Category Archives: Foreign Drama Films

BPM (Beats Per Minute)- 2017

BPM (Beats Per Minute)- 2017

Director-Robin Campillo

Starring-Nahuel Perez Biscayart, Arnaud Valois

Scott’s Review #884

Reviewed April 11, 2019

Grade: A-

BPM (Beats Per Minute) (2017) is a film that is both exhilarating and heartbreaking to watch. Churning out emotional reactions such as empathy and empowerment the film channels a potential life-saving cause. Of French language and shot documentary style the film is not an easy watch as the viewer is transplanted back to the early 1990’s when the AIDS epidemic was ravaging the world in general and the gay community specifically. A mixture of a community- oriented movement amidst a love story makes this project worthwhile viewing.

The immediate focal point of the story is an impassioned and aggressive Paris based chapter of ACT UP (AIDS Coalition to Unleash Power), a unified gay and lesbian organization intent on speeding up the French government’s response to the unwieldy AIDS epidemic. The group resorts to extreme public protests consisting of fake blood throwing and invading prominent pharmaceutical company meetings. Their intent is to get them to release trial results immediately instead of waiting until the next year. The various debates and infighting among the chapter are heavily featured.

As the film progresses BPM (Beats Per Minute) slowly shifts its focus from the protests to the personal lives of the ACT UP members as a romance brews between nineteen-year-old HIV positive Sean (Perez Biscayart), who already exhibits visible infections from the disease, and HIV negative Nathan (Valois), a newcomer to the group. The pair quickly become inseparable as Sean’s body becomes ravaged by the disease resulting in a poignant and dire conclusion sure to elicit tears.

Director, Campillo and co-screenwriter Philippe Mangeot drew on their personal experiences with ACT UP in developing the story enriching the authenticity of the experience. Despite being shot in present day the film feels genuine with a 1990’s feel and flavor. The gray Parisian locales though gorgeous and picturesque also portray a sadness and bleakness. As Sean gazes outside we sense his fear and anguish. Through this character Campillo and Mangeot provide personal stories representing the plight of many during that time.

A particularly racy scene erupts approximately halfway through the film as Sean and Nathan’s love story takes center stage. Foreign language films are not known for shying away from nudity or sexuality the way many American films do. As the impassioned pair make love for the first time, little is left to the imagination. Despite the gratuitous nudity and the overt sexual tones, the duo’s relationship is not solely physical, and the audience will undoubtedly come to care for both men the way that I did.

The two-fold story is a wise choice and the overall message that BPM (Beats Per Minute) presents is both inspiring and a good telling of the LGBT community’s struggles at notice and inclusion during the 1980’s and 1990’s. This point is both a positive and a negative as the story beckons back to a day in the community’s history dripping with pain and loneliness and this comes across on film. The film is hardly a happy experience and quite rather the downer.

The main drawback to the film is its length. At nearly two and a half hours the story and principle points begin to become redundant which causes the overall message to lose a bit of thunder. The constant bickering and debate among the ACT UP group becomes tedious to watch as fight and clash after fight and clash resurface repeatedly.

Though painful to experience and not very uplifting, BPM (Beats Per Minute) is an important film to view given how far the treatments of HIV have progressed over several decades. Not taking things for granted, a trip down memory lane for those alive during the epidemic is recommended. For those fortunate enough to have missed the 1980’s and the 1990’s the film is a necessary reminder of how life once was for the unfortunate victim of a devastating epidemic.

The Bicycle Thief-1948

The Bicycle Thief-1948

Director-Vittorio De Sica

Starring-Lamberto Maggiorani, Enzo Staiola

Scott’s Review #867

Reviewed February 16, 2019

Grade: A

The Bicycle Thief (1948), modified to the English title from the original Italian Bicycle Thieves (Ladri di biciclette) is an important and cherished film containing a powerful message enshrined in a compelling story. The film is fraught with emotion and focuses on a powerful relationship between a father and his son and a determination to retrieve what is rightfully theirs. Made post World War II the film has a socialist theme and is made with a hallmark neorealist style centering around working class people. The film is an example of cinema being art and not merely entertainment.

The film deservedly was awarded a special Academy Award for “most outstanding foreign language film” before the historic Best Foreign Language Film award existed. This is a testament to the power and humanism the film envelopes as the sad and occasionally wonderful story unfolds. The inclusion of professional actors and non-actors make the film a strong and authentic watch in a quick one hour and twenty-nine minute running time.

In late 1940’s Rome Antonio Ricci (Lamberto Maggiorani) struggles to find decent work to support himself and his family. When an opportunity presents itself but requires the use of a bicycle, Antonio’s wife Maria (Lianella Carell) selflessly sells family heirlooms to acquire his pawned bicycle. Things are looking great for the family as Antonio begins his new job only to have his bicycle stolen by a thief on his first day as he sits atop a ladder helplessly witnessing the theft. Determined to track the thief down and retrieve his stolen bike he and son Bruno (Enzo Staiola) traverse the city in growing desperation.

The Bicycle Thief is a simple story but one which enraptures the viewer with many different emotions. Anger at the thief, empathy for Antonio and Bruno, inspiration by the humanity of some characters, and rage at the actions of others. Antonio strives to be a good role model for his son and a provider for Maria. By the end of the film he has become a more complicated character, resorting to dire means to solve his problems. Antonio is desperate, guilt-ridden, and ashamed, but is also a highly inspirational character.

Fans of the gorgeous and historic European city of Rome are in for a treat. The Bicycle Thief is peppered with enchanting shots of the famous city and focuses on the events of normal everyday people as they go to work and spend their days on a mission. The lighting used by director Vittorio de Sica is bright and sunny and portrays Rome as a hot and bustling epicenter. The atmosphere is foreboding as we known something dire will soon occur amid the warm and cheery metropolis.

The acting is at the center of The Bicycle Thief’s success with inspired performances by Maggiorani and Staiola as father and son. Staiola is masterful as a young boy who needs a father figure and hangs on his father’s every move with passion. His soulful and expressive eyes contain sadness and hope in many scenes as he yearns and prays for his father to be happy again and for himself to feel safe. In comparison, Maggiorani possesses an ability to portray strength and angst interchangeably. His finest scene is pivotal as he realizes he has become no better than the thief he despises early in the film and is buried in shame.

The Bicycle Thief (1948) is a film made powerful and memorable by its simplicity and humanistic sensibilities. The plot is basic and explores one man’s quest at justice and the right to live his life and care for his family. His journey is complex and fraught with tense moments only making the film palpable and heart racing as his adventure unfolds before us. Thanks to gorgeous cinematography and an ample dose of pathos those who watch this film will be in store for a treasure in powerful cinematic story telling.

Roma-2018

Roma-2018

Director-Alfonso Cuaron

Starring-Yalitza Aparicio, Marina de Tavira

Scott’s Review #862

Reviewed February 2, 2019

Grade: A

Roma (2018) is a film to be experienced rather than merely viewed. A cinematic, black and white feast for the eyes and direction to be amazed with is utterly impressive and a triumph in masterful film-making. On par with geographically picturesque epics such as Lawrence of Arabia (1962), the piece is at first not an easy watch, but the audience will become both enraptured and rewarded with each passing moment as the characters emerge to flawless perfection reaching a crescendo of magnificent art.

Set during a politically tumultuous time in Mexico City during 1970 and 1971, the film follows a young maid working for a middle-class Mexican family and her perspective on her surroundings. She serves as housekeeper going about her numerous duties of mopping, cooking, even cleaning up the family dog excrement that runs rampant and as emotional support for the members of the family.

Cleo (Yalitza Aparicio) and her best friend, fellow maid Adela (Nancy Garcia) tend to four children of varying ages and their troubled parents, he a doctor and she the family matriarch. Antonio and Sofia (Marina de Tavira) have a troubled marriage as he supposedly goes to Quebec for business as tensions mount among the family. Through it all, Teresa, Antonio’s mother resides with the family as Cleo learns she is pregnant, and her boyfriend Fermin flees after hearing the news.

Director Alfonso Cuaron, responsible for the writing, direction, cinematography, editing, and nearly every other aspect of the picture, draws from his own personal experience growing up in Mexico City. Cuaron reportedly created the film as an artful love letter to his beloved family housekeeper whom he adored. In this way there is rich personality and intimacy throughout and a definite family angle. As the film centers mainly around Cleo’s trials and tribulations, the entire family appear in numerous scenes and thus feels like an ensemble feature.

Cleo is a quiet and modest girl happily going about her chores and serving the needs of everyone around her. She is treated well by the family and adored by the children only occasionally enduring the wrath of Sofia’s temper and troubles, but she is loved and appreciated. In love with Fermin and her only sexual experience she winds up pregnant which scares the aggressive and battle-minded young man. The story-line takes place over the course of a year, so we see Cleo’s entire pregnancy progress and experience her devastation as she gives birth to a still-born girl.

My favorite aspects of Roma are the simplicity and the monumental touches that Cuaron includes. The film begins with a lengthy shot of water being thrown on a cement garage and the puddles and circulation of the water. Seen from above is a slow-moving airplane and numerous background shots of a slowly landing airplane subsequently appear throughout the film. Is this to represent the slowness of life? Life, death, and near-death experiences are featured in Roma. Cleo’s pregnancy, the death of a baby, and the near drowning of one of the children rescued by Cleo despite the girl not being able to swim.

Gorgeous scenes of Cleo traversing through the streets of downtown Mexico City exude beauty. Undoubtedly the scenes represent her journey through life and the pain and rewards that she experiences, but they also feature dozens of interesting characters if one pays close attention. A man lighting a cigarette, a woman gazing, and other ordinary people doing things that look illuminating and like glimpses of the past. The automobiles are representative of the 1970’s as a Ford Galaxy, the family car, is extensively featured.

