Tag Archives: International

Animal Kingdom-2010

Animal Kingdom-2010

Director David Michod

Starring Ben Mendelsohn, Joel Edgerton

Scott’s Review #519

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Reviewed November 15, 2016

Grade: A-

Animal Kingdom (2010) is an excellent Australian crime drama movie that is in the same vein as Goodfellas (1990), The Godfather (1972), or a myriad of other mafia/mob-type films- only Aussie style, which in itself piques interest.

The film has an indie feel, is raw and not slickly produced, and is not over-dramatized with explosions, CGI effects, and various other bells and whistles, making it character-driven.

It is simply a well-made drama about a seventeen-year-old boy named Joshua, who is taken in by his extended family of criminals.

Starting like an innocent, he slowly becomes entangled in the family’s web of corruption. This is similar to Al Pacino’s Michael Corleone from The Godfather.

Making the plot even more compelling, is the arrival of a goodhearted detective (Guy Pearce) who tries to steer Joshua on the straight and narrow.

The acting is topnotch (Jacki Weaver in particular is amazing as the diabolical leader of the family), shocking events happen out of the blue, and operatic music mixed in with dramatic events is well done.

Animal Kingdom (2010) is a diamond in the rough.

Oscar Nominations: Best Supporting Actress-Jacki Weaver

Dogtooth-2009

Dogtooth-2009

Director Yorgos Lanthimos

Starring Christos Stergioglou, Michele Valley

Top 10 Disturbing Films #9

Scott’s Review #515

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Reviewed November 11, 2016

Grade: A-

Dogtooth is a Greek drama nominated for the 2010 Best Foreign film academy award. The film is not for the weak at heart and is most bizarre and disturbing- troubling even.

But upon digestion afterward, I realized how much I appreciated its creativity.

It tells the story of three siblings who are homeschooled and shut out from the rest of the world by their overprotective parents. The teenage kids are curious, damaged, and sad.

They know no other world besides the one their parents created for them.

Certain words mean certain things to them- a language of their own. It challenges the art of parental control as the kid’s curiosity builds and builds.

The movie itself is very difficult to follow (non-linear) yet is mesmerizing and perverse.

Warning: Some subject matters can be hard to take for some (incest, cruelty to animals, full-frontal nudity).

I thought it was a fascinating and bravely made film.

Oscar Nominations: Best Foreign Language Film

Kisses-2008

Kisses-2008

Director Lance Daly

Starring Kelly O’Neill, Shane Curry

Scott’s Review #500

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Reviewed October 28, 2016

Grade: B+

Kisses (2008) is an Irish film that tells the story of two pre-teenage kids (Dylan and Kylie), who run away to Dublin on Christmas to escape their dysfunctional families and their small town, morose life.

Instead, they become attracted to the “big city” and the hope of finding Dylan’s older brother, himself having run away to escape the oppressive environment.

At first, Dylan and Kylie barely know each other, neighbors, but far from close. Gradually they become best friends and form an unbreakable bond.

While in Dublin, they face terror and charming moments of wonderment as they traverse the city, mainly at nighttime.

Great acting and chemistry from the two leads, especially being untrained actors. Kylie- an extrovert and full of life, successfully brings out the best in Dylan, who is reserved and withdrawn, so the pair complement each other as they experience their adventures.

The cinematography in Kisses (2008) is fantastic as one gets to experience the hustle and bustle of Dublin, and the quiet countryside of a small Irish town, which is an immense threat, and a contradiction in lifestyles.

The Seventh Seal-1957

The Seventh Seal-1957

Director Ingmar Bergman

Starring Max von Sydow, Gunnar Bjornstrand

Scott’s Review #497

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Reviewed October 23, 2016

Grade: A

The Seventh Seal is an Ingmar Bergman Swedish masterpiece that, after three mere viewings, I am just beginning to fully appreciate, and fall in love with.

It is not that I did not “get” the dark, artsy theme to begin with- I did, but The Seventh Seal is a savory dish meant for repeated offerings, and with each, I have loved it even more.

The subject matter of the plague and the Black Death is very heavy.

It is a quiet, yet powerful, dark, art film about death.

The film is shot in black and white, which does nothing but enhance the cold, stark concepts of the film. The color would have certainly made the film cheery or bright- if that can be said given the subject matter.

Instead, the filming is cold, yet illuminating, and the whites seem very white- the blacks- very dark, which is symbolic of the concepts of the film.

In the story, a disillusioned medieval knight-Antonius Block (Max von Sydow)  returns home from war disenchanted with life. He fought in the Crusades and returned home to Sweden to find it plagued by the Black Death.

He begins to play a game of chess alone- and is visited by Death- a hideous pale creature shrouded in black. Antonius challenges Death to a game of chess- his fate is left up in the air so long as the game continues.

Throughout the film, Antonius is the only character who can see Death- the other characters cannot, making the film open to interpretations.

The other characters in the story are a troupe of actors that Antonius meets along the way to his castle and a young, fresh-faced girl who has been branded a witch and is fated to be burned at the stake is featured.

Since she is close to death, Antonius takes a particular fascination with her.

Throughout the film and the trials and tribulations of the characters, Death is continuously lurking around, watching these characters, which is a fascinating part of the film. They cannot see him, so we can only assume their time in this world is limited.

What makes The Seventh Seal so powerful is its honesty- harsh as it is. The knowledge that death is coming for these people is fascinating and many of the characters discuss god in length and pray, as religion is an enormous aspect of the film.

It almost contains a good vs. evil, god vs. devil component, and again, important to stress, is highly open to interpretation. Great art films are.

Numerous scenes reverberate and are major iconic moments in film history decades later. The scene of Antonius and Death playing chess on the beach is chilling and ghost-like. Death- his pale face and a black cloak would frighten anyone. This scene has been referenced numerous times over the years.

The inevitable final shot- my favorite- is a long shot of peasants being led to their fate by Death as they are pulled begrudgingly by a rope held by Death is reminiscent of the Pied Piper and is entitled “Dance of Death”.

The individuals are dressed in black and are atop a hill surrounded by the sky, making the morbid scene highly effective.

The Last Supper scene is also powerful as the last meal is enjoyed by the group- unsure of what fate has in store for them the next day.

I anticipate more viewings of this brilliant piece of filmmaking.

