Gett: The Trial of Vivian Amsalem-2014

Director-Ronit Elkabetz, Shlomi Elkabetz

Starring-Ronit Elkabetz, Simon Abkarian

Scott’s Review #409

Reviewed June 9, 2016

Grade: B+

Gett: The Trial of Vivian Amsalem is the third in a trilogy of films focusing on the title character of Vivian Amsalem and her unhappy marriage to her husband, Elisha.

To be clear, the unhappiness is hers and he sees no reason to end the marriage. It is a film about culture, religion, and modern views versus traditional ones.

I was unaware the film was a trilogy until after I finished watching and began conducting some research as I prepared to review it. It is not a necessity to view the first two films  (To Take A Wife and Shiva) to enjoy this film as I suspect they are each chapter as opposed to continuations.

Vivian is a tall, strikingly beautiful woman, though she is weary and haggard when we first lay eyes on her in the stifling courtroom, where she sits and spends much of her time. She has long dark hair and intense eyes- she appears driven and quite modern and of liberal thinking, a feminist perhaps.

A determined woman is frustrated because her yearning for an independent life has been thwarted by her husband. She would like a divorce from her husband of over twenty years. Having met him at age fifteen, his is the only life she has known. Since he will not agree to the divorce, the courts will not grant her the decision she wants. Since he has not abused her and gives her everything she desires, the judges have no grounds to grant her the divorce.

This is the conflict of the film.

Gett: The Trial of Vivian Amsalem has a clear religious message, which is an interesting component for an American viewer. How simple it is to divorce somebody in western civilization and how different the measure is in Israel. Jewish religious law is quite restrictive.

Vivian faces an enormous ordeal. She does not love her husband, yet she is unable to end her loveless marriage. The film is fraught with a clear conflict and one’s interpretation of right and wrong.

Almost set as a play since the film has merely one set- the courtroom- this aspect is very effective in showing frustration, exasperation, and even rage. All the while, Gett, has a sly sense of humor, and I could not help but smirk at a few of the supporting character portrayals.

I sensed a Pedro Almodovar (a famous Spanish director) influence in the quirky, sly writing, and his themes of political freedom.

Character after character is called into the courtroom to testify as witness to Vivian and Elisha’s happy marriage- each attorney looking for evidence to cement their client’s point of view.

In contrast, Vivian’s fierce independence, a mature neighbor couple of Vivian and Elisha heralds them as the perfect couple. Soon, the wife is grilled revealing that she is submissive to her husband and lives in an entirely different world than Vivian.

To be critical, the film does drag at times, but I wonder if this is the director’s intent. The tone of the film is a suffocating one- Vivian and her attorney languish in the same courtroom for five long years as delay after delay occurs.

Throughout the numerous testimonies, an accusation is raised that is an interesting component of the film and an aspect I wondered about very early on- was an affair brewing between Vivian and her attorney? It is alluded to, but never confirmed, rather shrouded in mystery. One wonders.

From an acting perspective, Ronit Elkabetz is fantastic, and I am saddened she did not receive an Oscar nomination, but I do recall some buzz about this fantastic actress being expressed at the time the film was released. Her scene of pure rage towards the end of the film is brilliant. All the years of bottled-up emotions come flowing out in one great performance.

Gett: The Trial of Vivian Amsalem is an intense experience in tedium, frustration, and ultimately rage, but is never stuffy or too serious as evidenced by humorous supporting characters. It is for patient film fans seeking an emotional, human experience.

Wild Tales-2014

Director-Damian Szifron

Starring-Liliana Ackerman

Scott’s Review #374

Reviewed February 5, 2016

Grade: A

What a crazy adventure!

Receiving a well-deserved 2015 Best Foreign Language Film Academy Award nomination, Wild Tales is an Argentinian film that weaves six unique vignettes together.

Each tale involves conflict between characters and oftentimes centers around the subject of revenge. Each reminds me of a foreign language version of a Twilight Zone episode, albeit much darker, mixed with a prevalent Quentin Tarantino influence.

A psychopath arranges for all of his enemies to be on the same flight (“Pasternack”), a hit and run accident among a wealthy family turns murderous (“The Proposal”), a bomb expert turns his expertise onto a corrupt towing company (“Little Bomb”), a disturbed bride and groom bizarrely celebrate their wedding reception (“Until Death Do Us Part”), a revenge-driven waitress waits on her rival (“The Rats”), and a brutal tale of road rage (“The Strongest”) are the stories told in this fantastic film.