The films cover art (pictured above) is a creation that perfectly captures the theme of Roma and is highly symbolic. Huddled on sand at the beach the family encircles Cleo with expressions of panic, fear, and gratitude. The black and white adds depth as it could easily be a piece immersed in an art museum. The group of people appear unified and cling to Cleo for dear life also in a show of support and appreciation. The photo is endearing and beautiful to look at.

Roma (2018) received an impressive ten Academy Award nominations as well as numerous year-end accolades an impressive achievement for a foreign language film. For those with enough patience to let the film and its components marinate will be rewarded with a fine appreciation for cinematic artistry. The dreamlike quality with meticulous attention to detail makes this personal work a fascinating masterpiece.

Cold War-2018

Cold War-2018

Director-Pawel Pawlikowski

Starring-Joanna Kulig, Tomasz Kot

Scott’s Review #861

Reviewed January 29, 2019

Grade: A

Every once in a long while a modern film set in a different time- period comes along that embodies that era with such authenticity and grace that we forget that it was not shot in the time the story is told. Cold War (2018) is one such film that dares to whisk the viewer to another world with genuine timelessness emboldened by the torturous romantic entanglements of its main characters.

Reminiscent of an Ingmar Bergman film and shot in black and white the film is lovely, tragic, and fraught with historical references. One can dissect both character nuances and atmospheric qualities encompassing the entire experience. The film is a sum of its parts with a painful layer of veneer immersed in all the various tidbits. Cold War contains almost no humor but rather doom and gloom.

Amid the ruins of post- World War II Poland, repressed and self-destructive musicians Wiktor (Tomasz Kot) and Zula (Joanna Kulig) forge into an obsessive love-affair and cannot stay away from each other despite the European cities and countries that stand in their way. Spanning over a decade they battle alcohol abuse, rage, and imprisonment as they traverse between Poland, France, Berlin, and Yugoslavia.

Zula does obtain a level of success with her musicianship, but at a steep cost. She is forced to marry a hated man whom she does not love and many years away from Wiktor. Still, their romance perseveres over time until the duo makes a fateful decision that leads to a profound climax. The conclusion of the film is powerful, macabre, and emotional.

To state that Cold War is a tragedy is almost an understatement though viewers will probably not realize this going into the film. When Zula auditions at a Polish house for the musically gifted and Wiktor accompanies her on the piano sparks fly between the two as they meet for the first time. Zula appears to be a simple farm girl and sings a mountain song in duet with another girl. Spirited, Zula flirts with men, but is forever drawn to Wiktor and their chemistry runs rampant.

The direction, art direction, and cinematography are superb offering a magnificent look to the film. The use of black and white filming gives the piece an immeasurably timeless quality especially as streets and avenues in Paris emerge from time to time. They could easily be 1950’s France. The lovely halls that the pair perform in add ambiance and effect and musical treasures such as the melancholy main song performed in multiple languages and tones sparkles with culture.

With a run-time of only eighty-nine brief minutes Cold War never feels rushed and compartmentalizes all that it needs to tell in this span of time. The story contents run from 1949 until the early 1960’s and the film’s title is no mere accident. The historical reference plain and obvious the film also contains a bleak and frigid quality in both its surroundings and its characters. One worth mentioning is a rigid government man who complains that one girl in the chorus is “too dark”, the connotation being one of nationalism.

Multiple comparisons to Pawlikowski’s masterpiece Ida (2014) can be drawn one of which is that Kulig stars in both films. In addition to the black and white shooting both films feature a central female character that is tortured, a Nazi occupation of Poland or the after-effects of such an occupation, and the effects of repression or otherwise obsessive behavior featured in both films. Pawlikowski is superb at crafting these types of damaged and conflicted characters in his films.

Director Pawlikowski successfully achieves a second Polish film offering that challenges his audiences with remarkable story-telling, a dark mood, and a reminder of the terrible effects of the aftermath of World War II and those left in its wake. Psychological scars can wound as much as physical scars as Pawlikowski proves in the characters he draws from and their doomed lives. Cold War (2018) is an achievement in many ways and makes for thoughtful conversation after the credits roll.

Au Revoir Les Enfants-1987

Au Revoir Les Enfants-1987

Director-Louis Malle

Starring-Gaspard Manesse, Raphael Fejto

Scott’s Review #859

Reviewed January 21, 2019

Grade: A

Au Revoir Les Enfants (1987), the English translation Goodbye, Children is a powerful story of youth and friendship amid a French boarding school during the Nazi occupation of France. As World War II rages on Director Louis Malle crafts a tragic and poignant film that resonates on many levels featuring both good and evil and the forever loss of childhood innocence.

The film is based on actual events that Malle experienced as a child when he attended a Roman Catholic boarding school. At age eleven he witnessed a Gestapo raid in which three Jewish children and a Jewish teacher were savagely rounded up and taken to Auschwitz concentration camps and presumably to their deaths. What a powerful and tragic event he faced, and he brilliantly transplants this to his film.

We meet young Julien Quentin (Gaspard Manesse) as he bids his mother farewell and takes a train to his boarding school after a lengthy vacation. The headmaster introduces three new students one of which is Julien’s age. Jean Bonnet (Raphael Fejto) is socially awkward but excels at mathematics and piano. The boys initially dislike one another but slowly forge a powerful bond when they are immersed in playing a game of treasure hunt together. Julien soon discovers that Bonnet is Jewish, and the school is protecting him for capture.

The film is divided into two main stories, the troubled relationship and subsequent friendship between Julien and Bonnet and the revelation that Bonnet is Jewish and the benevolence of the school officials to the plight of Jews. The latter gives Au Revoir Les Enfantes a socially relevant angle as the audience begins to care deeply about Bonnet and the other Jewish boys yearning for education and freedom. Their innocence and confusion over being hated is effective and painful to watch.

The tyranny of the Gestapo is matched by the kindness and courage of the teachers who defy the anti-Semitic policies and admit Jewish students into the school under assumed names. The teachers are the heroes of the story and largely unsung as they yearn to give children of any religion a good education and a chance at happiness and fulfillment. I would love to see schools feature Au Revoir Les Enfantes to their students as a lesson in bravery.

Any viewer who has visited France will assimilate nicely with the good culture and sophistication the country envelopes. Most scenes occur at the boarding school with lessons being learned and the growth of many of the students, but a favorite scene takes place at a gourmet restaurant. As Julien and his mother lunch with Bonnet and others the meals, staff and ambiance exude French style and goodness, but among these luxuries also lies the constant threat of the Nazis as they bombard the restaurant and attempt to kick a Jewish man out of the establishment.

Malle wisely affixes the camera closely on the faces of Manesse and Fejto with a glowing quality that is both beautiful and haunting. This results in many scenes featuring the expressions of the boys including wonderment, shock, intensity, and fear. The young actors rise to the occasion and perform their roles flawlessly with a natural quality.

The boys learn a myriad of valuable lessons most notably that the world is unjust and filled with unfairness. Malle gives the finale more than enough power and angst to leave the viewer pondering the fates of the Jewish characters. Their fates undoubtedly sealed by the Nazis the how’s and the whys are left ambiguous eliciting powerful emotions.

Au Revoir Les Enfantes (1987) is a superb and relevant offering depicting the pain and fear experienced by Jewish people in a tragic period of history. Told through the eyes of children the film hits home as an innocence is discovered and then lost. The film was nominated for the Best Foreign Language Film Oscar but was defeated by Babette’s Feast.

The Insult-2017

The Insult-2017

Director-Ziad Doueiri

Starring-Adel Karam, Kamel El Basha

Scott’s Review #815

Reviewed October 1, 2018

Grade: B

A Lebanese film nominated for the Best Foreign Language Film Academy award, The Insult (2017) offers its audience what I would categorize as a message film.  A battle of cultures and religions lead to chaos and controversy culminating with an embattled court case as we get to know supporting characters as well. While the film is above average it is also too glossy and at times plays out more like a television series- with dramatic effects and plot developments for miles. Still, the film is a worthy watch.

In a small Lebanese village, main character Tony Hanna (Adel Karam) lives with his pregnant wife Shirine. Working as an automobile mechanic, Tony is a proud member of the Christian community, attending rallies and events. His village employs Palestinian refugees to perform maintenance repairs, which irritates Tony. When a verbal altercation with middle-aged refugee Yasser (Kamel El Basha) occurs over a broken gutter, a failed apology results in physical violence as the situation rapidly escalates.

The courtroom drama, while compelling, seems a very familiar story. Other recent foreign language films such as A Separation (2011), and Gett: The Trial of Vivian Amsalem (2014) use similar plot devices of family conflict that wind up in the courtroom. Those films are better written and feel more authentic and raw than The Insult does. All throughout the film I kept telling myself I was not watching a middle-eastern version of Law & Order, but that is what it felt like.

Personally, I felt little sympathy for Tony and I was not completely sure if we were supposed to feel anything for him. With his brooding nature, and populist attitude he is written as downright unlikable at first. I assume the intent was to soften the character over the length of the film when he briefly comes to Yasser’s aid and helps start the man’s car. However, Tony soon reverts to his original stubborn nature.

Yasser is a much more likable fellow, albeit with a temper. Hurling curse words at Tony is the reason the tension between the two men begins in the first place and attempted apologies only lead to miscommunications between everyone. But Yasser gets my vote for the most compassionate character. In the supporting roles, an interesting (though perhaps not completely necessary) side story exists as the embattled lawyers are revealed to be father and daughter.