Show Me Love-1998

Show Me Love-1998

Director Lukas Moodysson

Starring Alexandra Dahlstrom, Rebecca Liljeberg

Scott’s Review #496

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Reviewed October 22, 2016

Grade: B

Throughout the latter part of the 1990s, films with more of an LGBT perspective (then simply referred to as the gay and lesbian genre) were being released more readily, though it was not until the 2000s when mainstream offerings on the subject (Monster-2003, Brokeback Mountain-2006) hit the big screen to wide acclaim.

Show Me Love (1998) is a Swedish coming-of-age story about two high school girls, opposites in social acceptance, who find love.

Interestingly, the film was directed by a male- Lukas Moodysson.

Show Me Love originally had a different title, a crude reference to the town the film is set in, in western Sweden, but when the film was considered for Academy Award contention (it did not cut), filmmakers were advised to modify the title for the film to have any shot.

The film contains a grainy look- using handheld cameras in parts and, of course, is in the Swedish language.

Agnes is sullen, introverted, and brooding. Known throughout the high school hallways as the angry, weird lesbian, she has few friends, and the ones who are kind to her, she shuns away.

Elin, by contrast, is popular, lively, and charming- everybody loves her. However, Elin is restless in the tiny Swedish town where she lives and yearns for excitement. When Agnes develops a crush on Elin, she confesses all to her computer, but nobody else.

The film is nicely put together and given the time of 1998, is quite brave. Today, many years have passed and progress within the LGBT community made, a film like Show Me Love is a more common occurrence.

Director, Moodysson, does not go for anything gratuitous or steamy but rather spins a sweet coming-of-age tale, not only of teen love and hormones but of outcasts and feelings of loneliness.

It’s a film that most can relate to in some way.

The actresses portraying the leads (Dahlstrom and Liljeberg) are fantastic in their roles and play the parts with conviction and believability. Despite being opposites, we buy their attraction and chemistry. Nothing is forced or dishonest.

My favorite scenes are the awkward 16th birthday party for Agnes, thrown by her well-meaning yet clueless parents. When nobody except a handicapped girl shows up, Agnes viciously insults her, causing her to leave.

The family sits in the living room eating the food that was planned for anticipated guests. It’s a poignant moment and rather sweet. Despite Agnes’s unpopularity at school, she has a very strong, loyal family unit- that is nice to see.

Later, Elin and her sister attend the party, but more as an excuse to avoid another one. Finally, Elin and Agnes share a kiss, but is it a mean dare or is it authentic?

A clever aspect of the film is how Moodysson distinguishes both Elin and Agnes’s sexuality. Agnes is gay, open, and out. Elin is very different and has boys interested in her.

The girls could not be more different and this adds a layer of complexity as each is in a different place in self-discovery. This feature also makes Show Me Love very honest in its storytelling.

The film is not a masterpiece and could have dared to venture into more controversial territory. Could they be harmed for being lesbians given the town they live in? Why is Agnes so sullen?

This is a stereotype (the brooding lesbian) that needs to be changed- though, given the time of the film, I will give it a slight pass. Why not make Agnes a happy, cheerful girl who is gay? How will Elin’s sister deal with Elin’s sexuality or is it merely a phase for her?

All sorts of darker issues might have been explored, but Show Me Love (1998) is tender, sweet, and lighter fare, but still an adventurous offering.

Belle De Jour-1967

Belle De Jour-1967

Director Luis Bunuel

Starring Catherine Deneuve, Jean Sorel

Scott’s Review #486

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Reviewed September 29, 2016

Grade: A

Belle De Jour, the title translates to “lady of the day”, a French pun for “lady of the night”, a kind phrase for prostitution, is a fantastic art film.

Stylish, sophisticated, and open to interpretation (at least in my opinion), Belle De Jour is a late 1960’s journey into eroticism, social norms, and sexual freedom.

Gorgeous star Catherine Deneuve has never looked better and calmly does mental conflict.

The film is directed by Luis Bunuel.

Severine is a wealthy young newlywed, seemingly who has it all. She is showered with love and affection, not to mention material items, by her handsome hubby, Pierre, played by dashing Jean Sorel.

She wants for nothing as her husband is a doctor of great wealth. Yet she is unhappy and refuses to have physical relations with Pierre.

She begins a secret life as a prostitute in a posh home, only working in the afternoons, to avoid being found out. She has no regrets but is apprehensive about the clients she meets.

Throughout the film, Severine has secret fantasies about being kept in bondage and enduring various other sexual humiliations. All the while, the question asked is “Is this all Severine’s fantasy or reality”?  Or perhaps merely a portion is.

The audience wonders.

Do we feel sorry for the character of Severine? Not. One could make the argument she is spoiled and selfish, but she is not evil, but rather confused. She is quite polite, and Deneuve fills her with kindness and even an angelic spirit.

One cannot despise her even though on the surface one might be tempted to. What right does this woman have to rebuff her husband in place of sleazy clients? One particularly volatile client becomes obsessed with Severine and stalks her, going so far as exacting violence against her husband.

But wait, is this Severine’s fantasy or reality? Is she imagining everything and merely obediently waiting at home for her husband to return each day or is she living this life?

Many shots of gorgeous Paris are used by Bunuel, including the famed Arc de Triomphe and many other interesting streets and sights, which is a treat for fans of culture. The use of these exteriors goes a long way to ensure that the film is clearly “French” from a visual perspective.

Certainly, in 1967, the sexual revolution was in full swing and Belle De Jour epitomized the revolution of the times. Yet, it does not feel dated or reduced to a film “of its time”.

I find it more a character study than a genre film as Severine is an interesting study.

Belle De Jour challenges the viewer with an intense yet subtle story of a woman conflicted with sexual desire and repression- a film open to much interpretation and discussion.

It does what an art film is supposed to do- makes us think and ponder.

Mother-2009

Mother-2009

Director Bong Joon-ho

Starring Hye-Ja Kim

Scott’s Review #480

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Reviewed September 11, 2016

Grade: A

Mother (2009) is brilliant! I loved it and implored people to give the film a chance.

Years later, just desserts would be served. Director, Bong Joon-ho would win the Oscar for Parasite (2019).

It is a South Korean film- made in 2009 that almost nobody has heard of-let alone seen, but it is fantastic. It’s a shame that it did not get more notice, but sadly, some of the best films do not.

The plot revolves around a mysterious murder that occurs in a small South Korean village and a poor village woman’s mission to exonerate her mentally challenged son, who is convicted of the crime in a botched case.

