LOLA VERS LA MER (LOLA)
Watchable. The beginning, bar the staggering funeral scene, is trite, regardless whether you treat it as a family conflict drama or a road movie. For about the duration of the first act, I couldn't stop thinking I had seen it all before. The conclusion's predictable too. But the middle is compelling. Lionel-to-Lola is trans and the picture uses the genre gimmicks at ease. Lola gets compared to a unicorn. When random children play with soap air bubbles, a rainbow appears. At the stop the travelling pair take, their hosts play gay icon Boy George's "Karma Chameleon". The music use extends to the meaning of lyrics in several pieces, most notably "I am feeling a little peculiar" from 4 Non Blondes' song "What's up" is played right when Lola is applying her make-up and her dad is gawping at the activity. Remarkably, the story commences and finishes in bright daylight and the catharsis takes place at night. The best thing about the picture is its clear structure and the fact it's perfectly comprehensible to straight folk. And also to the non-Belgian/French, in spite of some strictly cultural notions like men peeing in public places. As for examples of predjudices, those will be understood in narrow-minded Poland even better.
I'm reviewing it from a screener and, again, the white subtitles, even though of decent size, on white background were sometimes barely legible. I never had that problem at cinemas. I wonder if the contrast between whites was higher or if the subtitles for the big screen are different.
Monday 29 June 2020
Friday 26 June 2020
JESTEM REN (I AM REN)
Watchable. I guess every woman in a relationship feels like that: any error and you can be chucked out, also, men can't tolerate when women feel more than the man which is exactly the case in the movie. Hard to believe it's written by a male (Piotr Ryczko). But the main topic quickly turns out to be not a failure/malfunction but domestic violence. All of that is lightly coated with science fiction. The storyline however is more of a whodunnit and the film leads you astray quite a few times. So, whereas the script is fascinating, sadly, it looks and sounds low-budget. Not only is it austere but it's poorly acted and filmed. Conversations sound monotonous in spite of the twists of action. Would work better as a short story or novel than a movie.
The review's based on a screener so a cinematic reception might differ.
Watchable. I guess every woman in a relationship feels like that: any error and you can be chucked out, also, men can't tolerate when women feel more than the man which is exactly the case in the movie. Hard to believe it's written by a male (Piotr Ryczko). But the main topic quickly turns out to be not a failure/malfunction but domestic violence. All of that is lightly coated with science fiction. The storyline however is more of a whodunnit and the film leads you astray quite a few times. So, whereas the script is fascinating, sadly, it looks and sounds low-budget. Not only is it austere but it's poorly acted and filmed. Conversations sound monotonous in spite of the twists of action. Would work better as a short story or novel than a movie.
The review's based on a screener so a cinematic reception might differ.
Thursday 25 June 2020
地久天长 (SO LONG, MY SON)
Recommended. Austere but powerful. Limited locations. A story spanning a few decades of the recent history of China. Locations play a role in two ways: the same hospital room is the place where the woman loses both children in two strikingly different tragic ways, on the other hand, shabby, communist-time tiny flats are contrasted with modern-day posh venues. A very human drama casting a shadow for decades will tug on your heartstrings. It's so engrossing you don't feel the passage of time (about 3 hours). What initially appears to be random pieces of the families' lives comes to a fleshed-out conclusion. It's totally credible, including trivia like hospital transport staff skilled in kung fu, and makes you ponder about the inevitability of the events. Are we just pawns of politics and clogs of history?
This time the face mask didn't bother me. You can get used to it after all.
Recommended. Austere but powerful. Limited locations. A story spanning a few decades of the recent history of China. Locations play a role in two ways: the same hospital room is the place where the woman loses both children in two strikingly different tragic ways, on the other hand, shabby, communist-time tiny flats are contrasted with modern-day posh venues. A very human drama casting a shadow for decades will tug on your heartstrings. It's so engrossing you don't feel the passage of time (about 3 hours). What initially appears to be random pieces of the families' lives comes to a fleshed-out conclusion. It's totally credible, including trivia like hospital transport staff skilled in kung fu, and makes you ponder about the inevitability of the events. Are we just pawns of politics and clogs of history?