Wild Tales is an outrageous journey and as each chapter unfolds we are treated to the unexpected and each is cleverly written- bear in mind that they are independent stories and have nothing to do with each other chronologically or otherwise.

The vignettes also vary vastly in length with one as short as ten minutes and another hovering around the forty-minute mark.

Some characters are sympathetic-others hateful, which is interesting in itself. The diner in “The Rats” is hateful and we wish for his demise.

After “Little Bomb”, the protagonist (or antagonist depending on how you look at it) receives a hero’s welcome for standing up to corruption. In other stories, particularly in “The Strongest”, all of the characters are unlikable.

Famed director Pedro Almodovar (The Skin I Live In, Volver)  does not direct Wild Tales but does produce the project and his imprint is all over it. Almodovar has a thing for the weird and, as in 2013’s I’m So Excited, a thing for passengers in peril inside airplanes.

After “Pasternack”, the first installment, one will experience an “OMG!” moment, which wisely sets the tone for the entire movie. We wait and wonder what can happen next?

My favorite tale was a tie between two- “The Proposal” and “The Strongest”. I loved the class distinction that was evident in the former as a wealthy father struggles to cover up his family’s dirty deeds initially at any cost necessary, but has he finally had enough? Will the wealthy once again victimize the poor?  In the latter, class distinction is again explored, as a hotshot in slick car anger a simple man in a battered car, only to regret his outburst of road rage.

The story turns into a Lord of the Flies situation where it is “kill or be killed”. The clever ending for this one is fantastic as the officials completely misinterpret the events.

By far the most bizarre tale is “Until Death Do Us Part”, which is also the finale.  A glorious and festive Jewish wedding reception turns bitter and bloody as the bride’s jealousy is tested. But is the bride the unstable partner or is the groom? Or perhaps both?

This chapter reminds me most of a Quentin Tarantino film (must have been the bloody bride), as the tone and the texture is reminiscent of his films (and yes, the blood too!).

Unusual, delightful, and sometimes even deranged, Wild Tales is a nice reminder that there are still creative and left-of-center projects being made in modern film that must be experienced and enjoyed. This is not an ordinary, predictable film and that is what makes it quite a gem.

Oscar Nominations: Best Foreign Language Film

Leviathan-2014

Director-Andrey Zvyagintsev

Starring-Elena Lyadova, Vladimir Vdovichenkov

Scott’s Review #370

Reviewed January 16, 2016

Grade: B+

Nominated for the 2015 Best Foreign Language Film (Russian), Leviathan is a tale of governmental corruption at the expense of the “little man”, mixed in with a family drama- and is quite heavy at times.

The film is very good- sort of a standard, tense drama, if you will, though a bit slow-moving at times. This is not so much a complaint as it is an observation.

As with many Foreign language films versus American films, there is more nudity (not in a gratuitous way) and fewer explosions, which is admiration and hats off to foreign language films as a whole.

Leviathan made me think of the overall foreign language film genre in that assessment as it did not need CGI or any other “bells and whistles” commonplace in current American film.

Set in a gorgeous coastal area of Russia, and featuring a plethora of landscape-most of the film in outdoor shots, Leviathan is a story with religious overtones mixed in with the drama.  “Good vs. evil” and both sides questioning god or defending their actions for god are featured message points.

The protagonist of the story, Koyla, lives with his second wife, Lilya, and his son Roma on the coast in a fishing town. Koyla is hot-headed and expresses rage from time to time, but is a good man living a simple life as a mechanic.

The corrupt Mayor of the town is determined to take Koyla’s land and build a villa, offering Koyla an insulting sum of money to sell his land. The disputed land is currently in legal hands, and Koyla’s handsome lawyer friend, Dima, arrives from Moscow to handle the case and lend support to the family in their uneasy times.

A secondary plot involves a love triangle between Koyla/Dima/Lilya, and Roma’s hatred for Lilya that, while somewhat interesting on its terms, did not do much to further the main plot and I am not sure how necessary it was to the film as a whole. It had nothing to do with the land dispute and was left unresolved.