The plot twists and turns and is compelling beyond belief. The real crux of the film is what lengths a mother will take to protect her son, a question many viewers can ask themselves.

Why Hye-Ja Kim, who plays the title character was not nominated for an Oscar for this role is beyond me and quite a shame. She is a goldmine and gives a terrific, memorable performance.

The movie is stylistic and has moments that resemble Hitchcock and David Lynch combined. One does not know what will transpire from scene to scene and that is the beauty of the film- besides the wonderful acting.

Once the film ends viewers will feel compelled to discuss, which is an accomplished feat.

I highly recommend it.

Independent Spirit Award Nominations: Best Foreign Film

Theeb-2015

Theeb-2015

Director-Naji Abu Nowar

Starring-Jacir Eid

Scott’s Review #459

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Reviewed August 4, 2016

Grade: B+

An Arabic spoken foreign language film that received a 2015 nomination for Best Foreign Language film, Theeb is an old world film set in 1916 during the time of the Ottoman empire.

The event is  World War I as an Englishman battles Arabs and nobody can be trusted.

The film is largely shot in the smoldering Arabian desert (in Jordan) and told from the perspective of a child- named Theeb. Despite the very slow pace of the film, it makes the moments of action even more important and the film has a grainy quality to it that makes it somewhat of a bizarre Arabian western.

Theeb lives in a small village run by his father and older brother, Hussein. One night a mysterious Arab man and an Englishman arrive in the village seeking a guide to take them to a Roman well, close to the Ottoman railway.

The mission is feared a dangerous one, as the trail they must take is riddled with bandits, not to mention, the Englishman owns a box containing gold, making him a vulnerable target.

Theeb, left behind because he is so young, follows and joins them, much to the group’s chagrin. Predictably, trouble ensues and Theeb must fend for himself.

What I enjoyed about this film is its unpredictability in what happens after the group faces danger. Sure, when the foursome sets out on a trail led by camels, we know bad stuff will happen.

But, finally left to his own devices, I was intrigued as to how Theeb would face his new challenges, having up until now been protected by his family.

In ways, Theeb reminded me of another adventure film, Life Of Pi, though Theeb is a much darker film. Both feature a young, non-American male of Indian or Middle Eastern background, forced to survive largely on his own.

The John Boorman classic, Deliverance, also came to mind during one dark scene, as Theeb and Hussein cower amongst rocky caves while their devilish pursuers taunt and whistle at them mockingly from below.

The hunter vs. victim component is front and center and it is killed or be killed.

Later, an interesting bond develops between Theeb and one of the raiders (Hassan) as both are mistrustful of each other. Will they forge the bond or will one betray the other? The answer to this question emerges during the final moments of the film and the buildup is very compelling. I was aware of the father and son dynamic mixed in with the friend and enemy.

When Theeb treats Hassan’s wounds there is tenderness on the exterior, but is Theeb fully kind to Hassan?

A slight negative for me existed in that I did not buy that the period was the early 20th century, but rather, everyone looked and acted so modern as if they were merely dressed up for their parts….as they were. Perhaps it had to do with the hairstyles or mannerisms.

Shot entirely in Wadi Rum, Jordan, a gorgeous part of the world, the desert and big sky lend much to the ambiance this creates. It was almost like being in the old, wild west and an ode to old western films, only set in the Arabic world.

The entire cast, save for the Englishman, are non-actors, an amazing achievement, and a measure that creates an obvious level of realism that rehearsed actors cannot always bring to the table.

Originally meant to be a short film only, Theeb emerged as a full-length feature and I am glad it did, as it has enough meat to warrant a longer duration.

The film is a cinematic wonder with a psychological edge.

Oscar Nominations: Best Foreign Language Film

A War-2015

A War-2015

Director-Tobias Lindholm

Starring-Pilou Asbaek, Tuva Novotny

Scott’s Review #456

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Reviewed July 29, 2016

Grade: B+

A War, a 2015 film, made in Denmark, is a thought-provoking story that one might think is a standard “war film” on the surface, but as the film moves along, it turns into something much deeper and rather cerebral.

A slow mover, but necessary to the nature of the film’s message,  the viewer questions what he or she might do in a similar predicament as the main character faces a moral dilemma.

The action begins in Afghanistan as we meet a company of Danish soldiers assigned to protect civilians from the evil Taliban. They are young, good-looking and of varying ethnic groups (a nice touch by the film).

One female soldier seems to be thrown in for good measure, though we never see her in combat.

Their leader is Commander Claus Pedersen, a good, decent man, well-liked by his troop. They have all seen death and destruction, and Pedersen frequents the middle of the action on the front lines.

He is one of the guys.

When one of his men is wounded during an attack, Pedersen makes a controversial decision, resulting in the deaths of civilians, some children.  Pedersen is then charged with a war crime and sent home to Denmark to be tried. His wife and three small children are happy he is home, but distraught and opinionated on how he should testify.

The thing I found interesting about A War is how the film shifts gears around the mid-way point.  The camaraderie between the soldiers in the field and their bond with Afghan civilians are mixed with dangerous threats from the Taliban.

I kept waiting for an attack to occur and in these ways, the film is a standard war film.

Mixed in are snippets of “home life” involving Pedersen’s wife- she appears a typical military wife- struggling to raise her three kids, one of whom has recently developed behavioral problems. They miss Pedersen.

The latter half of the film is largely set inside a courtroom as Pedersen is interrogated by a female prosecutor. While she sympathizes with Pedersen’s anguish, she is looking for a conviction. After all, children were killed because of his actions.

The filmmakers are on Pedersen’s side, but the entire conflict makes for great analysis. Should he be held accountable for deaths in a war zone? The viewer will ask him or herself- “would I lie to stay out of jail and with my family who needs me”? Interesting stuff to ponder.

A War, ironic to the title, is a calm, subdued film- very much impressive to me.  To compare, a film of this nature, targeted as a “blockbuster” would likely have technical enhancers- dramatic music undoubtedly would play to cue action in the war zone.

The climax of the film, when Pedersen’s verdict is read aloud in the courtroom, would contain some jarring camera shots, or an intense musical score.

A War has none of those and that brings a certain reality to it- this could be everyday life. A decision is made and life quietly goes on.

Some complaints about A War being a tad boring. I see their point, but it is an atypical war film. It is understated and character-driven, rather than a shoot ’em up, overwrought with testosterone action, or laced with artillery or explosions.