This time the face mask didn't bother me. You can get used to it after all.
Tuesday 23 June 2020
NUESTRO TIEMPO (OUR TIME)
Watchable. Plodding pace means the 173 minutes do drag. At some point I started wondering if it was the same season outside. What kept me watching, though, was mesmerising cinematography - all landscape views and several outdoor scenes: arid, fractured soil, verdant agaves, dust, twilight, colours, changing light, clouds, mist, composition and the absolutely breathtaking plane-view of Mexico City are the picture's saving grace. The family and friends' storyline is interwoven with art and nature. The drum performance is interesting in itself as are artworks and above mentioned nature vistas. But they create straight in your face scenes where art and nature mirror the protagonists' life nearly back-to-back. And one of the leads is connected with nature so badly in one scene he's smacking his lips disgustingly all the time. At times you are also bombed with the voluptuous shapes of Carlos Reygadas' wife who he - being the scriptwriter/director/actor - is clearly obsessed with. The main plot reveals itself after an hour or so. The affluent ranch owner is revolting, authoritarian, controlling but internally broken which rings true. But both the couple's relationship and the love triangle are terribly far-fetched and the ludicrous climax strains credibility to breaking point.
As for the current epidemic restrictions, it was exhausting having to wear a mask during the screening and the bus travel to the cinema felt hazardous too.
DEBOUT (STILL STANDING)
Watchable. The documentary starting with a man first alcoholic, then crippled in an accident who went on to train yoga astonished me with a truly cinematographic opening - colourful reflections on asphalt and buildings in the rain. Later it strikes you with the diversity of yoga trainees, again accompanied by picture perfect film postcards from around the world. People undergoing rehabilitation after serious accidents, prisoners (where the HIV-positive prisoners look healthier and happier than their guard), fashionistas, school children all benefit from the exercises. While yoga is quite static, based on stretching, it appears to require a lot of stamina and agility. But the most powerful impact is on kids - turning cheeky brats into friendly, amicable pupils. The film applies various filming techniques and varied music for different countries' sections. Still, it's a bit overlong at times, could do with better, catchier music throughout and the initial mention of the documentalist's problem with alcohol never recurs for some reason. Also, it could do with more factual information, I'd love to see statistics for instance. But the core message is vivid and lucid.
The dense crowd queuing to the entrance and most people in the audience without masks, even after asked by staff to put them on, clearly created a health hazard. I can only hope none was a Covid-19 carrier. The evening bus trip back was even worse. An unmasked person sat right to me.
METRI SHESH VA NIM (JUST 6.5)
Watchable. It starts off as a regular crime drama - with a cop chasing a drug dealer. You quickly become aware of cultural differences between the West and Iran but for the most part that's it. OK, it is involving, you follow the investigation one lead after another. But it's only the finale that turns the tables and pushes the boundaries of the genre. The multi-angle approach to the topic elevates the crime drama to a powerful voice about the extent to which the addiction consumes Iranian society, the vicious circle of poverty and illicit activity and discovers not only several hazards of drugs but even its positive impact on destitute families. The latter constitutes an intrinsic fault within the crime fighting system: the punished ones, hanged under sharia law, are victims of the social system and misery. Clearly, the movie writes into the recent polemic with death penalty in Iranian cinematography. If it weren't for the multiple protagonists each with their own multiple issues, which overcomplicates the plot, the picture would be most admirable. Also having to read subtitles quickly doesn't make it easier if you don't happen to speak Persian.
The review's based on a screener, not a cinema viewing. White Polish subtitles were hard to read. Yellow(ish) ones would be better.
Watchable. Plodding pace means the 173 minutes do drag. At some point I started wondering if it was the same season outside. What kept me watching, though, was mesmerising cinematography - all landscape views and several outdoor scenes: arid, fractured soil, verdant agaves, dust, twilight, colours, changing light, clouds, mist, composition and the absolutely breathtaking plane-view of Mexico City are the picture's saving grace. The family and friends' storyline is interwoven with art and nature. The drum performance is interesting in itself as are artworks and above mentioned nature vistas. But they create straight in your face scenes where art and nature mirror the protagonists' life nearly back-to-back. And one of the leads is connected with nature so badly in one scene he's smacking his lips disgustingly all the time. At times you are also bombed with the voluptuous shapes of Carlos Reygadas' wife who he - being the scriptwriter/director/actor - is clearly obsessed with. The main plot reveals itself after an hour or so. The affluent ranch owner is revolting, authoritarian, controlling but internally broken which rings true. But both the couple's relationship and the love triangle are terribly far-fetched and the ludicrous climax strains credibility to breaking point.