The major problem with The Insult is that the entire story seems plot-driven and each step created to come up with a way to build or add tension. For example, a speeding motorcycle angrily side-swipes Tony and his wife.  The partners are then in peril because their daughter is born premature due to the stress. Situations and tensions could have easily been wrapped up or smoothed over under different circumstances, therefore the tone of the films feels less than authentic and manipulative despite some good drama.

Still, what the writing team does is introduce the audience to the turbulent world of Middle Eastern politics in a way that undoubtedly results in thought-provoking views and exposures to opposing ideas. The film also provides a distinct hopeful slant at the conclusion so as not to send a dour message. The direction is that people can come together as one peaceful group, but that it will not be easy.

The Insult (2017) is not a bad watch and, in fact, compels the viewer to witness an interesting story of differing cultures and warring religious beliefs churning two men inside out when faced with conflict. The film also does a fine job of emitting a peaceful message of coming together as human beings.

An overall rating of “B” is a nice score but given the dozens of potential Best Foreign Language finalists, I am not sure the film quite “cuts the mustard” for me- surely there were superior entries. But then this Oscar category’s nominating process has always been a mystery.

The Square-2017

The Square-2017

Director-Ruben Oslund

Starring-Claes Bang, Elisabeth Moss

Scott’s Review #814

Reviewed September 28, 2018

Grade: B+

The Square (2017) is an eccentric Swedish language film that is highly interpretive and does not always make perfect sense the way a more mainstream film would. This is both a positive and a negative as the ultimate message of the film is admirable, though some parts are both perplexing and downright bizarre. The film was bestowed an Oscar nomination, undoubtedly for its bravery and cutting-edge approach, for the Best Foreign Language Film- subsequently it lost to A Fantastic Woman (2017).

The X-Royal art museum in Stockholm, Sweden is the primary setting of the film. The action centers mostly around the museum’s creative director Christian (Claes Bang), who is new to the job and attempting to introduce a new installation called “The Square”. A misunderstanding with a youthful public relations firm hired to make the exhibit as accessible as possible, leads to controversy. The film also interjects various sub-plots that are by and large interesting in themselves, but do not always make logical sense.

Bang is quite compelling in the lead role and the best part of the film for me. He is charismatic, a good father to his two daughters, and helps the homeless- even going so far as to help a young woman when nobody else will, only to find his wallet stolen- an unfortunate victim of a scam. Furthermore, Christian’s desire to create “The Square” is quite humane and admirable- a safe zone for trust and compassion. The character is a good-guy, but also concerned with his status.

Common themes of satire and human being’s natural hypocritical nature abound. For example, in one scene Christian, proud to drive his flashy Tesla car and giving money to the homeless, is then afraid to be seen in a run-down apartment house. Later, a man with tourettes syndrome disrupts an interview at the museum and is looked down on by “open minded people” as a result. The latter scene is admittedly quite amusing as the man erupts with various expletives at the most inopportune times.

My favorite sequence by far occurs approximately mid-way through the film. As bizarre as the scene is, it is also riveting in its momentum and bravery. When a group of well-dressed museum members gather for a lavish dinner and to watch a human art show, a bare-chested man who only grunts emerges and slowly begins to antagonize certain guests. He begins pulling the hair of one woman while chasing one angry man from the hall. Shocking, intense, and thought provoking are words to describe this scene. But perplexing is what does the scene mean?

A treat for me was being able to view the frequent interior and exterior scenes of the famous Stockholm museum- of which I was privy to have visited in 2016. So fresh was this experience that it brought back wonderful memories of not only the museum, but of the gorgeous city of Stockholm itself.

The chemistry between Christian (who is Swedish) and an American reporter, Anne (Elisabeth Moss), does nothing for the film. In fact, it feels completely disjointed and unnecessary and there is little connection between the two characters. Engaging in a one-night stand, the duo has a dispute about a used condom. Does Christian think that Anne is desperate enough to use his sperm and impregnate herself? The resulting spat between the two seems meaningless.

The Square (2017) is a very tough film to review. Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure I particularly need to view it again and try to figure out the plot because I am uncertain if that was the intent by director Ruben Oslund. Having directed the wonderful Force Majeure (2014), a more straightforward and superior film in my opinion, The Square is worth a watch in its own right.

Babette’s Feast-1987

Babette’s Feast-1987

Director-Gabriel Axel

Starring-Stephane Audran

Scott’s Review #796

Reviewed July 27, 2018

Grade: A

Babette’s Feast (1987) is a pure delight for any viewer who is a foodie, and particularly of stylish French cuisine. In fact, during the final thirty minutes or so I was salivating with pleasure as a final multiple course meal was presented before me. The film is rich with “flavor” and tells a wonderful tale of self-sacrifice, benevolence, and good human nature. The film won the Oscar for Best Foreign Language Film- the very first Danish film to do so.

Adapted from a 1958 short story, Babette’s Feast tells of two elderly and deeply religious Protestant sisters, Martine (Birgitte Federspiel) and Phillipa (Bodil Kjer), who exist in a small village in Denmark. The sisters have lived there all their lives and, through flashbacks, it is revealed that each had an opportunity for romance with men decades earlier, as young and fresh young ladies. Each resisted the temptation due to the deeply religious beliefs of their disapproving father.

When a delightful French woman, Babette (Stephane Audran), appears on their doorstep with a note from Phillipa’s potential beau, the kindly women take her in. Babette is a refugee fleeing Paris and offers to serve as the sister’s housekeeper. Babette is filled with life and a passion for cooking and art- largely contrasting the townspeople, who frequently shun pleasures and harbor reserved and repressed feelings for joy. When Babette wins the lottery and is assumed to depart back to Paris, she instead offers to make the town a lavish, classic french meal.

The film is a pure treat, especially in the final act when Babette decides to prepare the exquisite meal. This is the true highlight of the film and the menu simply must be listed below in order to wholly appreciate the film. As each course is served, the film depicts the cooking process, as spices, salts, wines, and reductions are featured, so much so that we wonder, who really made such a gorgeous meal when filming transpired? Audran, known to be a gourmet, must have adored this fabulous and creative role!

In order, Babette’s delicious feast consists of turtle soup served with Amontillado sherry, buckwheat pancakes with caviar and sour cream served with Veuve Cliquot Champagne, quail in puff pastry shell with foie gras and truffle sauce served with Clos de Vougeot Pinot Noir, an endive salad, rum sponge cake with figs and candied cherries served with Champagne, assorted cheeses and fruits served with Sauternes, coffee with vieux marc Grande Champagne Cognac. My mouth is watering and my stomach growling as I write this!

In wise and poignant fashion, the film heralds the return of Martine’s longtime admirer, Swedish officer Lorens, who escorts his elderly aunt to the dinner. The other dozen or so dinner guests agree not to fuss or voice any reactions to the meal, but Lorens is different. With each serving he comments in explicit detail the pleasures of the tastes and fondly recollects an experience with each course. In this way he speaks for the rest of the guests as we see their reactions and the pleasures they exhibit non-verbally.

Tenderly, Lorens confessed that he has never forgotten Martine, and she the same for him. Despite not having seen nor heard from each other in decades, their connection has never wavered and thus have spent their lives as one. What a lovely and powerful scene this is and adds a romanticism and elegance to the overall film.

The lighting is effective as many scenes seem to bask in an illuminating glow. The whimsical village is well lit with many soft or muted scenes exuding elegance and grace in the tiny living community. The costumes and styles are meaningful and make the time period of the 1800’s realistic. This adds a tremendous amount to the look and texture of Babette’s Feast.

The overall themes of Babette’s Feast (1987) are ones of kindness, forgiveness, enjoyment, and honesty. The characteristics are brought to life by the characters in the film, rich with flavor and taste, and all experienced through the importance and pleasures of food. What a magnificent piece of film making this work is and the enormity of riches through good dining.

La Vie en Rose-2007

La Vie en Rose-2007

Director-Olivier Dahan

Starring- Marion Cotillard

Scott’s Review #790

Reviewed July 18, 2018

Grade: A

As a true fan of French actress Marion Cotillard, La Vie en Rose (2007) is the tremendously talented lady’s finest role to date- and I would venture to say one of the best in film history. She immerses herself into the pivotal role of singer Edith Piaf and churns out a breathtaking performance. Besides the vehicle to showcase her acting chops, the film as a whole is lovely, offering the poignant life story of the troubled star, adding enough French zest to offer more than just a biography.

The way that the plot is constructed is quite interesting as the story of Edith Piaf is told in non-linear fashion. The highly complex singer’s biography is recounted first telling elements of her childhood and concluding with events occurring shortly before her death. Her childhood is difficult so she is raised by her grandmother in a bordello and discovered on the streets to begin her meteoric rise to acclaim. The events of the film are known to be fairly accurate making the song-stresses life story awe-inspiring.

The visual aspects and cinematography elements to La Vie en Rose are lovely.  With soft, muted tones, the film is rich with culture and has a wonderful French way about it. Since the story commences in 1918 the time period is fraught with rich history including World War II and a lavish trip to New York City where Edit performs. To say nothing of the lavish Parisian settings, the “look” of the film is enough reason to watch in wonderment.

Enough praise cannot be reaped upon Cotillard as Piaf and as enjoyable and profound as the film itself is, the casting of the French actress is both perfect and unimaginable to think of anyone else in the role. As treasured a performance as Cotillard gives, the film makers wisely choose to leave Piaf’s actual voice in the musical numbers. Anyone else mimicking her would be unimaginable and frankly insulting. And an imitator would not have served the film well.