A War is not that mainstream a film- much to its credit. Rather it is methodical and fraught with interesting thinking points.

Oscar Nominations: Best Foreign Language Film

5 Broken Cameras-2012

5 Broken Cameras-2012

Director Emad Burnat, Guy Davida

Starring Emad Burnat

Scott’s Review #452

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Reviewed July 22, 2016

Grade: B-

5 Broken Cameras is a 2012 documentary spoken in the Arabic language, which received critical acclaim upon release and heaps of award nominations.

A documentary about a Palestinian farmer, Emad Burnat who recounts Israeli soldiers overtaking his land for several years, it became a Best Documentary Oscar nominee.

Non-political in his life, Emad is threatened as the Israelis build a wall through his land, which he refuses to part with.

As important as the subject matter is, it never really captured my attention and I found it to drag a bit, which pains me to say because I was hoping to be really into it, given the topic.

This could simply be my opinion since it is a critically acclaimed piece.

I would have voted in the far superior Invisible War, from the same year, for Oscar glory.

Oscar Nominations: Best Documentary-Feature

Once Upon a Time in Anatolia-2011

Once Upon a Time in Anatolia-2011

Director Nuri Bilge Ceylan

Starring Muhammet Uzuner

Scott’s Review #445

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Reviewed July 4, 2016

Grade: B+

Once Upon a Time in Anatolia is a Turkish film that, circa 2011, has received notice and recognition during awards season.

The film is very slow-moving and requires some patience, but it is worth the effort and I found myself savoring the experience by the end.

It is a cerebral, thoughtful experience about life and human nature and is philosophical in its message. The main characters reflect on their lives while searching for a mysterious dead body in the plains of Turkey in the middle of the night.

The cinematography is wonderful and some of the camerawork is amazing.

It’s quite a unique film.

The only drawback is its extremely slow pace, but upon its conclusion will leave you pondering for some time.

No bombs and no car chases are involved, just honest, truthful dialogue.

Independent Spirit Award Nominations: Best International Film

Mustang-2015

Mustang-2015

Director-Deniz Gamze Erguven

Starring-Tugba Sunguroglu

Scott’s Review #417

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Reviewed June 18, 2016

Grade: A-

Mustang is a powerful, relevant, Turkish film released in 2015 and nominated for a slew of awards, including the Best Foreign Language film Oscar.

I fully support the nomination as I feel it is a top-notch piece.

A coming of age story, of sorts, but with no clichés, and a real, true-to-life feel to it. It tells of various generational beliefs and how these beliefs conflict with other viewpoints and ideas.

It also focuses on blossoming life, and sadly, of tragic death.

The story tells of five beautiful young sisters living in a remote village in Turkey, a thousand long miles outside of Istanbul. The girls range in age from eight to eighteen and live with their Grandmother and Uncle Erol-the sister’s parents had died years earlier.

The main protagonist of the film is Lale, the youngest of the siblings, who is wise well beyond her years as the plot unfolds. We first meet her as she bids an emotional farewell to her teacher, as she moves to Istanbul.

The film is told largely from Lale’s point of view, but each of the girls plays an important role. As the girls play an innocent game in a lake with a group of boys, the game causes a scandal in their “old world” village, and the girls are banished inside the house by their Grandmother and Uncle, who fear their progressive ideas will hurt and shame them.

The obvious main crux of the story is the conflict that develops between different generations and the yearning of the girls to be free and independent, both sexually and intellectually. Their older relatives, and others in the town, prefer the old ways and are prudish.

The oldest daughters enter into arranged marriages, while the younger ones fear the same will soon happen to them.

The film wisely does not portray these conflicts in a clichéd way or make them over-obvious.

Rather, the film feels real, fresh, and like a slice of small-town Turkish life. Istanbul is mentioned as a paradise of open-minded thinkers and progressive ways, and “the place to be”. The girls fear life in the doldrums, cooking and cleaning for their men, married off to older men without any love.

It is unclear if the Uncle is molesting any of the girls- the film alludes to it, but the point is not made obvious. What is clear, though, is the girl’s desire for sexual freedom, experimentation, and love.

They are modern thinkers.

The young actress who plays Lale is a marvel. So natural, earnest, and clever, she befriends an older man who teaches her to drive and they embark on a sweet friendship.

Much of the film is shown through Lale’s eyes and her reactions to situations. Knowing nothing of sex, she sneaks a peek at a sex education book and is fascinated by her older sister’s sex discussions.

The ending of the film leaves things open to interpretation, and I choose to believe happiness awaits those featured at the conclusion.

Mustang is a wonderful film, filled with truth, conflict, great acting, and food for thought. A must-see for foreign language film lovers.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

The Kid with a Bike-2011

The Kid With A Bike-2011

Director Jean-Pierre Dardenne, Luc Dardenne

Starring Thomas Doret

Scott’s Review #416

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Reviewed June 18, 2016

Grade: B

The Kid with a Bike is a small French film from 2011 that has received acclaim and recognition worldwide.

The film tells the story of a troublesome young boy abandoned by his struggling father and various dramas that unfold.

I found the film somewhat disappointing as I expected a bit more than I was given.

Throughout the very short one hour and twenty-seven-minute run-time the young boy broods and defies either authority or his caregivers, or fights with various people he encounters as he attempts to find his father.

The boys bond with a local hairdresser who takes him in and is interesting, but her motivations are not made clear other than being kind.

Why would she take in a strange kid? We do not learn all that much about this character and that is a shame.

There is one element towards the end of the film that was shocking and well done, but overall I expected something a bit deeper from this movie given all of the praise surrounding it.

Independent Spirit Award Nominations: Best International Film

Gett: The Trial of Vivian Amsalem-2014

Gett: The Trial of Vivian Amsalem-2014

Director-Ronit Elkabetz, Shlomi Elkabetz

Starring-Ronit Elkabetz, Simon Abkarian

Scott’s Review #409

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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.

The Way He Looks-2014

The Way He Looks-2014

Director-Daniel Ribeiro

Starring-Fabio Audi, Ghilherme Lobo

Scott’s Review #408

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Reviewed June 4, 2016

Grade: B+

The Way He Looks is a foreign language film (Brazilian) from 2014 that tells a coming of age story about a blind high school student,  who develops feelings for the new kid in town. The other boy has rapidly become his new best friend and the boys, while unsure of the other’s sexual preferences, fall in love.