As for the current epidemic restrictions, it was exhausting having to wear a mask during the screening and the bus travel to the cinema felt hazardous too.
DEBOUT (STILL STANDING)
Watchable. The documentary starting with a man first alcoholic, then crippled in an accident who went on to train yoga astonished me with a truly cinematographic opening - colourful reflections on asphalt and buildings in the rain. Later it strikes you with the diversity of yoga trainees, again accompanied by picture perfect film postcards from around the world. People undergoing rehabilitation after serious accidents, prisoners (where the HIV-positive prisoners look healthier and happier than their guard), fashionistas, school children all benefit from the exercises. While yoga is quite static, based on stretching, it appears to require a lot of stamina and agility. But the most powerful impact is on kids - turning cheeky brats into friendly, amicable pupils. The film applies various filming techniques and varied music for different countries' sections. Still, it's a bit overlong at times, could do with better, catchier music throughout and the initial mention of the documentalist's problem with alcohol never recurs for some reason. Also, it could do with more factual information, I'd love to see statistics for instance. But the core message is vivid and lucid.
The dense crowd queuing to the entrance and most people in the audience without masks, even after asked by staff to put them on, clearly created a health hazard. I can only hope none was a Covid-19 carrier. The evening bus trip back was even worse. An unmasked person sat right to me.
METRI SHESH VA NIM (JUST 6.5)
Watchable. It starts off as a regular crime drama - with a cop chasing a drug dealer. You quickly become aware of cultural differences between the West and Iran but for the most part that's it. OK, it is involving, you follow the investigation one lead after another. But it's only the finale that turns the tables and pushes the boundaries of the genre. The multi-angle approach to the topic elevates the crime drama to a powerful voice about the extent to which the addiction consumes Iranian society, the vicious circle of poverty and illicit activity and discovers not only several hazards of drugs but even its positive impact on destitute families. The latter constitutes an intrinsic fault within the crime fighting system: the punished ones, hanged under sharia law, are victims of the social system and misery. Clearly, the movie writes into the recent polemic with death penalty in Iranian cinematography. If it weren't for the multiple protagonists each with their own multiple issues, which overcomplicates the plot, the picture would be most admirable. Also having to read subtitles quickly doesn't make it easier if you don't happen to speak Persian.
The review's based on a screener, not a cinema viewing. White Polish subtitles were hard to read. Yellow(ish) ones would be better.
Monday 22 June 2020
26. WIOSNA FILMOW (26TH FILM SPRING FESTIVAL) - ONLINE
شیطان وجود ندارد (THERE IS NO EVIL)
Recommended. Structure alternating grave distress with periods of normality, striking shots, the way of putting all the elements together make the picture compelling and bearable - taken the heavy topic - at the same time. Delves into the Iranian political system which requires you to get your hands dirty, examines how capital punishment entangles the society.
よこがお (A GIRL MISSING)
Watchable. Intriguing beginning. Seemed to develop into a crime story but turned out to be a psychological drama, on a bit disturbing side. Engaging but disappointing, especially that the crime subplot never gets explained.
SEULES LES BETES (ONLY THE ANIMALS)
Recommended. This crime drama is superb due to the astonishing African twist. On a deeper level, misplaced feelings and the complexity of inter-human and international economic relations.
I wish the online festival movies were screened louder. It's all great cinema, everything worked, you had a 4-hour slot to see the picture and could even pause or rewind 15s back - clearly thought through, with decent-size subtitles but music and other sound effects were hard to hear and in film that matters too. Another hindrance was having to register, log in, know how to access the movie and refresh the site to start watching.