The clear “hero” of the film is Koyla, but he is no saint himself. He drinks heavily, at one point smacks his son (albeit deservedly so), and has a temper. But his land is being taken from him by a corrupt figure so that makes Koyla empathetic and likable.

Leviathan is a compelling film as the clear message received is “bully vs. beleaguered working man”. The mayor is a fat, unattractive, drunken bully and the audience is clearly instructed to root against him. He has the town justice department in his back pocket and uses blackmail to achieve success.

The film brings religion into the plot as a priest tells the mayor he is doing “God’s work”, thereby justifying his motivations (at least in his mind). Later, a defeated Koyla has a conversation with a religious man questioning God and God’s actions.

The film has a cold feel to it- despite being set in what I believed to be the summer or fall. There is a chill in the air, it always looks windy, and the look of the film is dark. This is effective as Leviathan is a dreary film and one with an unhappy ending. Life is harsh and cruel and the film extends that message.

I did not quite understand Lilya’s motivations and not much is known about her character, despite being heavily involved in the events. What motivates her to have an affair with Dima? Why does she return to Koyla? Is she unhappy and seeking a more glamorous life?

This can be assumed but is never made clear so therefore she is a mysterious character.

Enjoyable to me most was the final thirty minutes or so of the film. When a character’s sudden death occurs, I was left wondering if a particular character was responsible for the death before it was revealed what truly happened.

A cinematic treat and an interesting premise, mixed with a bit of religion and a whodunit of sorts, make the Russian film Leviathan, a worthy viewing experience.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

Force Majeure-2014

Director-Ruben Ostlund

Starring-Johannes Bah Kuhnke, Lisa Loven Kongsli

Scott’s Review #280

Reviewed October 4, 2015

Grade: A

As a huge fan of foreign language films, I was delighted to stumble upon this inventive and thought-provoking treat that is Force Majeure.

A Swedish film set in the alps of eastern France, the film is a family drama that is powerful, emotional, and especially psychological. The best films leave you absorbed in thoughtful conversation or introspection, and this film successfully did both for me.

Tomas and Ebba are an attractive couple in their mid-thirties vacationing with their two young children, Vera and Harry. Everyone is excited about the holiday as Tomas is away from work for a full week. They are a family of affluence and sophistication based on the luxurious mountain top hotel they stay in.

However, there is a subdued level of tension among them.

On the second day, they enjoy lunch at the hotel on an outdoor patio along the snowy mountainside. As a controlled avalanche begins to head their way there is suddenly panic as everyone flees for safety. The avalanche is feared out of control, but thankfully is mist and everyone safely returns to their lunch.

However, Tomas’s instinctual reaction to the terror sets off a wave of debate for the remainder of the film. The family experiences an enormous range of emotions and subsequently engages their friends in the conflict as they discuss and analyze the event.

The heart of the film is Ebba’s rage and Tomas’s guilt.

What I adore most about this film is its intelligence. It is smart and well written. From a pacing perspective, it is admittedly slow and this may turn some viewers off. Simple scenes feature the family brushing teeth or napping- scenes in which not much happens.

But the intense psychological aspect lying beneath the surface makes up for these uneventful scenes. Smart dialogue between characters is my favorites- Ebba sits in the lobby sipping a drink with her friend, a sophisticated, sexually promiscuous woman, who is vacationing alone to get a break from her husband and children.

She picks up men for fun and has no hang-ups about it. This particular scene is laced with interesting discussion. Ebba cannot understand her friend’s life choices and freedom and reveals that she is afraid of being left alone- she comes across as judgmental and insecure whereas the friend is confident and secure. It is a “coffee talk” moment but reveals so much about the characters.

Later, Tomas and Ebba have a chat with their friends Matts and Fanni, over wine. When the discussion turns to the avalanche experience, the situation is analyzed by Matts, leading to tension for all. Matts sides with Tomas, whereas Fanni sympathizes with Ebba.

The disagreement stays with Matts and Fanni throughout the night as they reveal their conflict and put themselves in the other couple’s shoes.

Towards the end of Force Majeure events become strange as Matts and Tomas embark on a relaxing guy’s day out on the ski slope. As they sip drinks and listen to music an attractive female flirtatiously tells Tomas that her friend thinks he is the sexiest man she has ever seen. Tomas feels like a million bucks and the audience is happy for him- however, the woman quickly returns and informs them that she was mistaken and her friend was referring to another man.