The film is a charming story about a modern romance, now becoming more prevalent in film today.

Leonardo (known as Leo) is a blind high school student struggling to be his person.  His close friend Giovana is in a similar situation as neither has ever been kissed, yet they feel adolescent desires- they are lonely but share a close bond.

Regardless of his disability, Leo is quite independent, despite having parents who border on smothering. One day, a new student named Gabriel volunteers to sit behind Leo in class and they strike up a friendship. Giovana, unaware of Leo’s sexual preferences, develops a crush on Gabriel.

The film then tells a sweet story about young, blossoming, romance. The main characters do not face particularly tough obstacles from outside sources, but rather from each other as their feelings and emotions are fragile. In addition to romance, the film focuses on the friendships between Leo, Gabriel, and Giovana.

The Way He Looks is a warm film. It is sweet and compassionate and tenderhearted. The viewer witnesses a budding romance between two teenagers and the fact that they are both males is secondary- that is how charming the film is.

The audience will root for Leo and Gabriel because they are nice kids. Giovana, the outsider, also has a rooting factor- she is in no way a villain, nor does she harbor resentment for either Leo or Gabriel, but rather, yearns for her first romance and happiness.

The film wisely does not turn her into an emotional wreck, or a psycho. Sure, she gets drunk at a party, but this is only to temporarily escape her feelings.

I recoiled at the scene after scene of Leo’s parents either fretting about something, worried sick about Leo coming home late, or simply worried that something may happen to their son. Relax already. Life is not meant to be spent frazzled because your son is blind.

The parents are not the strongest written characters in the film and are rather secondary characters. The case is the same for the bullies, the slutty girl, and the teacher. The film belongs to Leo, Gabriel, and Giovana wholly.

The supporting characters in The Way He Looks are meant to merely react to the central character’s issues.

A kind film about a same-sex, young romance. Charming, not too heavy, with likable characters, who one can root for. There are no bombs, car chases, or explosions needed.

The Way He Looks is a slice of life film that is simple, pure, and true.

The Girls-1968

The Girls-1968

Director Mai Zetterling

Starring Bibi Andersson, Harriet Andersson

Scott’s Review #404

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Reviewed May 11, 2016

Grade: B+

The Girls is a 1968 political-leaning, surreal, dream-like, feminist Swedish film. These may seem like too many adjectives to describe a film, but they all happen to be warranted and work to categorize it, which is tough- it is a complex film.

The film left me deep in thought about what I had just viewed- that is a positive for me.

Directed by a female, Mai Zetterling, the film is told from a female perspective and is quite difficult to follow, though the message portrayed is a thought compelling, and powerful women repressed- whether in reality or fantasy-by men.

In my attempt to describe The Girls accurately, it appears to contain the boys versus girls component throughout- told by the girls. The plot centers around three women: Liz (Bibi Andersson), Marianne (Harriet Andersson), and Gunilla (Gunnel Lindblom).

The women are hired to star in a touring production of Lysistrata and each faces conflict and concern over leaving their respective families, but for differing reasons.

Liz’s husband, who is having an affair, cannot get rid of her soon enough. Marianne has recently dumped her married boyfriend. Gunilla has four children and suffers from guilt.  All of the women are very friendly with each other.

All three principal actresses are familiar to eagle-eyed Ingmar Bergman fans as each of them has appeared in numerous films of his-in very different types of roles.

Wild Strawberries and The Seventh Seal feature these actresses.

The women go on tour and have various surreal experiences based on the play in which they are a star. The film, made in black and white, has very overexposed cinematography. The blacks and the whites are very sharp in look and this is no doubt purposely done.

On the surface, it would appear that the women hate men and yearn to be free of them. Is that the point of the film? It seems to go in other directions as well. Do they hate their lives and feel confined with men and free without them, when they are touring their play?

How do they feel about their children? Do they miss them on tour, love them, resent them, or perhaps a bit of each? They yearn to be free of restraint.

We are treated to numerous scenes that seem to be a dreamlike state or a fantasy of one of the women. One runs through the forest and comes upon a grizzled, dirty child on the ground. Is it hers? She then sees her husband sitting in a living room chair in the middle of the forest.

The symbolism resonating through The Girls is countless. We also see the women fantasize about a handsome, young man. Are they tired of the doldrums- looks and otherwise- that their husbands have caused them?

Many political scenes of protest occur throughout the film. In one, the women march in unison- Nazi-style and chant. In another, the women lead what appears to be a charge of women- suffragette style, until the women start attacking each other and punching and kicking each other in the streets.

These scenes and countless others are tough to analyze, but perhaps this is the point. I decided to simply escape into the film and not try to figure out what everything meant.

Fantastic to see is the exterior scenes shot in Stockholm, Sweden, which reminds us what a liberal, democratic city it is. Yet the women are repressed. Made in 1968, during the sexual revolution, the timing of the film is perfect.

The Girls left me pondering the story and the viewpoint and I will need further viewings for the film to more successfully sink in and for me to get it- if I ever do, but I enjoyed it nonetheless.

The film is the kind of film that requires further viewing to understand. I look forward to watching this film again and that is high praise for it.

Les Cousins-1959

Les Cousins-1959

Director Claude Chabrol

Starring Gerard Blain, Jean-Claude Braily

Scott’s Review #402

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Reviewed May 5, 2016

Grade: A-

Les Cousins is a 1959 Claude Chabrol French-language film.

Made in black and white and set in Paris, the focus is on metropolitan life as seen from the perspective of one of the main characters, who is from the country and far removed from the bustle and complexities of city life.

The focal point is contrasting traits- personality, background, and otherwise, as the film delves into psychological aspects that lend themselves to making the film a character-driven experience, and quite thought-provoking.

Les Cousins is open to many interpretations. The film, therefore, has many nuances to ponder and sink one’s teeth into deep thought.

Hence the title, Les Cousins is about two male cousins, Charles and Paul. They appear to be similar in age and are both law students, but opposites in almost every other way. Paul is the alpha male- self-centered, quick-tempered, and forceful. Living an affluent life in the heart of Paris, he has many friends, is a social butterfly, and has no filter with his criticisms and judgments of others.

Charles, on the other hand, has a completely different set of qualities. Sent by his mother to live with Paul and study for the agonizing, impending law exam, Charles is meek, quiet, and insecure.