شیطان وجود ندارد (THERE IS NO EVIL)
Recommended. Structure alternating grave distress with periods of normality, striking shots, the way of putting all the elements together make the picture compelling and bearable - taken the heavy topic - at the same time. Delves into the Iranian political system which requires you to get your hands dirty, examines how capital punishment entangles the society.
よこがお (A GIRL MISSING)
Watchable. Intriguing beginning. Seemed to develop into a crime story but turned out to be a psychological drama, on a bit disturbing side. Engaging but disappointing, especially that the crime subplot never gets explained.
SEULES LES BETES (ONLY THE ANIMALS)
Recommended. This crime drama is superb due to the astonishing African twist. On a deeper level, misplaced feelings and the complexity of inter-human and international economic relations.
BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHE
Watchable. Double exposures of a road with a map superimposed on it or, better still, modern-day location views with scenes from century-old Alice Guy-Blaché's films - technically perfect. I think the double exposures applied by Pamela B. Green were no coincidence - it was Alice Guy-Blaché who used them first. The family and work ties presented in the documentary, though important, are complex and I don't quite get them. But it's touching to learn of her impact on other film-makers. The portrayal of the female pioneer of the cinema is comprehensive, Pamela B. Green finally gave her justice which had been denied by envious men writing history books.
The Polish version has white subtitles - for mostly black and white pictures - which renders them unintelligible, the transmission volume is very low so you can't hear much of Jodie Foster's (who was also one of several executive producers) narration or the interviewees either. The film started late too.
LA DEA FORTUNA (THE GODDESS OF FORTUNE)
Watchable. Set in Naples again - just like Ferzan Özpetek's earlier enigmatic "Napoli velata" ("Naples in Veils"). Shot beautifully in vivid colours which distinguishes it from the earlier tale. This one starts with a secret, then lets you forget about it only to bring it back towards the ending. I guess it'll speak to people in long-term relationships best since it revolves around the topic. It features Italian music, including songs but they dance to Turkish music, a nod to his origins.
SEURAPELI (GAMES PEOPLE PLAY)
Watchable. The distributor tried to pass it off as a comedy. But it's far from that. It's a serious in tone dissection of all sorts of relationships in a group of 30-year-olds who've mostly known each other since school. Christian Hillborg looks hot and in this manner stands out from the rest of the acting crew.
Tuesday 16 June 2020
The last two from the very last night before the lockdown but at least one of the pictures is already back on the screen in just re-opened movie theatres:
SONIC THE HEDGEHOG
Watchable. Lovable zany protagonist - blue, fluffy, from the outer space and as fast as Quicksilver from X-Men but he plays up in a children's caper. James Marsden is a great match for him in the supporting role. Jim Carrey with Mortdecai-style moustache as Dr. Robotnik, however, is badly miscast. In fact, he's utterly annoying, even more so dubbed in Polish, where his voice is different - very low. The rest of the dubbing is vexing too. Some brilliant lines make up for it, e.g. :"Do you have your child in that bag?" "No. I mean, yes, it's a child, but it's not mine." Sonic acts like a child with ADHD but occasionally says something cute like "you covered me with a duvet". Song titles reflect action which follows in the footsteps of "Men In Black" but caters to a younger audience. The last scene and the mid-credit imply a sequel. I look forward to it. Just no more Dr Robotnik please.
BRAHMS: THE BOY II
Watchable. Good cinematography and sound effects at times surrounding you with mysterious whispers and once including a deafening one - not too loud but persuading your ears you're on a plane - impressive. British accents spoken but the movie's American, Canadian and Australian. Feeble attempts at jump scares. Worn out tropes make it plain boring. Additional gimmicks borrowed from "Halloween" and "Terminator" slapped onto the sequel succeed in convincing you there are way too many sequels. In one flick in that. It certainly jumps on the bandwagon of recent serialisation-mania but does so excessively.
