No. 86 (2021) ALI v AVA. Preview for British FF Perth W.A. OCT. 25th.

 

Film No. 86 (2021)  October 25th.  6:30 PM  PALACE Cinema 6,  Raine Square,  Perth City. 

"Do you feel how warm they are? Just focus on that, nothing else."(Ava places her hands over Ali's eyes, in an intimate moment, on a freezing cold afternoon ).

Realism, of the love-story variety, played out in trying circumstances under a bleak, wet backdrop can be an acquired taste in cinema. One has to believe in the characters as we step into the lives of relatively uncomplicated people living complicated lives. As we do this, of course, we need to like the leads.

ALI AND AVA works on all levels here. Ali (Adeel Akhtar) and Ava (Claire Rushbrook) spend more time committing to others than caring for their own emotional needs. Ali is in a loveless marriage to Runa (Ellora Torchia). They are good people and they hold no animosity towards one another. They will part ways eventually. The complication is Ali's pride, so when? He meets Ava, they connect through kids and humour. Could this be his wake-up call?

Ava is a single mum, an older mum with grown up kids and five grandchildren. Some still live under her roof. Ava has been hurt in love on multiple occasions. We are fed clues about her past but never enough to suffocate the key planks of the story. When she meets Ali (a persistent Ali) we know the eggshells we tread with them, both, have fragments of glass infused. Ali happened upon love, while Ava quietly craved something she may not be able to handle. 

Director Clio Barnard (DARK RIVER, THE SELFISH GIANT) is a serious film-maker. If Ken Loach could pass the baton to a successor then I'd be surprised if it wasn't Barnard. High praise maybe but if you have seen THE SELFISH GIANT I think you'd agree. For me, while Loach ostracises people because he is so unapologetically bleak, Barnard gives us hope with ALI AND AVA. Social class is not the important theme here, Ali and Ava gradually become handsome people in our eyes, with an issue of the heart to sort out. Our hope is, that they will sort it.  10GUMS.        

No. 85 (2021) THE TIES "Lacci" (Palace Italian Film Festival) OCT. 22nd.

 

Film No. 85 (2021)  October 24th.  3:10 PM   Cinema 1.  LUNA,  Leederville. 

"If you tell me the truth now, you'll save everyone's life".(Vanda lays it on the line to husband Aldo; He is either a husband and father to his family or he is becoming someone else).

The title LACCI (laces) is straight forward enough. It is interesting that the English translation is simply THE TIES. Given the themes of LACCI, THE TIES gives the film a greater dimension to the film's message, but based on all that these titles relate back to in the film, the title could easily have been LIKE FATHER, LIKE SON. But it matters not, it did however make me wonder about the process of marketing an international film to an English speaking audience.

That said, LACCI is a fascinating film. The quality of its layered elements, (incorporating chapters via time skips) could have been complicated in certain hands, but not in this case. Directors Paolo and Vittorio Taviari have their audience completely in tune with where the story sits. There are "we've seen all this before" moments, but I was never hampered by this. The casting is spot-on. The cast is a who's who of Italian cinema. Alba Rohrwacher, Luigi Lo Cascio, Laura Morante and Silio Orlando playing the key roles of husband and wife Vanda and Aldo Prima in the two key eras (80's & now). 

We meet a seemingly happy family, until by scene 3 Vanda (Rohrwacher) has confronted Aldo and his infidelity is revealed. Most of the loving in the Prima family emanates through the children Anna (11YO) and Sandro (6YO). So we are often reminded of the residue that will remain with the children (close-ups) as time oscillates. One of the twists as the film concludes relates to forty-something Anna remembering her thoughts (as an 11 year old) as she looked from a car window at her father's new lover, Lidia.

Being in my early to mid sixties, I wonder if my interpretation of LACCI would be completely different if I had seen it in my 20's or 40's? KRAMER vs KRAMER, which I saw in my early twenties, was impactful. I hadn't experienced marriage or children, personally, to be moved more intimately. LACCI took me to places more familiar to my own experiences 40 Years on. Isn't that what film, strongly socially themed, should do? I think so, and while it's never heart-breaking it is invigorating with some clever twists along the way. 10GUMS.   

        

 

No. 84 (2021) NEVER GONNA SNOW AGAIN (Sniegu juz nigdy nie bedzie) Polish Film Fest. OCT. 17th.