When Charles meets Florence, a beautiful friend of Paul’s, who has a reputation for “sleeping around”, Charles falls madly in love with her, almost love at first sight, unaware of her reputation.

What follows is a strange triangle between Paul, Florence, and Charles that is laced with jealousy, revenge, and ultimately violence.

Each of the three principal characters and their relationship with each other is interesting to ponder and is at the heart of the film.

When Paul realizes that Charles is in love with Florence is he disturbed by this turn of events? Does he feel sorry for Charles or elicit some perverse joy in bedding Florence in front of Charles? If so, why does he resent Charles?

Is Florence in love with Charles or is it a guise? Does she even realize the extent of his love for her? A sexually expressive woman, she is not outlandish in her appearance and seems quite virginal to the outside viewer.

Does she enjoy the fact that the unwitting Charles sees her as pure? Does she wish that she was virginal?

Finally, the complexity of Charles’ character is mysterious. We learn that he writes letters to his mother every day to give her updates on his studying habits and exams.

Does he harbor resentment toward his mother? Is he a “mama’s boy”? Is he overwhelmed in the city? Does he truly love Florence (tough to believe after one or two dates) or simply yearn for the freedom that she represents?

We see countless scenes of Paul and his good-looking friends engaging in various forms of merriment, usually in his modern apartment, overlooking the city.

He is affluent. Is this the main reason for his popularity?

The party-goers are all well-dressed and very good-looking- sort of a fraternity party for the exceptionally tailored if you will.

Interestingly, a female couple- appearing to be a lesbian couple- featured numerous times at the parties. Is this meant to show Paul and Parisians in general as open-minded and progressive?

A revolver- with only one bullet in a six-chamber gun, prevalent throughout the film in a Russian roulette sequence, comes into play at the startling conclusion of the film.

Without completely revealing the ending, someone is mortally wounded in the last sequence of the film and we are left to ponder what happens now.

Are the survivors lives forever changed and ruined? A knock at the door just before the credits roll leaves us wondering who is there.

My one complaint about Les Cousins is that it takes a long time to get deep into the complexities of the film and I was left pondering the film after it ended more than I was completely engaged throughout the actual film.

I also wondered if perhaps the pompous and over-indulgences were slightly overdone to elicit more audience reaction and contrasting elements between Paul and Charles.

A French new wave experience by one of France’s best directors, Les Cousins is a character study of three interesting characters that leave the audience thinking about their lives past, present, and future, comparing their idiosyncrasies, actions, and thoughts to delve deeper into their psyches.

Girlhood-2015

Girlhood-2015

Director-Celine Sciamma

Starring-Karidja Toure

Scott’s Review #398

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Reviewed April 24, 2016

Grade: B

Girlhood is a coming-of-age foreign language, French drama that tells the story of a sixteen-year-old French girl, living in a poor area (the projects) just outside of Paris.

She is faced with numerous conflicts and tough decisions on how to live her life. School, gangs, and romance are the main issues she tackles, as well as troubled home life.

Wisely, the film uses a female director, Celine Sciamma, which lends some authenticity to the largely female issues discussed in the film. For all its good intentions and some interesting nuances, the film suffers from a lack of grit and has a safe feel to it making it less compelling than it could have been.

I felt that I was watching a glossy film rather than any sort of harsh reality.

Still, a worthy effort.

Marieme is a tall, gorgeous teenager living in the projects near Paris. She struggles academically and is rejected from attending high school, instead of being sent on a vocational track to be able to find a job.

Her mother works long hours as an office cleaner, and Marieme’s abusive brother is in charge of the household. Marieme also has two younger sisters. Upset to learn she will not be attending high school, she is approached by a gang of girls, led by Lady, who asks her to go to the city with them.

She agrees to join their gang when she realizes that her brother’s best friend, Ismael, whom she has a crush on, is friendly with the other girls. Marieme and the girls begin to while away the days by stealing, fighting, and terrorizing anyone in their path.

Partying in hotels, they make the rounds. Marieme must ultimately decide if this is the life she wants.

What I found most interesting about the film is its use of an all-black cast and certainly, this was intentional. Sciamma (who ironically is white) felt that the female black population in Paris is underrepresented in French film.

This is accurate and scores points with me. I love the camaraderie among the girls. They always have each other’s backs and when Marieme fights a rival girl to defend the recently beaten Lady, there is a sense of sisterhood that is appealing and is at the heart of the film.

Friendship, loyalty, and bonding are explored.

Also worth noting is that most of the cast are either unknown actors or non-actors picked off the streets to appear in the film. To this effect, the acting is surprisingly good for most novice or non-actors.

The romance between Marieme and Ismael is another strong point of the film- they share an undeniable attraction for each other but are forced to only spend time together in secret. Marieme’s brother appears to run a gang of all boys and forbids anyone from being with his sister. The scenes shared between Marieme and Ismael are tender, sweet, and believable. They have a rooting factor.

The aforementioned positives are also the negatives to Girlhood. The film lacks any real grit or dirt and the friendship and romantic elements are also played safely.

Everything is glossy and bright.

For example, two fight scenes occur, one with Lady and a rival girl, one with Marieme and the rival girl. A group of spectators gathers in a circle egging the girls on. They are in a hot, deserted parking lot.

The scenes could have been brutal, bloody, and fierce. Instead, they are very short, lack any blood or bruising, and are very safe feeling. When Marieme pulls out a knife, it is intended to cut the rival girl’s bra, not to stab her. This seems unrealistic and not how things would play out in an urban gang situation.

And on a nitpicky level, why was the mother absent from the family life? Sure she had a night job, but the film presented her as being all but out of the picture entirely. She tried to help Marieme get a job working with her, so why so much turmoil due to her busy schedule?

Also, the silly scene of the girls playing miniature golf added nothing to the plot and should have been dropped.

Girlhood is a nice, albeit sweet, coming-of-age, female gang story, that might have been more intense, but the decision was to make a soft film rather than a harsh one.

An interesting, fine effort that mainly focuses on bonding, friendship, and life choices over the realistic brutality that it could have dealt with.

Independent Spirit Award Nominations: Best International Film

La Femme Infidele-1969

La Femme Infidele-1969

Director Claude Chabrol

Starring Stephane Audran, Michel Bouquet

Scott’s Review #397

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Reviewed April 23, 2016

Grade: A-

Another gem by French director Claude Chabrol, La Femme Infidel (The Unfaithful Wife) is a 1969 film later remade in the United States in 2002, directed then by Adrian Lynde.