Regardless of the voice-overs, Cotillard delivers such a flawless and brave performance that it makes the film what it is. Piaf was known as a very difficult woman to deal with both personally and professionally, though there were many sympathetic qualities to her given her tough life.  Cotillard’s facial expressions and mannerisms perfectly mimic the stars own qualities so much so that the actress seemingly becomes the singer. The actress deservedly won the Best Actress Academy Award for her layered performance.

The final scene of the film is both profound and ghastly. A very ill Edith, looking haggard, clown-like with heavy makeup, decides to take the stage for the final time, aware that she is dying. Refusing to cancel her show, she performs her well known number, “non, je ne regrette rien”. She then exits the stage in frail manner and dies shortly thereafter. She was the consummate professional and star until the moment of her death. This particular scene is a wonderful culmination to the film.

La Vie en Rose (2007) solely judged as a biopic is a very good piece of film making that tells a graceful, sometimes moving story of an incredible talent. With a performance such as Cotillard’s the film goes to another level and the performance becomes the main event. The emotions and the characteristics the actress undertakes are astounding and go down as one of the finest depictions in cinematic history.

A Separation-2011

A Separation-2011

Director-Asghar Farhadi

Starring-Leila Hatami, Peyman Moaadi

Scott’s Review #734

Reviewed March 21, 2018

Grade: A

A Separation is a 2011 Iranian film that was awarded the Best Foreign Language Film Academy Award statuette, the first Iranian film to achieve the honor. The film is a family drama that is wonderfully complex, and weaves typical family issues (divorce and school issues) with more complicated and cultural leanings, and keeps going and going with story nuances. A Separation is directed by the acclaimed Asghar Farhadi, who is also responsible for the brilliant screenplay- this is a top notch film.

Presumably set in Tehran, or a more progressive (by Iranian standards) city in Iran, husband and wife Nader and Simin  reside with their teenage daughter, Termeh, and Nader’s elderly father, who suffers from Alzheimer’s disease. Frustrated by her husbands refusal to leave the country for a better life, Simin files for divorce, but her wish is rejected by male judges. When she leaves her family anyway, Nader is forced to hire a pregnant caregiver, Razieh, to tend to his ailing father. After a controversial tragedy ensues, causing Razieh to suffer a miscarriage, the film shifts directions and adds an entirely new layer to the  already fascinating story.

Farhadi is very keen with his delivery of a good story- he traditionally mixes themes of culture and social class together in an interesting way as his future, 2017, work, The Salesman, would also do. Thanks to Farhadi’s innovative storytelling, more notice is taken to Iran and Iranian culture, thereby humanizing its citizen more within the craft of film. We see Iranian people just like ourselves and not the radical or dangerous individuals we are programmed to see.

With A Separation, there are no clear cut protagonists or antagonists, and viewers allegiances may shift throughout the run of the film. Do we champion Simin for desiring a better life for herself and for Termeh or scold her for refusing to live with her family? A progressive woman for sure, she is a layered character in her ambitions and her autonomy.

Nader is also a complex character- heroic for desiring the best of care for his father, he is also fraught with anger and bad temperament, which is the main reason for the second half of the film, and leads to Razieh’s predicament. Viewers will not be certain whether Nader is a good man or a villain, or perhaps a hybrid of the two. Subsequently, this is the meat of the entire story, and makes for an enthralling experience in character development.

As if the brilliant screenplay was not enough to demand a good watch, the acting across the board is wonderful. A cast including seasoned Iranian actors, Leila Hatami and Peyman Moaadi as Simin and Nader, these are my favorites, and are quite adept at carrying along the nail-biting tension in masterful form.

Shades of Alfred Hitchcock are evident throughout the film as the tension unfolds to a crescendo and the action builds and builds and builds in layers upon layers of good stuff. The quick editing and unique camera angles mirror some classic works of the famous director.

The success of A Separation is the films fast-paced, nicely edited construction, in a way that, at over two hours in length, the film speeds along rather quickly, and causes those who experience it to ponder, wonder, think, and ascertain. Asghar Farhadi has quickly become a prominent director, met with obstacles from his native country, and yet surpassing these hurdles to construct great film. I look forward to many more of his works.

A Fantastic Woman-2017

A Fantastic Woman-2017

Director-Sebastian Lelio

Starring-Daniela Vega, Francisco Reyes

Scott’s Review #729

Reviewed February 27, 2018

Grade: A

A Fantastic Woman is a 2017 Chilean film that is groundbreaking in subject matter and has rightfully received heaps of accolades including an Oscar nomination for Best Foreign Language Film. Especially worthy of mention is the films lead actress, Daniela Vega, the first transgender woman to present an award at the Oscars and a dynamo performance in her represented film. Besides all of the cultural achievements, the film succeeds in its own right as a compelling drama.

The film gets off to a sweet and romantic start as we meet Marina (Vega), a young waitress and aspiring singer, and Orlando (Francisco Reyes), a mature, affluent man thirty years her senior. Surprising her with a lovely birthday cake, the pair are beginning to embark on a serious relationship as Marina has recently moved in with Orlando. When tragedy strikes and Orlando is rushed to the hospital after collapsing, Marina must face the harsh reality of her partners narrow minded family and suspicions from law enforcement.

What a wonderful starring vehicle for this astounding young talent that is Vega. The film shares a story that has never been told before, though the transgender genre is slowly coming into its own- think 2015’s brilliant Tangerine. With A Fantastic Woman though, the story telling is more intimate and personal and clearly from Marina’s point of view. Faced with both financial issues and losing her love, she is forced to hurdle obstacles centered around her lifestyle that she had thought had been conquered through her open life with Orlando, who loved her for who she is.

Vega expresses so much with her wide-eyed stares and introspective glazed looks. A performance that is remarkably subdued, she does not have a traditional blowup or dramatic, emotional scene. Instead, she calmly goes from scene to scene with her anger and heartbreak brimming under the surface. As she is verbally insulted and degraded by Orlando’s bitter ex-wife, Marina stands her ground and calmly accepts the verbal attack. Even when Orlando’s thuggish relatives physically assault her with tape, she is calm in her reaction. This is a testament to Vega’s talents.

Perhaps the most touching sub plot involves Marina’s struggle to retain the dog that Orlando had kindly given to her. When Orlando’s son refuses to let her keep the dog, Marina reaches her breaking point and begins to fight dirty, refusing to hand over the keys to Orlando’s flat until she gets her way. The tender affection she has for the animal is wonderful as, despite having a few people in her corner, the dog is her pride and joy and best friend.

As stellar as Vega is, and the film does clearly belong to her, credit and mention must be given to the supporting players, who are largely unknown actors to me. Though we feel no sympathy for Orlando’s ex wife or his relatives, they are competently portrayed and we do feel their anger and spite. We do not know much about the back-story, but we do know that Orlando has revealed to all his involvement with a trans woman and he is proud of Marina. Actor Reyes is a dream as Orlando and we wistfully imagine a different film centered  solely on his romance with Marina. In their short time together, the audience falls madly in love with the duo.

A Fantastic Woman succeeds as a nuanced, level headed drama with a powerful message and a timely approach. Never veering over the top or being too preachy, the film is a wonderful telling of a topical subject matter. I only hope that more stories surrounding this genre are told in the future, since it is a goldmine of uncharted story-telling with so much potential.

Juliet Of The Spirits-1965

Juliet Of The Spirits-1965

Director-Federico Fellini

Starring-Giulietta Masina, Sandra Milo

Scott’s Review #725

Reviewed February 15, 2018

Grade: A

A true Fellini film in every sense and perhaps his most personal film of all, 1965’s Juliet of the Spirits is a colorful and masterful experience containing fluid art direction and stunning sets and costumes. As with most of his films, the story and its intricacies are odd and do not always make perfect sense, but the film is meant to be absorbed and felt and exhibits more of a central plot than some of his other works. Juliet of the Spirits is certainly not to be missed for fans of Fellini or any novice wanting an introduction to the great director.

In a compelling tidbit of background information, lead actress Giulietta Masina, wife and muse of director Fellini, and sometimes deemed the female Charlie Chaplin, plays a true to life character. In real life the woman suffered from her own bout with a philandering husband- Fellini himself! For this reason alone the film is interesting to watch as a true to life story leading the audience to empathize with Giulietta and her life of doldrums and turmoil.

Giulietta Boldrini (Masina) is an affluent woman living in Italy with her successful and dashing husband, Giorgio (Mario Pisu). Despite wealth, two housekeepers, and free time to do whatever she pleases, she is dissatisfied with her life and her surroundings. This occurs largely after hearing her husband mutter another woman’s name in his sleep. Concerned and intrigued, Giulietta hires investigators to unravel the mystery while at the same time spawning an adventure for her.

Instead of being a cookie-cutter film with a basic plot explained above, in true Fellini form, the character of Giulietta traverses on a journey into the dream-like and odd experience, tapping into her repressed desires and innermost thoughts, while being exposed to her larger than life and sexy neighbor, Suzy (Sandra Milo). The oversexed Suzy enlightens Giulietta to the joys of her mansion, her tree house, and her many dazzling, weird friends, and bubbling sensuality.

Juliet of the Spirits is a joy to watch and quite a bit more linear than other complex masterpieces such as 1960’s La Dolce Vita or 1969’s Fellini Satyricon. The plot is spelled out in a direct way- Giulietta is depressed and anxious for something new and exciting in her life. Her journey into this new life while wrestling with her demons and resistance makes this film so much fun to watch.

The styles and colors that Fellini creates are brilliant and lavishly loud. Take the gaudy and glamorous nest that Suzy calls home. With a built in underground swimming pool where she bathes after lovemaking, and velvety red walls and furniture, her palace is both tawdry and sophisticated. Fellini uses gorgeous reds, greens, and blues throughout the film to create dazzle and spectacles with larger than life characters.

