wedding, while the images have a glacially toned palette and there’s plenty of artfully shallow focus. There’s relatively little overt nastiness on display amongst the characters — the most unpleasant exchanges are presented as captioned text conversations that unfurl over subtly disturbing static shots — and while it’s fair to say it’s hardly cheery, it also feels less emotionally exploitative than your typical Haneke film. There’s a lot to unpack going on here, but Flocking is a useful and timely reminder of the toxic effects of modern rape culture as expressed via anonymised social media.


FILM FESTIVAL FILM REVIEW: London Film Festival
Director Beata Gårdeler | Writer Emma Broström | Cinematographer Gösta Reiland | Starring Fatime Azemi, John Risto | Length 110 minutes || Seen at BFI Southbank, London, Monday 12 October 2015

Återträffen (The Reunion, 2013)

At a certain level The Reunion poses itself as a documentary about artist (and director/writer/star) Anna Odell confronting her high school experience after 20 years, but it’s never clear to what extent any of this is true or accurate, preferring to stay aloof from such quotidian issues. It poses questions about our relationship to our own past and how we deal with emotional traumas over time, via a two-part meta-fictional framework. In the first part, Odell stages an account of a class reunion in which she arrives and disrupts the nostalgic hazy view the others have of their youthful camaraderie, in a style reminiscent of the awkward puncturing of complacent bourgeois values in Thomas Vinterberg’s Festen. The second, longer, part has her then confront the ‘real’ former classmates who were at the reunion to which she was not, in fact, invited. The film is stylistically of a piece for its entire running length, and the shot-reverse shot stagings of her interviews and awkward street encounters with her school colleagues (including one in which an actor who played a role in the first part is approached by the ‘real’ person the character was based upon) certainly distance it from straightforward documentation. It makes for an odd fictional exercise, in which the perpetually deer-in-the-headlights expression of Anna dominates and the audience is challenged to put themselves in her place, and in those of her classmates.


© Tri Art Film

NEW RELEASE FILM REVIEW
Director/Writer Anna Odell | Cinematographer Ragna Jorming | Starring Anna Odell | Length 88 minutes || Seen at Curzon Bloomsbury, London, Saturday 11 July 2015

April 2015 Film Viewing Round-Up

Herewith some brief thoughts about films I saw in April which I didn’t review in full. It includes a couple of films I actually saw in March but had thought I’d write up in their own posts (I didn’t).


Avengers: Age of Ultron (2015)

Avengers: Age of Ultron (2015, USA, dir. Joss Whedon) [Sat 25 Apr at Cineworld Wood Green]. Look at how crowded that poster is and you’ll get some sense of the film, assuming you haven’t already seen it. I enjoyed it perfectly fine, but I get the sense that whereas for the average punter, it’s a long film, for fans of yr Marvel Cinematic Universe and those who are heavily invested in these characters, it’s probably not long enough. They even add new characters (one of whose superpowers I’m still not clear about, but perhaps it’s the power to do whatever’s required by the narrative at any given point). The crowdedness of the ensemble cast is evident in the number of scenes where everyone’s just standing around, stepping forward periodically to deliver their line and then stepping back. Whedon does the best he can and adds those nice little self-aware lines which define his work (like Linda Cardellini’s “I’ll always support your avenging…”, not the mention the snarky asides) but it’s still a big pummelling superhero film that has a protracted denouement, a nonsense evil villain plan (though James Spader is always dependable in such a role) and lots and lots of CGI effects (which are at times so indifferently executed I thought I was actually watching a video game, as in the opening sequence). YMMV. ***


The Book of Life (2014)

The Book of Life (2014, USA, dir. Jorge R. Gutiérrez) [Mon 6 Apr on a plane]. A film I missed when it came out was available on my trip over to the States, so I availed myself of the opportunity, and even given the small size of the screen, it still impressed by its artful and gorgeously-coloured use of Mexican motifs in its story of rival suitors for a lady’s affections. It nods towards female empowerment, even if it has an old-fashioned adventure feel, but ultimately it’s the richly textured design that saves it. ***


En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence, 2014)