Having seen the remake a few times before watching the original, I cannot help but compare the two films, which in itself is fun for me since both films are vastly different from one another, especially as I find myself further pondering each.

One is more conventional- the other more psychological.

Successful insurance executive Charles Desvallees lives in the suburbs of Paris with his beautiful wife Helene and their young son.

Life is seemingly idyllic, as they enjoy every luxury imaginable beautiful house with a beautiful landscape and a dutiful maid.

Charles has a sexy secretary, smokes, drinks, and enjoys life at work and Helene frequently goes to Paris for shopping sprees, beauty treatments, and to attend the cinema.

What could be missing from their lives?  Helene is a bored housewife and has embarked on an affair with Victor Pegalla, a writer who lives in Paris.

When Charles grows suspicious of Helene, he hires a private investigator to track her activities and reveal the true story of how she spends her time.

Admittedly, I was highly influenced by Unfaithful, the 2002 remake starring Diane Lane and Richard Gere when I viewed La Femme Infidel.

The remake is set in New York instead of Paris and is more polished and less psychological- a Fatal Attraction-type slick thriller if you will.

The “other man” is much sexier and more passionate, and the connection is more primal than in the original. This changes the tone of the film from a sexual and lustful one to a more complex and psychological dynamic- La Femme Infidel is a more thinking man’s film.

Victor is handsome and well-groomed, but he is rather similar to Helene’s husband, so we wonder what the main appeal is- if she is seeking adventure.

Lane’s 2002 character’s choice is easy- her affair is based on the physical attractiveness of the man. 1969’s Helene is not having her affair for that reason-, the reasons, besides boredom, are unclear, making the film more complex.

When the main action (death) occurs at the midway point, the film goes in a different direction and becomes complicated. No longer is the main plot of Helene’s adultery, but rather what Charles has done and the repercussions bound to follow.

Do we see Charles as the villain and Helene as the victim? Who do we feel sorry for? Do we root for anyone? Certainly, the character of Victor is not explored in much depth. What are his motivations? Is he in love with Helene?

Helene is an interesting character. Is she meant to be sympathetic or hated? Or just complex?  One can interpret her in different ways- the woman has it all beauty, a faithful husband, and a wonderful home life- why does she risk sacrificing it all for a fling?

Does she dare to want more out of her life and have some adulterous fun? It does not seem that Helene is in love with Victor or has any desire to run away with him or leave her husband.

Charles is also a character to be analyzed closely.

Throughout the film’s first portion, he is seen as a victim- his gorgeous wife has mysterious contempt for him and plays him for a fool. She spends his money and cheats on him, while he adores her and resists his young, flirtatious secretary, who has a thing for Charles and wears short skirts seemingly for his benefit.

She is much younger than Helene. Later, his character’s actions and motivations shift from victim to arguably brutish and primal. A momentary outburst changes his motivations and the texture becomes calculating.

In the end, Charles and Helene come together and resume normalcy in their lives, but will things ever be the same? Will the trust ever reappear in their lives? Is Helene now afraid of or intimidated by her husband or rather, does she now have a newfound desire for her alpha, take-charge husband?

The 1969 version of La Femme Infidel is layered, complex, interesting, and left me thinking about the film and that is a very good sign.

The remake, while very good, is more of a blockbuster, produced kind of film, while the original goes more for thought.

The lack of sex appeal in Victor is a negative of the film as are his motivations, but the character-driven nuances of the other characters make this a thought-provoking watch.

The New Girlfriend-2015

The New Girlfriend-2015

Director-Francois Ozon

Starring-Romain Duris, Anais Demoustier

Scott’s Review #382

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Reviewed March 5, 2016

Grade: B

The New Girlfriend is a French, and lighter, version of The Danish Girl, a similarly themed film also released in 2014-2015.

The story involves gender identification confusion among the central character, though the time in The Danish Girl is the 1920’s, The New Girl is set in present times.

The film begins with a brief montage of the lives of two best friends- Laura and  Claire- sharing life and inseparable as children, young adults, and even as married women.

Sadly, we learn that Laura has recently died of a terminal illness and this is where the film begins. Claire embarks on a unique friendship with Laura’s husband David when she catches him wearing female clothing and acting as a “mommy” to his infant daughter.

They form a bond and Claire agrees to harbor David’s secret and even accompany him in public as he slowly takes on the persona of “Virginia”.

I found the film quite compelling throughout most of the running time as we see David’s burning desire to both dresses as a woman and feel like a woman.

We mostly see the bond develop between Claire and David, who sometimes is Virginia, other times David. Claire is happily married to her successful, handsome, husband Gilles and the three individuals are friends- sharing dinners, tennis matches, and evenings consuming wine.

Gilles is unaware of David’s secret and begins to fear an affair has ensued between his wife and his friend. Likewise, during moments, Claire imagines David and Gilles beginning a torrid affair.

Interestingly, the film does not go full steam ahead with the love triangle between Claire/Gilles/David (Virginia) and this is a wise choice. That would have made the film more typical and generic, and perhaps even one-note.

Rather, the point of the film is the struggles David goes through to feel right as a woman and how his friends support him. When he kisses Claire and snuggles with her, it is not sexual- it is to feel close to another woman.

This makes the film more character-driven.

As with many foreign-language films, The New Girlfriend is liberal with nudity, both male and female. When nudity is featured in American films, typically it is gratuitously or sexually.

This film being French, the nudity was tasteful and even beautiful. When Claire is topless it is more expressive as the mystique of the female body than in a showing of a buxom woman, which Claire is not.

The ending of the film slightly disappointed me. The idyllic, fairy tale way that the film wrapped was romanticized and unrealistic. I would have liked to have seen even more of David/Virginia’s struggles and how his in-laws might have wrestled with the idea of their granddaughter being raised by a single man dressing as a woman.

Another flaw was the lack of explanation as to whether David- as a male-desired and yearned to biologically become a woman or if he was satisfied to dress up and publicly look like a woman. The film chose not to go this route and it undoubtedly would have made the film darker, containing a much deeper story.

Instead, The New Girlfriend was light, fun, and wholesome in its overall story.