To further focus on Suzy for a minute, the blonde bombshell frequently visits her very own tree house complete with a swing. She flirts with handsome young men who gaze up at the scantily dressed beauty as she tosses her high-heeled shoe down to them in a suggestive manor. When they come up to the top of the tree house by way of a mechanical basket, presumably for sex, this is too much for the overwhelmed Giulietta, who returns to the safety of her own home. But clearly she is as much titillated as she is scared.

The film belongs to Masina and we cannot help but wonder if Fellini created Juliet of the Spirits as a sort of apology to the actress for his reported years of cheating. Regardless, Masina plays a middle-aged, confident on the outside- insecure on the inside, woman flawlessly. With her expressive eyes and nice smile, Masina fully encompasses the role with enthusiasm- a perfect fit for a Fellini film.

Juliet of the Spirits also is great at mixing in several forms of film genre including fantasy, drama, and light comedy and contains a bevy of interesting supporting characters. Suzy’s seemingly clairvoyant mother is a great side character as she upon meeting Giulietta immediately sees that the woman is troubled. Giulietta’s father, whom we meet when she is a little girl appearing in a religious play, is boisterous and spirited.

Having been fortunate enough to stay at the Grand Hotel in Rome, a lavish yet strange establishment where Fellini spent many a night as a guest, I fantasized while watching Juliet of the Spirits, that he drew inspiration for this film from said hotel. The grand red textures appear in both hotel and the Fellini film so I could very well have experienced a true inspiring facility.

Stalwart, creative, and masterful director Fellini once again serves up a stylish film that must be thought about following a good, solid viewing. Too much analysis, however, will ruin the enchanting experience, as Juliet of the Spirits is best served up as a treat to be mesmerized by in glamorous fashion.

Black Orpheus-1959

Black Orpheus-1959

Director-Marcel Camus

Starring-Breno Mello, Marpessa Dawn

Scott’s Review #689

Reviewed October 8, 2017

Grade: A

Black Orpheus is a 1959 French film, made in Brazil, honored with a win in the coveted Best Foreign Language Film Academy award category in 1960, considered somewhat of a surprise to actually win. The film is adapted from the well known Greek legend of Orpheus and Eurydice, now set in Rio de Janeiro during the festive celebration of Carnaval. Containing a cast of almost all black actors and providing a look at life on the streets of Brazil, Black Orpheus is vivacious, and filled with lively song and dances.

The setting is key to the film as the beauty and merriment is mixed with loss and tragedy- loads of exterior shots of Rio de Janeiro flesh out the film with many shots high atop a hill in a quaint village where all of the characters live-and most in very close proximity to each other. Similar to Shakespeare’s Romeo and Juliet, the film is romantic and lovely, but the story is also mired in jealousy and drama amid the dancing and many celebrations. Many of the actors, certainly leads Breno Mello and Marpessa Dawn, are non-actors, cast undoubtedly because of their gorgeous, authentic looks, but surprisingly both are phenomenal in their roles, perfectly cast.

Wholesome Eurydice (Dawn) arrives in the city of Rio de Janeiro by way of a trolley driven by Orpheus (Mello), intent on visiting her cousin, Serafina. There is an instant attraction between the young man and woman as he provides directions to her cousins village, which is also his. Orpheus, however, is engaged to be  married to his possessive and demanding fiance, Mira, though he is less than enthused about the impending marriage and would rather fix his guitar than buy Mira an engagement ring.

As the Carnival festivities get underway, Orpheus and Eurydice give in to their mutual attraction and dance the night away while subsequently trying to avoid the wrath of Mira, and avoid a mysterious costumed man who has been stalking Eurydice since  she escaped her village and fled to Rio.  Eurydice is terrified that the man may want to kill her and his motivations are unknown. His character is particularly frightening as he is known as “Death” and dons a tight, skeleton costume.

The tragic conclusion culminating in a wonderful chase scene in Orpheus’s trolley station is fantastic. The morbid ending is unsurprising based on the legendary Greek tale and the Romeo and Juliet comparisons, but is still heartbreaking and difficult to experience, most notably the final scene atop a cliff. As the lovelorn couple topples down a hill together at the hands of another central character, the scene is shocking and difficult to watch. Intertwined in each others arms, the scene is also gorgeous and a confirmation of true love and artistic beauty.

Some accusations of racial stereotypes within this film have abounded over the years, mainly the depiction of Brazil being inhabited by party-going, sex-crazed people, but I find the film a masterpiece and the type of cinematic experience to be enjoyed rather than over-analyzed. Particularly, the almost non-stop musical score created by Luiz Bonfa and Antonio Carlos Jobim is to die for and an enormous part of what makes the film so engaging and entertaining.

Perfectly capturing the spirit of a jovial, cultural, environment, Black Orpheus spins an interesting, heartbreaking tale of love amid a musical. Tragedy, art, true love, romance, and death, are all elements captured in this wonderful film.

Tanna-2016

Tanna-2016

Director-Bentley Dean, Martin Butler

Starring-Mungau Dain, Marie Wawa

Scott’s Review #673

Reviewed August 18, 2017

Grade: A

Tanna, named for the tiny South Pacific nation of Vanuatu in close proximity to Australia, is a small film made in 2016 and nominated for the Best Foreign Language Academy Award. A marvelous work in every way, the crowning achievement is how this particular film was made. Shot entirely on the island with a minimal budget and the use of non actors, the result is  a  romantic, yet tragic  love story that will move its viewer to tears in its innocence and beauty. Tanna is shot in the  Nauvhal and Nafe languages.

Film-makers reportedly spent seven months in the village of Yakel, immersing themselves in the culture and civilization of the tribe. The people are the last of their kind, rebuffing nearby colonial and Christian influences in favor of their own traditional values and beliefs. The story that the film tells is based on a true story of love inflicting two tribe members and played out by the villagers- each portraying a role very close to their own lives and hearts.

As the movie opens, we are immediately exposed to a tribal community going about their daily life- they wash, hunt, and wander through the jungles exploring their natural surroundings. The men wear simple penis sheaths and the women are mostly topless. We sense a great community and a sense of togetherness. When Dain and Wawa  (I am admittedly unsure if these are the “actors” names or the real-life people) lay eyes on one another from across the jungle, they instantly fall in love and begin to secretly spend time with one another in a tender and romantic courtship.

A traditional rule of the tribe is arranged marriage, which becomes a major problem for Dain and Wawa as their love blossoms. When a neighboring tribe attacks the Shaman over a dispute regarding bad crops, Dain wants revenge. When cooler heads prevail, the leaders of each tribe decide that Wawa will marry a member of the other tribe, which leaves she and Dain distraught and desperate- their love is then tested in the ultimate way.

The individuals who play both “Dain” and “Wawa” offer an authenticity and  truth that astounds as reportedly, in addition to never having acted, neither had never seen a camera before, but both pour their souls into the characters they portray. This also goes for the little sister of Wawa, who is a goldmine in her honest portrayal. In fact, all the performances are rich.

Visually, Tanna is just breathtaking. The exotic lushness of the green jungles mixed with the gorgeous running streams and waterfalls are one thing, but the oozing volcano that inhabits the island is both colorful and picturesque during the night scenes.  In fact, the entire film is shot outdoors and is captured incredibly well. In this way, the film immerses the audience wholly in the tribal world.

Comparisons to the William Shakespeare play, Romeo and Juliet must be made. The film is a romantic tragedy of epic proportions and the doomed couple share  everlasting love and a bond that can never be broken. The truth in this tale is genuine as the couple must agonize over a decision to either remain together or risk the threat of Dain’s life and Wawa’s freedom if they return to their native village. The film is almost poetic, never more so than in the final act, which is set upon the glorious spitting volcano.

Sadly, films similar in both richness and honesty are rarely made in modern times, but that just makes Tanna stand out as a treasure in beauty and thought. Interestingly, because of the real-life couple’s determination and strength, the age-old tradition of chosen marriages has since been lifted and true love encouraged.

Punish Me-2005

Punish Me-2005

Director-Angelina Maccarone

Starring-Maron Kroymann, Kostja Ullman

Scott’s Review #670

Reviewed August 9, 2017

Grade: A-

Punish Me (sometimes titled Hounded) is a provocative 2005 German language film that pushes boundaries and titillates the viewer with its racy themes of masochism and pedophilia that will be way too much for your average viewer to marinate and digest. In fact, some may be completely turned off (rather than on) by this film. However, for the edgy thinker, the film is quite the find. Unique, extreme, and thoughtful, Punish Me is an experience to remember.

Shot entirely in black and white (rare for twenty-first century cinema) the film appears bleak and harsh, cold almost- and that is no doubt an intentional measure. The grizzled German landscape (the city is unidentified), gives the film an interesting and effective cinematography, transforming the black and white colors exceptionally well, whether the scene is set in daylight or night time. Something about the black and white decision is genius.

Elsa Seifert (Maren Kroymann) is a fifty year old probation officer. Married and raising a teenage daughter, she appears to live a stable, middle class existence. When one of her charges, Jan (Kostja Ullman), a sixteen year old, handsome young man, gives a pursuit of her, their relationship turns into an obsessive, lustful situation for both. Jan, you see, likes to be sexually beaten, and, at first, hesitant, Elsa slowly gets immersed in Jan’s world.   When other characters begin to catch wind of the situation between Jan and Elsa, the film really becomes intense.