SONIC THE HEDGEHOG
Watchable. Lovable zany protagonist - blue, fluffy, from the outer space and as fast as Quicksilver from X-Men but he plays up in a children's caper. James Marsden is a great match for him in the supporting role. Jim Carrey with Mortdecai-style moustache as Dr. Robotnik, however, is badly miscast. In fact, he's utterly annoying, even more so dubbed in Polish, where his voice is different - very low. The rest of the dubbing is vexing too. Some brilliant lines make up for it, e.g. :"Do you have your child in that bag?" "No. I mean, yes, it's a child, but it's not mine." Sonic acts like a child with ADHD but occasionally says something cute like "you covered me with a duvet". Song titles reflect action which follows in the footsteps of "Men In Black" but caters to a younger audience. The last scene and the mid-credit imply a sequel. I look forward to it. Just no more Dr Robotnik please.
BRAHMS: THE BOY II
Watchable. Good cinematography and sound effects at times surrounding you with mysterious whispers and once including a deafening one - not too loud but persuading your ears you're on a plane - impressive. British accents spoken but the movie's American, Canadian and Australian. Feeble attempts at jump scares. Worn out tropes make it plain boring. Additional gimmicks borrowed from "Halloween" and "Terminator" slapped onto the sequel succeed in convincing you there are way too many sequels. In one flick in that. It certainly jumps on the bandwagon of recent serialisation-mania but does so excessively.
Tuesday 9 June 2020
W LESIE DZIS NIE ZASNIE NIKT (NOBODY SLEEPS IN THE WOODS TONIGHT)
Recommended. By the director of earlier excellent, chilling "Plac zabaw" ("Playground") who, as it turns out, grew up on slashers from the 80s. His latest movie is a slasher rich in cultural connotations, most comprehensible to foreigners, a few to Poles only (politics, choice of actors). It's 80s-style fun in the contemporary context of a boot camp for digital addicts. Shades of "Leatherface", "Terminator" and a few other classics are cast over vast swathes of Mazovian forests, whose sweeping aerial views are typical for opening sequences of the genre. A protagonist runs over the monster like Sarah Connor in "Dark Fate" - though the latest "Terminator" was released in October 2019 when the Polish caper was already in post-production. At another instance the person is placed behind bars in a car - like Kevin Spacey in the desert scene in "Se7en". Reading the end credits you come across the list of instruments: owl, woodpecker, saw, boy choir programming - the crew have done their best to recreate the "Psycho" music and sound effect in another mockery of an iconic scene. Even echoes of a fairy-tale - one where a girl kills a monster - can be found. The political references include: a meteorite, twin boys, a quote from Archbishop Jędraszewski. These need explaining. The meteorite, which brings to mind a famous incident in Chelyabinsk, Russia, in Poland is associated rather with "O dwóch takich, co ukradli księżyc" ("The Two Who Stole The Moon") - the movie most famous for twin boys in the cast who later became major actors of the political scene, one died tragically - in a plane crash near the Katyn forest in Russia - and the other is the president of the ruling party and is seen by every other Pole as a dictator obsessed with his deceased brother. The Archbishop infamously defended pedophile priests. Another strong point is excellent cast - both the experienced actors and the new faces - and characters. Exquisite Mecwaldowski plays an episode - the best role in the picture. Popular in comedy shows actors, Izabela Dąbrowska and Sebastian Stankiewicz, make a cameo. No wonder the film's hilarious, makes use of horror gimmicks and provides tension too. Good music - by Jimek - and sound effects. Judging from the ending, a sequel is likely.
23 shooting days, 8-9 scenes daily. Make-up would start in the wee hours. Bartosz M. Kowalski, who scripted, directed and co-edited the movie, had written out full editing back-to-back, each shot. It took 1.5 years from the concept to the premiere. Few people in Poland know how to make limbs and splashing blood but they managed just right. The stunning Polish forests where it was shot are located near Warsaw: Mazowiecki Park Krajobrazowy and Kampinos.
The movie was to be released just one day after the lockdown began so it ended up on Netflix. Now it's finally making its way on the big screen where it belongs.
HER DOCS FILM FESTIVAL
YOURS IN SISTERHOOD
Recommended. Contemporary women read out letters from 50 years ago. While lesbians' situation has improved enormously over the time, it's much easier to find employment and respect even in formerly masculinized professions and sexual harassment in the public is on the decrease, most of the letters sound terrifyingly up-to-date. Mostly house chores sharing, citizen versus the authorities and racial issues need improvement. Simple in form yet powerful.