This escalates into a near fight and little dialogue is used throughout the scene. Rather, expressions are widely used. Later, a bizarre scene involves Tomas being accosted by frat boys and forced to guzzle beer- is this imagined or real?

We never find out.

Force Majeure is a spectacle. Scenes of the crisp, white, cascading snow are beautiful. The avalanche scene is amazing and creepy as the snow rapidly comes into view and gets closer and closer to the diners.

Will they be killed we wonder? The climactic bus scene as the departing vacationers travel by bus down a windy road is quite scary as the inept bus driver has difficulty navigating the bus. Will it crash killing everyone? Is he purposely driving recklessly on a suicide mission? The looming mountainside to the bottom is bot frightening and fascinating to look at.

Intellectual, curious, and bizarre, Force Majeure is a foreign language film worth checking out for a unique, cerebral experience.

Independent Spirit Award Nominations: Best International Film

Two Days, One Night- 2014

Director-Jean-Pierre Dardenne

Starring-Marion Cotillard, Fabrizio Rongione

Scott’s Review #268

Reviewed August 21, 2015

Grade: B

Two Days, One Night is a French-language drama starring the wonderful and highly talented Marion Cotillard, who received an Academy Award nomination in 2015 for this role, and is the main draw of the film.

I never tire of viewing any of her film performances, however, I felt the film itself was lacking something special. An adequate film, yes, but below the standards in which I was expecting given the award recognition.

Quite frankly, the film is good, with an interesting tale of morality, but becomes redundant as it goes along.

Sandra, played by Cotillard, is a working-class woman living in an industrial town in Belgium. She works in a factory and struggles to make ends meet with her supportive husband, Manu. They have two young children. It is revealed early on that Sandra has a history of suffering from depression and has recently been forced to take a leave of absence from her job due to her struggles.

Now recovered, she is ready to resume normalcy, but her boss forces a vote among her sixteen colleagues in which they decide to either save her job or eliminate her position, thereupon each will receive a hefty bonus. Sandra, along with a co-worker she feels close with, convinced the boss to allow an anonymous vote the following Monday, leaving Sandra with one weekend in which to convince the others to save her job.

The conflict is that during Sandra’s absence, the department was able to run successfully so why is she needed?

The plot has an interesting moral concept. Will people sacrifice personal gain to assist someone else? The fact that Sandra is a kind woman makes the decision seem easy. However, many of her colleagues are struggling to put food on the table for their families and could use any extra wages manageable.

The audience is on the side of Sandra and her equally kind husband, who continually talks her out of giving up and instead encourages her to spend the weekend convincing the others to vote for her come Monday morning.

The weak point of the film is that it contains one basic formulaic story and does not branch out into anything more. The plot is simple- this is not a bad thing, but I was expecting a bit more from this film.

The action takes place throughout one weekend and the entire plot is that of Sandra traversing the town looking for colleagues to persuade them to vote for her. Most of the people she encounters are sympathetic and, if they cannot help her, they empathize with her. By the fifth or sixth person, we get that she needs their votes. It becomes the same scene over and over.

The character of Manu is undeveloped. We learn nothing about him except he is a devoted husband and father, but what about his feelings? How did he deal with Sandra’s depression? Strangely, many of the co-workers Sandra looks for are not home at the time, which requires her to go to the park or the laundromat, or the pub to track them down.

I question the authenticity of the story.

Sandra’s boss (the foreman of the factory) has the power to pit colleagues against each other (supposedly approved by management) and to control the destiny of one employee?

There is no Human Resources department mentioned throughout the story until almost the final scene when a manager appears, and it is never explained why the boss can get away with this. There is also no mention of a union, which in factory work is common.

Furthermore, Sandra and Manu never mention consulting an attorney- yes, they are poor, but surely a conversation might have occurred.

The title also does not make sense- Two Days, One Night- the film begins on a Friday and ends on a Monday morning. What does the title mean?

Two Days, One Night is a film featuring an honest performance from a talented actress (Cotillard), but a tad bit slow and tedious at times, all but repeating similar scenes over again.

The film is a nice, simple, quiet story, but nothing spectacular.

Oscar Nominations: Best Actress-Marion Cotillard