Astounding to me is the fact that Punish Me is directed by a woman, Angelina Maccarone. This both surprises, and impresses me. Thought-provoking is the female perspective in the film. Elsa is not an unhappy woman- though she nervously chain-smokes in almost every scene. She initially has no intention of being sucked into Jan’s eccentricities. As she awkwardly spanks him in their first steamy, sexual encounter, she is gentle, yet she quickly intensifies. Is she insecure with her middle-aged body? She certainly gets carried away by Jan’s charms, putting both career and husband at risk. Can she stop herself before it’s too late?

One wonders a few things- How would this film feel if it were directed by a man? Maccarone centers the perspective on Elsa more than she does Jan- or are we to assume that Jan, at sixteen, is merely experimenting with his sexuality and therefore not the more interesting character?  This was my determination. Elsa has way more to lose than Jan does. We are not sure why Jan is so troubled to begin with or why he likes to be beaten- was he abused by his parents? sexually or otherwise? What deep rooted issues does Elsa have?

I imagined the complexities offered had the film gone something like this- Elsa is a male character. Would man on boy be too much? Is female on boy safer? One wonders, but if Elsa was a male and Jan a female, I do not think the film would be half as controversial or daring. It would seem more exploitative, or dare I say, conventional. Instead, Maccarone, turns the film into a psychoanalytical feast as we wonder what makes both Elsa and Jan tick and why they enjoy the discipline scene? Perhaps there is not clearly defined answer.

The supporting characters are not explored very well, other than a fellow troubled girl that Jan beds, commenting that she is too fat (she is not) or Elsa’s husband being revealed to have once had an affair with another woman pronouncing “it was only sex not love”. From this, one draws the conclusion that Elsa and her husband will reunite and resume their middle class life together, but what will become of Jan?

Thanks to effortless direction and good choices by Maccarone, she makes Punish Me an examine-worthy look at sexuality, desire, and emotions. Many will loathe the film or not bother to give it the time of day based on the subject matter, but the film is a treat for the creative cinematic lover and lovers of analysis.

The Salesman-2016

The Salesman-2016

Director-Asghar Farhadi

Starring-Shahab Hosseini, Taraneh Alidoosti

Scott’s Review #668

Reviewed August 2, 2017

Grade: A

The Salesman is the latest film directed by Asghar Farhadi to win the coveted Best Foreign Language film Oscar-2011’s A Separation also won the crown and 2013’s The Past, nestled in between the other films, is nearly as good. All contain mesmerizing and gripping plot elements that leave the audience in good discussion long after the film has concluded- that is what good storytelling is all about.

Rich with empathetic elements and good, crisp writing, Farhadi has quickly become one of my favorite international film-makers as each of his pictures are as powerful in humanity as their counterparts. Along with fellow contemporary Claude Chabrol (admittedly around a lot longer), similarities abound between the two creative maestros in the form of thrills, mystery, and differing character allegiances. I adore how both directors incorporate the same actors into their films.

In clever fashion, Farhadi incorporates classic stage production, Death of a Salesman by Arthur Miller, into the story and the play and the film contain similar themes- humiliation and secrets.  Young and good-looking couple, Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) are community theater actors living a happy existence in metropolitan Tehran, Iran. They have a wonderful array of friends and companions and are popular with their close neighbors and theater buddies. Emad, a well-liked high school teacher, and Rana, a housewife, make a perfect couple, but their bond will soon be severely tested.

Forced to move from their crumbling apartment into temporary quarters owned by a theater friend, they are unaware that the former tenant worked as a prostitute and had a bevy of gentleman callers. What they do know is that she left the unit in a hurried way, leaving behind all of her belongings for them to sift through. One night when Rana is home alone, she inadvertently allows a mystery person to enter, which leads to a terrible incident. The film centers around determining what exactly happened between Rana and the intruder. Is she hiding the truth? Can she and Emad get past the implications of the events?

The audience is left  with a powerful and intriguing mystery to absorb and unravel. Throughout most of the film questions are brought to the surface to be thought through. Who was the intruder? Will Emad exact revenge? What happened?

The brilliance of The Salesman is that we, as the audience, never actually see the incident inside Emad and Rana’s apartment take place, so we are baffled by what has transpired. We merely witness the after-effects and the questions the characters (mainly Emad) have. Is Rana being truthful? Did she know the man who entered the apartment? Was it even a man or perhaps the former female tenant? With Farhadi, anything is possible, but rest assured, a startling climax will ensue.

Compelling and the pure genius of the film is how the viewer’s loyalties will not only be divided by character, but will also change within an actual scene. In one tense sequence, a heroic character becomes the villain and slowly returns to being the hero again-talk about a topsy turvy experience! The Salesman is smothered with a roller coaster of emotions and feelings.

In fact, the way that more than one of the central character’s change their motivations is largely the film greatest success. Rana, Emad, and “the Man” are flawed, complex characters, and what a treat it must have been for these actors to sink their teeth into these roles.

A special mention must be given to the other actors involved in the film. The Salesman is fraught with great performances big and small. In addition to the leads (Hosseini and Alidoosti), the supporting cast exudes immeasurable talent. Farid Sajadhosseini as “the Man” is simply astounding in his performance and his family members, appearing largely in the conclusion of the film, deserve much praise. These small characters appear in the most pivotal time of the film and give it the needed acting chops required to pull off the end result.

Asghar Farhadi hits another one out of the park with The Salesman and how deserving is the Oscar win for this man- a director whose films are always sure to be compelling, thought provoking treats. I cannot wait for his next film.

A Man Called Ove-2016

A Man Called Ove-2016

Director-Hannes Holm

Starring-Rolf Lassgard

Scott’s Review #653

Reviewed June 12, 2017

Grade: A

A Man Called Ove is a wonderful 2016 Swedish film, honored with a Best Foreign Language Film Oscar nomination, that is just a darling watch-in fact, the film is wonderful. Equal parts whimsical, humorous, and heartbreaking, the film churns up emotions in me brought to the surface, and that is quite telling about the experience. The film is magical in a sense. Lovely scenery of Sweden also abounds, making A Man Called Ove an unexpected marvel and certainly worth checking out for good film lovers.

Ove (Rolf Lassgard) is a fifty-nine year old curmudgeon living in suburban Sweden. He is the keeper of law and order in his quaint, little community of bungalows, regularly ridiculing rule breakers and the oblivious with torrents of shouts and insults. He despises several of his neighbors including a beautiful cat that saunters around the complex as if she owns the place.  When an interracial family moves in next door to Ove, his life forever changes as he becomes acquainted with the husband, the wife, and their two young girls. In the midst of his new found entertainment, Ove regularly visits his deceased wife’s gravestone, bringing her flowers, and plotting his own suicide. Through flashbacks, we are taken on a journey through the past as we learn all there is to know about Ove.

The film as a whole is a beautiful experience and , admittedly, I worried at first that A Man Called Ove would be too lighthearted and sentimental- just the type of foreign language film the Academy far too often recognizes in lieu of darker, more complex (and in my mind, deserving) films. A Man Called Ove is not exactly dark, but certainly not trivial or fluff either. I found the film rich with great writing and character development.

Romance is also a major theme of the film, but not in a corny way. For a good portion of the running time, Ove’s deceased wife Sonja, is a complete mystery. We only know that Ove misses her terribly and cannot wait to be with her in the afterlife. In fact, we only get brief glimpses of her photo on the table. When finally introduced to the story, we see them both in younger years, filled with hope and promise. I beamed with delight during these wonderful moments. The scenes of their innocent first dates and the connection they develop are heartwarming and innocent.

Later, when Sonja’s story is wholly explored, we come to a new appreciation for Ove and why he is the way he is in present times- we understand him better and the character develops. Some of the paths that life takes Ove and Sonja are tear inducing and emotional, largely due to the character and personality that Sonja possesses. On the heels of the Ove and Sonja back-story, we are treated to scenes of Ove and his father, in the past. His mother dying way too young, the pair develop an unrelenting bond that is severed only by tragic circumstances.

Ove’s constant bungled attempts at suicide (he buys poor quality rope to hang himself, a visitor interrupts his attempt to breathe in toxic garage fumes, and he ends up saving a life when he intends to be hit by a train) are the comic turns that the film mixes perfectly with the heavy drama.

A perfect balance of drama, comedy, churning emotions, and heartbreaking honesty, A Man Called Ove is a pure treat in modern cinema and is highly recommended for those seeking a treasure with a full array of characteristics.

Fellini’s Roma-1972

Fellini’s Roma-1972

Director-Federico Fellini

Starring-Britta Barnes, Peter Gonzales

Scott’s Review #649

Reviewed June 5, 2017

Grade: A-

Fellini’s Roma is a trippy experience through Rome during two differing time periods. As with all Fellini films, the film is meant to be experienced rather than analyzed. One must nestle into the life that Fellini offers on screen- in this instance the fabulous city of Rome, Italy in both positives and negatives. The experience was very good for me, as both a world of odd characters and of ancient Rome oozed from the screen in appealing and absurd fashion.

From a plot narrative- there is really not one. In fact, arguably the only character portrayed is, in fact, Rome herself. The film takes place in both the 1930’s as well as the 1970’s, and is said to be an autobiographical tale of director Fellini’s experiences growing up in Rome.  We see little Fellini as a youngster, experiencing the vast city for the first time and as a teenager now living in the city. Interestingly, the film traverses from both sets of time periods back and forth with really no rhyme nor reason.

Throughout the film, we see both the beauty and the ugliness of Rome- the majestic Colosseum and the dirty entrails of the gloomy city. Scenes of seedy brothels, mainly in the 1930’s, and a myriad of strange and scantily clad females prance before the cameras looking for a lucky score amid the droves of men lusting after them. Another depicts a fashion show, of sorts, taking place at the Vatican, involving nuns and priests in bizarre costumes.