 

Film No. 84 (2021)  October 17th.  6:30 PM   Cinema 1.  LUNA,  Leederville. 

"Most people around here only care about their looks and whether they are looking better than others"(Some words of wisdom expounded to Zhenia as he comes to terms with his new environment and clients).

A Polish satire, that plays out like a fairy-tale with a series of sociological themes that ask questions of modern society. This is the sentence I'd use to best describe the very handsome NEVER GONNA SNOW AGAIN; Poland's submission for best International film at the 2021 Oscars.

So what sort of comment do directors Malgorzata Szumowska and Michael Englert, both prominent Polish cinephiles, make about the society they know so well through NEVER GONNA? Well, I'm not totally sure but it has something to do with the repression (emotionally) of the Polish middle class. And just maybe it might take some massage and a bit of magic, initiated by a Russian outsider, to help them snap out of it!!

We learn early on that Zhenia (Alec Utgoff), is a Russian visitor originating from Chernobyl no less. He has gifted hands (Masseuse) and mind. We wander with him as he carries his portable massage table for what seems like endless kilometres until he arrives at a middle-class compound. A compound of white McMansions. He is viewed as a saint, who has arrived to deliver a physical and mental invigoration via his unique, magical, wellness therapy. His clients are a potpourri of people weighed down emotionally, by life's baggage.    

The pallet chosen for each scene adds to the mystique of the film's message. One minute we witness, via drone, a pine plantation being dismembered, a symbol of climate change. Next we are running (dog's eye view) down a road, to nowhere in particular. Some of the images are random but it's all a part of the film's flow. The narrative is less important than its feel. Zhenia, as the centrepiece, is never a threat even though his behaviour is odd. He is needed more and more by his self-centred, needy clients. 

Film is entertainment; film is messaging; film is art. NEVER GONNA encapsulates all these descriptions. Is the core of Zhenia energised by the radiation he was exposed to when he was young? The nuclear core so easily melted in Chernobyl in 1986 has transformed Zhenia. An observation based more on guess-work than fact. And still I've told you little about NEVER GONNA RAIN AGAIN. If, for that reason alone, it intrigues you, then try to catch a showing. You might enjoy it as I did. 10GUMS. 

         

   

No. 83 (2021) JOE BELL. OCT. 13th.

 

Film No. 83 (2021)  October 13th.  5:00 PM   Cinema 4  LUNA,  Leederville. 

"I'm on the right track baby, I was born this way"(The Lady Gaga lyrics Joe recites to his son, Jadin while on his walk across the U.S.).

The story of Joe Bell is definitely a story worth telling. And while the trailer promotes the film as being the best script from writers Diana Ossana and Larry McMurtry since BROKEBACK MOUNTAIN, it is not nearly as absorbing and thorough in its messaging as BM. Because of this, I think the script does the stars here a disservice.

Firstly, let me say, if you've never heard the Joe Bell story, I'd encourage you not to do the mandatory electronic search. His story, or more importantly the ending will, I think, be more impactful seen through fresh eyes. It was advice I received and I'm glad I resisted tapping into search engines. The story is all about a man; a dad, coming to terms with who he is, and what he stands for. The ending will force you to take stock of what really impressed you about an everyday man and what made him a better person.

Reid Miller as Jadin Bell is the star here. He is so good I'm not sure the safe casting of Wahlberg (Joe) and Britton (wife and mother, Lola) complements Miller's range. These stars obviously offer box-office cred but the script was so saccharine I was hoping for a better connection to Jadin through his parents. Perhaps, and I only say perhaps, fresher faces may have given me a fresher connect.

Given all of this, any competently made film(and Joe Bell is certainly that) which throws a spotlight on the reasons bystanders need to stand-up to bullies in greater numbers to protect victims, should be lauded and highlighted. I was thoroughly engrossed in Joe Bell. My criticisms reflect my push for even greater empathy on behalf of the human race when it comes to bullying. And look out for Reid Miller, I hope he doesn't get type cast after this wonderful performance. 8GUMS.

     

No. 82 (2021) THREE PERFECT DAUGHTERS (E Per il Tuo Bene). Preview for Italian FF Perth W.A. OCT. 11th.

 

Film No. 82 (2021)  October 11th.  6:30 PM  PALACE Cinema 6,  Raine Square,  Perth City. 