En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence) (2014, Sweden/Norway/Germany/France, dir. Roy Andersson) [Thu 30 Apr at Curzon Soho]. Its pace is slow and deliberate, constructed in a series of tableaux-like images which frequently fade to black before the next image commences, and in many ways it takes its cue from that first scene, in which a tourist couple examine birds in glass cases, one of which is the titular (stuffed) pigeon. The humans throughout the film are themselves as waxy and pallid as dead creatures placed on display, and the sets are deliberately minimal in a depressingly beige way. But while Roy Andersson’s film is nominally a (black, deadpan) comedy, it’s really a cautionary moral tale of the bleak dangers inherent in capitalism, as our two Beckettian like heroes wander through a glum dyspeptic world retailing their ‘comedy’ joke items to little interest. There are restrained outbreaks of weirdness — jaunty songs, alternate realities, dreams — which suggest something deeper is going on, and indeed I think this one will work in most people’s minds afterwards, even if it sometimes seems a little inert while it’s going on. ***


Insurgent (aka The Divergent Series: Insurgent, 2015)

Insurgent (aka The Divergent Series: Insurgent) (2015, USA, dir. Robert Schwentke) [Sun 29 Mar at Cineworld West India Quay]. Having enjoyed star Shailene Woodley’s work elsewhere, I decided to watch the first film in the Divergent series in anticipation of this new one (and reviewed it in my March roundup). Usually the way these kinds of series go is that they drop off in quality with each successive instalment, but the first set up such a ridiculous and unbelievable world (dividing everyone into mutually-exclusive castes based on ability) that the bar wasn’t too high, and indeed has been cleared by Insurgent. I’m not saying the second film is a triumph — the world is still constructed along weirdly rigid lines, and the test that evil leader Jeanine (Kate Winslet) sets for Woodley’s Tris is a bit confusing — but it opens up its world in interesting ways and sets up a next episode that I’m actually looking forward to.


Notting Hill (1999)

Notting Hill (1999, UK, dir. Roger Michell) [Sun 19 Apr on a plane]. I’m probably not supposed to like this, but what can you do. Every time it comes on — and I only tend to watch it when it’s there right in front of me — I end up watching the whole thing, and this has happened more than once, so it’s not just some kind of momentary weakness. I’ve not been sold on all screenwriter Richard Curtis’s films, though I’ve liked more than I’ve disliked, but Notting Hill just seems to work despite all its inherent naffness. Julia Roberts plays a big-time Hollywood star, Hugh Grant is a diffident English bookshop owner, they meet cute, one things leads to another, there are some funny setpieces, and well, it passes the time very pleasantly. **½


Pitch Perfect (2012)

Pitch Perfect (2012, USA, dir. Jason Moore) [Fri 24 Apr at a friend’s flat]. I’ve reviewed it before, and it’ll probably show up on this list many times more in the future, because I do love Pitch Perfect. It’s not just Anna Kendrick, whom I’ve recently had cause to hymn once again for The Last Five Years, but the ensemble cast and the time-honoured building-to-a-big-showdown narrative construction, not to mention the hummable music. ****


Premium Rush (2012)

Premium Rush (2012, USA, dir. David Koepp) [Sat 4 Apr at home]. At a certain level this is a fairly slight premise — Joseph Gordon-Levitt’s bicycle courier must deliver a package across Manhattan by a deadline, hotly pursued by Michael Shannon’s corrupt cop — but this is essentially an action film, and you don’t want to complicate the purity too much. That said, the filmmakers weave in a story of immigration and bureaucratic corruption without overwhelming the central chase motif, which is handled with a great deal of vigour and momentum. It also (as far as I can tell) charts a realistic depiction of New York geography as Gordon-Levitt frantically switches up routes to his destination. ***½


Wild Card (2015)

Wild Card (2015, USA, dir. Simon West) [Tue 31 Mar at Cineworld Wood Green]. The great Jason Statham returns in another action romp which as per some other recent outings, shows just a hint of actorly character development around the edges, as he essays the role of Nick Wild, Las Vegas security specialist. Most of the big name cast members (and there are a few: Jason Alexander, Stanley Tucci, Sofia Vergara, Hope Davis, Anne Heche) are there for single scenes only, leaving the main showdown to be between Statham and Milo Ventimiglia as a narcissistic, abusive gangster. If you’ve seen a Statham actioner before, you’ll probably recognise the broad contours, but in the tightness of the filming and the polish of the script this one is probably his best since Safe. ***