The 1930’s setting is my personal favorite. Gritty, cold, and harsh, the bleakness of Rome is depicted. Unsurprisingly, this has much to do with the historical time period. Since Mussolini was in power, and on the eve of World War II, the darkness is apparent. In a frightening scene, bomb sirens wail as a women shrieks in panic. The brothel scenes are downright creepy and the subsequent theatre scenes involving drunken, rowdy, young men leering and cursing at the entertainment, is a peculiar slice of life sequence.

In contrast, the 1970’s sequences are layered with more beautiful depictions of the city. Brighter colors are depicted, and there appear to be either scientists or explorers digging into ancient ruins and finding gorgeous art that is subsequently ruined by the blowing air. We also see hippy types basking in the sunlight. Again, much of this film is largely open to interpretation.

I adore Fellini’s Roma in terms of an expression of the city of Rome as an art form, but the film is highly unconventional- another plus for me. Sure, I may have desired to learn more about the bevy of creepy and potentially interesting characters, but I finished the film with an appreciation of Rome, unlike none I have ever known.

A startling final scene, in which legendary Italian film star, Anna Magnani, appears scantily clad, implied to be a prostitute, was filmed shortly before her untimely death at the age of sixty-five.

As a film, Fellini’s Roma is a wonderful history lesson, but also a lesson in interpretation and film appreciation. Most film goers are accustomed to a begin, middle, and an end, as well as some semblance of plot. Roma contains none of that, but rather, is mind opening and still fresh many years after its release, which is a true testament.

Spa Night-2016

Spa Night-2016

Director-Andrew Ahn

Starring-Joe Seo

Scott’s Review #645

Reviewed May 19, 2017

Grade: B+

On the surface, Spa Night may seem like a straight-ahead independent LGBT themed film (of which in recent years there is no shortage of), but the plot of the film is really twofold. Sure, it tells the coming of age story of a young man’s sexuality, but Spa Night is also a story of the boy’s Korean parents financial struggles and their desire to raise a son into a successful young man, sacrificing their own happiness in the process. The films tone is very subtle and the action moves slowly, but it is a sweet story and a relevant one.

David Cho is a shy Korean-American high school student on the cusp of going to college. His parents (who only speak Korean) have sadly recently lost their take-out restaurant in Los Angeles. The parents struggle to make ends meet (she by waitressing, he by doing odd moving jobs), while David takes SAT classes to ensure he get into a great college. David is also struggling with his sexuality and one night visits a local male spa with drunken friends. He gets a job there and begins to experience male on male shenanigans taking place on the sly in the spa, all the while developing his own blossoming sexual feelings.

David’s development in the story is key- he is resistant to coming out as gay because his parents are traditional Korean, constantly mentioning David finding a girlfriend and succeeding in school, becoming what they have failed to achieve. When, at one point, he fools around with another male in the spa, David insists on a no kissing policy. This reveals to the audience that he has issues with the intimacy with another male and in one compelling scene some self-loathing occurs. When he stares too long at a buddy in the bathroom, while both are inebriated, this clues in the friend, who is then distant towards David.

The film is enjoyable because there are two stories being told rather than one, which helps the film succeed. We also care a great deal about David’s parents, compassionately portrayed rather than the stereotypical “tiger mom” and a rigid father. Wanting only the best for him, and having no clue about his sexuality struggles, they trudge along with their own issues. The father drinks too much and the parents frequently squabble. This is a clue to the film because it explains why David is hesitant to mention anything to them, despite the fact that he is close to his parents.

I also enjoyed the slice of life and coming of age appeal that the film possesses. Several shots of day to day life in Los Angeles are shown, mainly as characters go about their daily routines. The budget allotted Spa Night must have certainly been minimal, but the lesson learned is that some really fantastic films are made for miniscule money, but as long as the characters are rich and the story humanistic, the film succeeds- this is the case in Spa Night.

Almost every single character is of Asian descent- I am guessing all Korean actors. This is another positive I give to Spa Night. In the cinematic world, where other cultures and races are woefully underutilized or still stereo-typically portrayed, how refreshing that Spa Night breaks some new ground with an LGBT centered film with Korean characters.

Spa Night was deservedly crowned the coveted John Cassavetes award at the 2016 Independent Spirit awards (for films made for under $500,000) and director Andrew Ahn is certainly a talented novice director to be on the watch for. He seems destined to tell good, interesting stories about people.

Elle-2016

Elle-2016

Director- Paul Verhoeven

Starring-Isabelle Huppert

Scott’s Review #644

Reviewed May 17, 2017

Grade: A-

Certain to evoke both disgust and intrigue from viewers brave enough to watch it all the way through, and hopefully ponder the character dynamics, Elle is a titillating French film that was showered with heaps of praise upon its release in 2016. Controversial without question, in large part by the films main character, Elle will undoubtedly divide film fans- some heralding the picture as greatness, others detesting it as too exploitive. Not an easy watch by any measure, one aspect is cemented in truth-Isabelle Huppert gives a fantastic performance in a complex and perverse role.

Unique even in its first scene, Michele Leblanc (Huppert) is a ruthless, alpha, business woman, who is raped and beaten by an intruder in her lavish Paris home. The violent act occurs in the very first scene immediately giving the film an “in your face” presence. When the rapist, who wears a ski mask, flees, Michele shakes off the incident with nary an emotional scar. Through backstory we learn that years ago Michele’s father brutally murdered many people and is imprisoned for life. Michele’s mother is an aging glamour girl who hires sexy male escorts. Michele’s son is engaged to a domineering pregnant woman, and her ex-husband is dating a younger woman. Michele lives a complicated life.

At first Michele, for all intents and purposes, seems like a sympathetic character and we feel her pain as she is taunted by a woman in a coffee shop for her fathers past deeds. To say nothing of her rape, we cringe when Michele hears noises and imagines the masked intruder returning to rape again, empathizing with the character. When Michele is harassed by the mystery man- he sends coy notes and leaves “gifts” in her home- we are scared for her. However, as the film goes along Michele’s obsession and other questionable actions, make the character tough to like. I also began to wonder if, perhaps, the entire film was being imagined or dreamed in Michele’s head!

As a fan of acclaimed film director, Claude Chabrol, Elle appears to be heavily influenced by him. Director Paul Verhoeven certainly must have studied his works. No slouch himself- female empowering sex films such as Basic Instinct and Showgirls that he directed, come to mind, he gives Elle a sleek and sexy feel. The fact that it is set in romantic Paris somehow helps and also makes the film glamorous and cultured. Verhoeven even weaves a whodunit into the story for much of the film until the rapist is revealed in shocking fashion.

If the film had ended with the big reveal, this would have made for a compelling, if not mainstream Lifetime television type film, but Elle really takes off from this point. Michele, already fancying her handsome rapist, actually begins a macabre relationship with the man, going so far as to act out the rape again- her fantasies coming true! This story turn may repel the average viewer, but to me, this turns the film into a completely left of center, layered, psychologically themed story. Elle is not a revenge tale or a film about a victimized woman, it is so much more.

What a dynamic performance Ruppert gives and here is why- she successfully makes Michele both sympathetic and reviled. Besides the aforementioned rape complexities, she despises her mother, sleeps with her best friends husband, and in a scene which arguably makes Michele cross the line in reprehensible behavior, she confesses her affair to best friend Anna, just when Anna is at her happiest moment- this is downright cruel! So, no, the audience does not completely sympathize with this character, but how layered does this make the character and what a treat for actress Ruppert to sink her teeth into a character like this one.

With a wounded yet cold central character-Elle-in large part thanks to exceptional direction by Verhoeven and a brilliant portrayal by Huppert, takes Elle into largely unchartered territory and brave waters to create a film that will make the viewer both think and loathe. Part nymphomaniac, wounded bird, and vicious shark, Elle contains a complex and memorable leading character.

Free Fall-2013

Free Fall-2013

Director-Stephan Lacant

Starring-Hanno Koffler, Max Riemelt

Scott’s Review #641

Reviewed May 3, 2017

Grade: A-

Free Fall is a 2013 German language film that is very reminiscent of the highly influential LGBT film, Brokeback Mountain, only set in Germany- during present times. The loneliness, struggles, and deceit that the characters face are similar in both films and both are arguably bleak as overall films. I, however, truly enjoyed this film and embraced the touching aspects and truthful writing.

In the case of Free Fall as compared with Brokeback Mountain, only one of the male characters is a family man- coming to terms with his sexuality in very bad timing, while the other male character is more comfortable in his own skin. A case could be made that a similar characterization is apparent in Brokeback. In both films, a love story develops between two men and outside forces thwart their happiness. The film is a very good watch and the love scenes particularly steamy and emotional.

Marc Borgmann is a young police officer, fresh out of the academy, living with his very pregnant girlfriend, Bettina. They are temporarily staying with Marc’s parents until the baby is born. Seemingly happy, Marc befriends a new recruit, Kay, and they begin a ritual of jogging together in the forest. Both men are young and handsome and very masculine- an aspect in a LGBT film that I personally find as a positive. Kay is much more brazen about his sexuality than Marc, and they eventually fall in love with the added pressure of their very macho surroundings, and Marc’s pregnant girlfriend to contend with.

Free Fall, as the title implies, is not a cheerful, romantic film, as a whole- nor is it completely bleak either. Yes, the love affair between Marc and Kay has some happy moments, but more often than not they face some sort of peril and do not get much time to relax and enjoy each other. As circumstances begin to unravel, Marc’s girlfriend slowly suspects something is going on with Marc, but when Kay is outed (the film suggests he purposely outs himself) during a gay nightclub raid, their lives spiral out of control.