"This is war."(The fathers' make a pact and join forces to resist their daughters' choices of boyfriends)

Here is another of these inoffensive Italian comedies that become so safe and predictable it's best to leave your brain at the candy-bar and just let the "tosh" flow over you. Okay, first there is the simple plotline. In this case three men are married to three sisters all of whom are years younger than them. Each couple has an only child, that being a daughter. Each daughter is spreading their dating wings. Secondly, the fathers' image of the perfect partner for their daughter is going to be very different to the choices made. The daughters do as they please. The wives generally accept these choices but the men will stop at nothing in their narcissistic patterns of behaviour. There is mayhem along the way combined with some slapstick moments. Some of the themes are quite serious. In real life the human condition wouldn't be treated quite so frivolously considering some of issues depicted here. Matters including stealing, malicious damage, grievous bodily harm and a gaol term. But let me return to my initial point. E Per il tuo bene is silly, predictable fun. It's not my "bag" but it is doing good business in Italy and if it is getting people out of COVID restricted existences and into cinemas, then bravo! 7GUMS.

       

       

No. 81 (2021) THE KILLING OF TWO LOVERS. OCT. 10th.

 

Film No. 81 (2021)  October 10th.  3:10 PM   Cinema 4  LUNA,  Leederville. 

"David, I love you. You love me. We'll try to figure this thing out"(Nikki discusses their complicated situation, in uncomplicated terms, during one of David's visits).

THE KILLING OF TWO LOVERS is so brilliant that there were times I thought I was watching a compelling documentary about the social ramifications of one specific marriage in crisis. The realism director Robert Machoian captures here is raw; as raw as the cold bleak landscape (Utah) it is shot in. 

How do we exist in the pocket of David (Clayne Crawford) as he deals with his self inflicted, tumultuous life? By observing small moments, all of which add up to a deeper significance, that's how. Small moments which show the deep affection he has for his four children. He is not at home where he should be. He loves wife Nikki (Sepideh Moafi). She loves him, but he can't be under the same roof. It's complicated. 

The opening scene reflects how complicated life is for David. It is disturbing and has potential for utterly catastrophic consequences. At the time we don't know how we will connect with David, or if in fact it is possible that we might. It is all a part of the magic of this deeply affecting film.

But there is so much more to THE KILLING OF TWO LOVERS. The soundtrack of thumping crescendos keeps us on edge. The fact that jealousy is building like a volcano within David makes us deeply pessimistic for the family. We hate feeling this because of the connection we have built with Nikki and the four children. Those small moments (scenes) have given us affection for them.

THE KILLING OF TWO LOVERS is an example of thoughtful, independent film-making. It is the sort of film made with love and few dollars ($20,000 maybe). I know the sort of people I'd recommend this film to. It was recommended to me by a friend who knows my tastes. I'm extremely glad he insisted that I should see it. 11GUMS.

      

         

No. 80 (2021) LAMB. OCT. 2nd.

 

Film No. 80 (2021)  October 2nd.  11:00 AM   Cinema 1  LUNA,  Leederville. 

"Happiness ......"(Ingvar's answer to brother Petur's question about what this life he and Maria were living was all about).

Icelandic cinema has made the whole cinema viewing world sit up and take notice, big time, in the last 10 years. UNDER THE TREE, SPARROWS, RAMS, WHITE, WHITE DAY are examples in question. Now LAMB joins the list; all brilliant. Each film portrays life in a world very few people will ever experience in their real lives. Lamb takes that idea to a new level via a genre of its own. 

While the current Danish blockbuster RIDERS OF JUSTICE gives off a Hans Christian Andersson fairy-tale undertone, LAMB brings Iceland's own folk-tale teller Jon Arnason, front and centre, without the terror, in ways that may test your fiction loving limits. 

Make no mistake though, LAMB is a handsome film depicting rural Iceland as only RAMS has done previously. Sheep-breeding as a way of farm life prevails in both, but while both explore family tensions caused by that life, LAMB plays with our minds and the moral compass that guides our thoughts. Dialogue never clutters our expectations here. LAMB is very much an image based film and there is rarely a wasted scene.