ISLAND OF THE HUNGRY GHOSTS
Watchable. A bit on the slow side. But well thought through. Refugee detention centers on Christmas Island function like prisons: families split, no right to leave, with the added hardship of never knowing how long you're going to be there. The only thing the refugees can control is whether to live on. It's juxtaposed with great care taken to let migrating red crabs pass safely: building a bridge for them and closing roads for cars and, lastly, with a half-Aussie half-Arab family packing lots of stuff to leave their nice house. The documentary has also made me wonder what it feels like to spend a pitch-black night on the ocean, after the boat sank, when you can't see sharks but hear the screams of the people caught.
Recommended. By the director of earlier excellent, chilling "Plac zabaw" ("Playground") who, as it turns out, grew up on slashers from the 80s. His latest movie is a slasher rich in cultural connotations, most comprehensible to foreigners, a few to Poles only (politics, choice of actors). It's 80s-style fun in the contemporary context of a boot camp for digital addicts. Shades of "Leatherface", "Terminator" and a few other classics are cast over vast swathes of Mazovian forests, whose sweeping aerial views are typical for opening sequences of the genre. A protagonist runs over the monster like Sarah Connor in "Dark Fate" - though the latest "Terminator" was released in October 2019 when the Polish caper was already in post-production. At another instance the person is placed behind bars in a car - like Kevin Spacey in the desert scene in "Se7en". Reading the end credits you come across the list of instruments: owl, woodpecker, saw, boy choir programming - the crew have done their best to recreate the "Psycho" music and sound effect in another mockery of an iconic scene. Even echoes of a fairy-tale - one where a girl kills a monster - can be found. The political references include: a meteorite, twin boys, a quote from Archbishop Jędraszewski. These need explaining. The meteorite, which brings to mind a famous incident in Chelyabinsk, Russia, in Poland is associated rather with "O dwóch takich, co ukradli księżyc" ("The Two Who Stole The Moon") - the movie most famous for twin boys in the cast who later became major actors of the political scene, one died tragically - in a plane crash near the Katyn forest in Russia - and the other is the president of the ruling party and is seen by every other Pole as a dictator obsessed with his deceased brother. The Archbishop infamously defended pedophile priests. Another strong point is excellent cast - both the experienced actors and the new faces - and characters. Exquisite Mecwaldowski plays an episode - the best role in the picture. Popular in comedy shows actors, Izabela Dąbrowska and Sebastian Stankiewicz, make a cameo. No wonder the film's hilarious, makes use of horror gimmicks and provides tension too. Good music - by Jimek - and sound effects. Judging from the ending, a sequel is likely.
23 shooting days, 8-9 scenes daily. Make-up would start in the wee hours. Bartosz M. Kowalski, who scripted, directed and co-edited the movie, had written out full editing back-to-back, each shot. It took 1.5 years from the concept to the premiere. Few people in Poland know how to make limbs and splashing blood but they managed just right. The stunning Polish forests where it was shot are located near Warsaw: Mazowiecki Park Krajobrazowy and Kampinos.
The movie was to be released just one day after the lockdown began so it ended up on Netflix. Now it's finally making its way on the big screen where it belongs.
HER DOCS FILM FESTIVAL
YOURS IN SISTERHOOD
Recommended. Contemporary women read out letters from 50 years ago. While lesbians' situation has improved enormously over the time, it's much easier to find employment and respect even in formerly masculinized professions and sexual harassment in the public is on the decrease, most of the letters sound terrifyingly up-to-date. Mostly house chores sharing, citizen versus the authorities and racial issues need improvement. Simple in form yet powerful.
ISLAND OF THE HUNGRY GHOSTS
Watchable. A bit on the slow side. But well thought through. Refugee detention centers on Christmas Island function like prisons: families split, no right to leave, with the added hardship of never knowing how long you're going to be there. The only thing the refugees can control is whether to live on. It's juxtaposed with great care taken to let migrating red crabs pass safely: building a bridge for them and closing roads for cars and, lastly, with a half-Aussie half-Arab family packing lots of stuff to leave their nice house. The documentary has also made me wonder what it feels like to spend a pitch-black night on the ocean, after the boat sank, when you can't see sharks but hear the screams of the people caught.
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