The film itself is very realistic and does not come across as forced nor plot driven. The acting by both principal actors (Koffler and Riemelt) is quite strong and I buy their attraction instantly. The scenes where Marc questions whether the pair are buddies while internally fighting his attraction for Kay, are excellent and very passionate. The range of emotions on the face of actor, Koffler, is excellent. In fact, passion is felt during each and every scene the pair share together.

The way many of the supporting characters are portrayed, however, is disappointing,  yet also a brutal strength of the film. Marc’s parents are quite unsympathetic to either Marc or Kay and are written as stereotypical, anti-progressive and rigid. When Marc’s mother catches Marc and Kay kissing, she coldly chastises Marc for being “raised better than that”. In her mind being gay is bad- the father wholeheartedly sharing her beliefs. Another of the cops in the police academy is written as homophobic, but the film wisely writes Marc and Kay exceptionally well, proudly with none of the unfair effeminate qualities films and television still seem to cling to. The characters are not written for laughs, nor should they be. They are strong men.

The film wisely throws in a handful of supportive characters, like the police force as a whole- teaching and recognizing diversity and inclusion, and a fellow cop who is supportive of the situation with Marc and Kay, but most of the characters come across as harsh and unfeeling to same sex attraction.

The conclusion of the film is slightly disappointing as the story ends abruptly and in a rather unsatisfying way- rumors of a proposed sequel have circulated around the film. Certainly shot on a very small budget, the funding for a follow-up film must still be raised, which hopefully will occur. A nicer (and happier) ultimate resolution would be great.

American LGBT films, sometimes going too much the comical, or worse yet, the sappier route, can take a lesson from this treasure of a German language film. Free Fall is a humanistic, realistic, and brave film that I hope more people find themselves experiencing. The film will touch those who are either involved in or sympathetic towards the LGBT community.

The Visitor-2011

The Visitor-2011

Director-Tor Iben

Starring-Sinan Hancili, Engin Cert

Scott’s Review #630

Reviewed April 4, 2017

Grade: B-

The Visitor is a 2011 LGBT centered film that is set in Berlin, Germany, but features mainly Turkish characters. While the film tells a nice story and features some cool shots of the metropolitan city, it is rather amateurish in style,. The pieces of the film do not always come together or fit very well and there is no character development to speak of, but still, the film does have good intentions with a nice message and theme that deserves at least a few props.

The story involves a young male and female couple, Cibrial and Christine, who are dating. Cibrial works as a policeman and the pair seem to be in a happy relationship, enjoying walks and dinners together. One day, when Christine’s gay cousin, Stefan, comes to town, the relationship between Cibrail and Christine sours. The cousin is openly gay and comfortable with his own sexuality, while Cibrail secretly harbors feelings for the same sex, which he dares not tell Christine about, though she eventually catches on in dramatic fashion. Stefan is looking for action, cruising the city and parks for sex and companionship, while Cibrail is both lustful and jealous of Stefan.

Many scenes involve Cibrail looking longingly at Stefan and fantasizing about him. In that regard, the film teeters on being quite steamy and features more than one nude shower scene- this smoldering element helps the film avoid complete doldrums. Specifically, Cibrail showers alone during one scene, washing and presumably daydreaming about Stefan. But too many other scenes show a character jogging or walking around the park- too much like filler material.

The climax of the film is highly predictable as the two men find their way into each others arms, though the passion is not exactly evident to the audience. The lack of buildup is a negative aspect to the film because there is very little rooting value and too many questions. Is the film a love story? Is it supposed to be about Cibrail coming to terms with his own sexuality? Why do we not see more of a blowup scene between Cibrail and Christine? He simply moves out once she catches him in bed with Stefan and before we know it, Stefan and Cibrail passionately embrace and the film closes in celebration.

A side story involving a dead body found in the park- a park known for gay shenanigans- is included as Cibrail investigates the crime with his police partner, but this seems to have nothing to do with the main plot, unless we are to suspect one of the two men as the killer, but this is hardly focused on. Another shot of a gay pride parade in Berlin is included, but is this to make it known that The Visitor is a gay film? Apparently so. Additionally, a statue of two men is shown in several scenes for seemingly no other reason than to reinforce that the film is gay themed.

The Visitor is a simple story of two men finding each other, which is a nice message, but the film’s run time is a brief seventy minutes, hardly enough time for character development. A muted, videotaped look does not help the film seem very professional, and in fact, seems downright amateurish as an entire film, so much so that I would not be surprised if a film student might have made The Visitor.

The Stoning of Soraya M.-2008

The Stoning of Soraya M.-2008

Director-Cyrus Nowrasteh

Starring-Shohreh Aghdashloo

Top 10 Disturbing Films-#2

Scott’s Review #618

Reviewed February 18, 2017

Grade: A

The Stoning of Soraya M. is a brutal film, and one of the most disturbing films that I have ever seen. I have viewed the film a total of two times and that is enough for me. The terrifying aspect of the film is that the story is true and the events depicted not only have happened to the woman featured, but happen to women day in and day out in certain cultures. The film is a frightening reminder of the atrocities of human suffering.

The film is an American Persian language film made in 2008. Academy Award nominee, Shohreh Aghdashloo, stars as a woman living in a remote village in Iran- the time period is 1986. Interestingly, the film begins following the events that conclude the story and works in reverse. A reporter who has car trouble and is lost in the village is taken by the aunt of Soraya (Aghdashloo) who must tell the journalist the painful story of a tragedy that befell poor Soraya the day before. Soraya was brutally stoned to death, wrongfully accused of adultery, and the journalist wisely records the aunt’s tale with his tape recorder. The journalist must then escape the village alive in order for Soraya’s story to be told to the masses.

From this point the film transfers to several days earlier. Soraya’s abusive husband, Ali, wishes to divorce Soraya so that he can marry a fourteen year old girl from the village. When she refuses, Ali uses manipulation and blackmail to turn many in the village against Soraya, including her two teenage sons. Ali convinces everyone that Soraya has been unfaithful to him with a widower who Soraya innocently works for. Ali is then granted his divorce and Soraya is sentenced to be stoned, as an example, in front of the entire village. The message is clear- women are not equal to men and are not permitted to do the things that men can.

Throughout the film we get to know Soraya and she does have her loyal female friends and supporters. Aghdashloo portrays Soraya with gusto and bravery and the fact that we care for the character so much makes the inevitable stoning sequence heartbreaking and painful to watch.

When Soraya is chained to a short pole and buried up to her neck so that she cannot move, the scene of her victimization is almost unbearable to watch. Ali and her sons are the first to cast the stones that strike her square in the head. Director, Nowrasteh provides the stoning sequence with a dull, muted sound so that we almost experience the thuds of the rocks from Soraya’s perspective, making the scene all the more chilling. The scene also goes on for seemingly an eternity as it takes a long time for Soraya to succumb to her many wounds. Needless to say, she is a bloody mess and unrecognizable. This scene is not for the squeamish.

How disheartening to know that experiences like Soraya’s still occur to this day in Iran and many other countries and there is not much that is done to help. The Stoning of Soraya M. is based on a 1990 book, Le Femme Lapidee, written by Freidoune Sahebjam, who appears in the film as the journalist. The book has been banned in Iran.

The Stoning of Soraya M. is one of the most disturbing films that I have ever seen and as much as the message is tragic and painful, I never want to see this film again. The pain rings too real and the thought fills me with sadness.

I Am Love-2009

I Am Love-2009

Director-Luca Guadagnino

Starring-Tilda Swinton

Scott’s Review #545

Reviewed December 11, 2016

Grade: A

Tilda Swinton shines in I Am Love,  an amazing Italian film from 2009 that I wish received wider recognition, but alas, some of the best films do not receive their due.

Swinton stars as a matriarch of a wealthy Italian family, who owns a successful business. To make this film very authentic, it was shot in and around Milan, and contains a highly stylish and exquisite appearance. It is a grand film with high class set pieces and a great look. I do not hesitate to categorize it as an artistic, female version of The Godfather as it is that good.

It focuses on the family as a whole but more so on Swinton’s character, who is bored and unhappy with her life and yearns for passion and feeling. One day she meets a friend of her sons and drama ensues. Obviously, the boy is only half her age, but they share a passion that awakens her from her doldrums. The conflict in the film is how the affair looks to society and effects the family business- not to mention detrimental to her marriage.

A really great film that should be discovered by those looking for a gorgeous film with great drama.

Fellini Satyricon-1969

Fellini Satyricon-1969

Director-Federico Fellini

Starring-Martin Potter, Hiram Keller

Scott’s Review #530

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Reviewed November 30, 2016

Grade: A

Fellini Satyricon is a fascinating experience and is a great  film, but only for the very broad minded and patient viewer- it is more of an “experience” than watching a conventional start to finish type finish. It is nothing of that nature.

I both loved the trip and was fascinated by the creativity and depth of it- dreamlike is a word that immediately springs to mind. The story does not make perfect sense, nor does it need to. The fact that it is set some two thousand years ago is fantastic in itself as the sets are filled with decadent imagination.

The film is certainly not for everyone and is a fairy tale for adults. It tells of a journey through Ancient Rome and is divided into nine chapters. A scholar (Encolpius) and his friend (Ascyltus) traverse the land in the hopes of winning the heart of a young boy (Giton). They are both in love with him and the topics of bisexuality, public sex, slavery, and brothels are explored.

I love Fellini films as they are wild, dream-like, fantasy-like, with odd characters. Is Fellini Satyricon strange? Absolutely. But that is to its credit- this film is highly imaginative, wild, and will leave one pondering its beauty afterwards.