Here I am typing a review and by paragraph 4 I've told you nothing of what LAMB is about. Well you needn't know more than the fact that childless married couple Maria (Noomi Rapace) and Ingvar (Hilmir Snaer Gudnason) breed sheep in the heart of windswept Iceland. Something beyond their control interrupts their breeding program. They adapt without really knowing how the extraordinary event happened. Ingvar's brother Petur turns up unexpectedly which adds a complication. Will the conclusion to LAMB turn out to be as bleak as the farm-scape? I found out the answer to that question and I enjoyed every second of the 100 minutes it took to get there. 10GUMS. 

 

        

No. 79 (2021) RIDE THE EAGLE. OCT. 1st.

 

Film No. 79 (2021)  October 1st.  12:20 PM  EVENT CINEMAS,  Innaloo.

"Number one, be the predator not the prey". (The first of Leif's life lessons on a list left for him by his recently deceased  mother ).

This film has divided critics into two categories. Those who wish they had that 95 minutes of their lives back and those who totally enjoyed the indulgence. I'm in the middle, really! I really enjoyed a scene or two, quite enjoyed a few, and found the odd segment superfluous.

RIDE THE EAGLE is the ultimate COVID made film where production parameters have changed and one needs to adapt. Split screens, video monologues and body double screen flashes keeps the story in motion. Trent O'Donnell (Writer/director) does a good job in a film better suited for the lounge chair streaming market. 

O'Donnell struck up a close friendship with lead actor and fellow writer Jake Johnson (Leif) during their collaboration on the T.V. series NEW GIRL. RTE is the kernel of an idea they were keen to develop. They couldn't believe their luck in nailing the services of J.K. Simmons and Susan Sarandon for EAGLE. Characters Carl (Simmons) and Honey (Sarandon)don't play in a scene together even thought they are (ex) lovers. Honey is dead when the film begins and her video to son Leif (requesting he complete a list of life affecting tasks, if he is to inherit her Yosemite Park cabin) says it all.

O'Donnell gives us a "Readers Digest" indie feel here. Johnson never seems totally comfortable as the over-grown slacker. Maybe it's because there are so many COVID centric compromises. It does have a charm though. The one big screen advantage comes in the form of The Yosemite State Park backdrop. This Californian jewel is a centre-piece here. And the significance of the title RIDE THE EAGLE? Well that forms a cute image in the final scene. 7GUMS.           

No. 78 (2021) I NEVER CRY (Jak Najdalej Stad) Polish Film Fest. Luna / Backlot; Perth SEPT. 29th.

 

Film No. 77 (2021)  September 29th.  7:10 PM   Cinema 1  LUNA,  Leederville. 

"We have a deal. He knows nothing about me and vice versa."(Ola discusses the dysfunctional relationship she has with her father, with her empathetic employer).

This is definitely my first foray into the Polish/Irish comedy but mainly drama sphere. After, I Never Cry, I'm looking forward to my second. Zofia Stafiej as Olka is wonderfully cast as the daughter with a grudge against her father and so much to learn from life. Stafiej is magnetic in her debut lead role.

Director Piotr Domalewski showed his concern for the Polish working class (when work off shore was the only viable alternative for so many and put so much pressure on families) in SILENT NIGHT. It was a serious, uncompromising film asking questions about life under E.U. controls. I NEVER CRY is also serious but controls many bleak scenes with laugh out loud moments. It's as though Domalewski wants to highlight  particular themes, mainly death and grief, with humour. It works and adds to the magnetic pull of Olka.

We meet Olka as she takes her driver's test on the high streets of Warsaw. Three minutes in we know something of the character whose pocket we are about to inhabit for 92 minutes. Her aims are uncomplicated enough, but her family situation is not. She is dependent on her father who works off-shore (Ireland) for her most cherished want, a car, but she is resentful of him as he has been absent from her life for a long time. She's a chain-smoking 17 year old. Her disabled brother (Pawel) relies on their mother, there is resentment and oh so much stress in her young life.

Suddenly a telephone call comes from Ireland that changes everything. Olka has to accept the ultimate challenge. We are there to watch her take this on in a foreign country, a task no teenager should have to face. We rarely question her judgment. Olka matures before our eyes, and while a cliché or two sneaks into focus our admiration for her is never compromised. I'm pleased to say that the old adage "most people are good" holds strong here. I loved the, at times, torturous journey Olka took me on.  10GUMS.