Violette Noziere-1978

Violette Noziere-1978

Director Claude Chabrol

Starring Isabelle Huppert

Scott’s Review #378

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Reviewed February 16, 2016

Grade: B+

Another in the legion of thrilling and mysterious films by French director Claude Chabrol, Violette Noziere (1978) tells the true story of an eighteen-year-old Parisian girl, who plots her parent’s murder in 1930’s France.

The fact that the tale is true to life makes it even more horrific and mesmerizing.

It is beautifully shot, though the action largely takes place in interior settings.

This film is a cerebral experience.

The film is classy in every way- like French films typically are, and Isabelle Huppert (Violette) takes center stage. She is gorgeous and interesting-looking (reminiscent of a young Jennifer Jason Leigh) in the lead role.

Violette appears to be a typical French teen but harbors a dark secret and something always appears glum about the character. She works nights as a prostitute accosting wealthy men.

When she meets handsome but spendthrift, Jean Francois, a young man she fancies, she becomes his main source of income and slowly begins to plot the murder of her low-income, yet stable parents, in an attempt to inherit their apparent savings.

The story is somewhat murky as Violette’s version of events (mainly in the past and concerning her father) is accusatory. She insists that her father sexually abused her as a child, but is this in her fantasy world, or did this happen? One never knows.

Making the film compelling is that Violette’s parents are quite likable. Struggling to make ends meet and provide quality life, they prepare home-cooked meals, enjoy life, and appear to be decent people.

What is the reality?

Later, we witness a rivalry between Violette and her mother. In one scene we see Violette’s father bouncing his daughter on his knee while the mother looks on filled with hatred.

When she attempts to seduce her husband, unsuccessfully, Violette looks on amused. Is this solely in Violette’s mind?

Chabrol, an admirer of Alfred Hitchcock, keeps the suspense going throughout the film, but the heart of the film belongs to Huppert.

From the start of the film, amid meaningless banter with her more refined girlfriend, the audience can tell there is something amiss about Violette. She seems lonely, like a lost little girl yearning for some excitement as her eyes stare into the distance.

Her true colors are slowly exposed, yet Chabrol never makes her all-out crazy. Violette always has a cool, calm, demeanor and that is why the film succeeds.

For fans of Chabrol, or film fans eager for a foreign language treat, Violette Noziere is a rare find, a welcome addition to the growing number of his films I have watched with interest, and heartily enjoyed.

The mystique, the beauty of the artistry, and the twists and turns are top-notch.

Irreversible-2002

Irreversible-2002

Director Gaspar Noe

Starring Monica Bellucci, Vincent Cassel

Top 10 Disturbing Films #4

Scott’s Review #375

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Reviewed February 7, 2016

Grade: C+

As I ponder my review of Irreversible,  a 2002 French thriller and “art film”, I am attempting (as I always do) to look at the film critically, from a story and a technical standpoint, as well as a myriad of other aspects that make up a film.

This is admittedly a toughie.

On the surface, I despised the film wholeheartedly (more on that later), but from a critical standpoint, I found characteristics to admire and give credit to. One thing is for certain- I never want to see this film again.

The story is told in a non-linear style, begins after the story, and works backward, which I credit the film for, giving it a unique storytelling experience, cleverly done.

Two Parisian friends, Marcus and Pierre, go on a rampage after Marcus’s girlfriend is brutally raped and beaten. In panic mode, they learn the name of the attacker (Le Tenia) and go to a gay BDSM club aptly named “The Rectum”, a place the attacker requests, where they fervently search for him all the while beating club-goers and cause havoc.

Since the story is told in reverse, the audience is initially in a state of confusion at the events transpiring, and the jagged, shaky camera work, a very creative technique, only adds to the chaos. We only know that two maniacs are running rampant, destroying everything in their path.

Slowly, we realize what their motivation is as we work backward.

We are introduced to Alex, a beautiful young woman- in the early stages of pregnancy, who is Marcus’s steady, but used to date, Pierre. They are all very good friends. We see the romance between Marcus and Alex, and, working even further backward, we see Alex sitting alone in a park, reading a novel, and enjoying a bright, pleasant day in the park.

This peaceful closing scene contrasts drastically with the rest of the dark film. The film then becomes a flashing, frenetic, black-and-white experience, which I do not understand.

The film is quite bizarre and intensely brutal. The rape of Alex in a dark, gloomy underpass is one of the most intense and disturbing scenes I have ever witnessed in the film, and at one point I needed to leave the room briefly.

The scene is ten minutes in length and Alex is anally raped and then beaten into a comatose state. It is a sickening scene and we witness her pain, misery, and humiliation.

When Pierre and Marcus avenge her rape on who they think is Le Tenia, the scene is also extremely brutal. After (supposed) Le Tenia is captured by them, he attempts to rape Marcus, and Pierre grabs a fire extinguisher and bashes the victim to death as the face is repeatedly destroyed in full detail. It is a tough scene to watch.

I question the motivations of the director wholeheartedly and wonder if he intended to story-tell, or simply make as gruesome and shocking a film as possible.

I have read that when the film was shown at the Cannes Film Festival, many people walked out of the auditorium in disgust- I can see why.

Irreversible is severely homophobic, with repeated gay slurs being used throughout the gay club scenes, and is also anti- Asian as evidenced by Pierre’s and Marcus’s racial slurs directed at a taxi driver.

The motivations of the character of Le Tenia make no sense to me as it is revealed he is a gay man. Why a gay man would brutally rape a female is unclear to me. This, combined with the extreme brutality, anti-gay, anti-minority, and anti-women, renders the film rather pointless from a story perspective.

My assumption after processing the film is that the director wants us to sympathize with nobody in the film, except Alex. Pierre, Marcus, and Le Tenia are all hateful characters.

It is interesting how, at first, since the beginning is the end, the motivations of the characters are unclear and confused.

My admiration of Irreversible (2002) comes solely from the unique camera work, the clever pacing of the film in the form of backward chapters, and the frenetic style of the opening work, however, the homophobia, racism, and brutality left me cold and I could not shake the feeling that this film is shocking for the sake of being shocking, and one that I ultimately cannot applaud.

Wild Tales-2014

Wild Tales-2014

Director-Damian Szifron

Starring-Liliana Ackerman

Scott’s Review #374

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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

Leviathan-2014

Director-Andrey Zvyagintsev

Starring-Elena Lyadova, Vladimir Vdovichenkov

Scott’s Review #370

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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

Amarcord-1974

Amarcord-1974

Director Federico Fellini

Starring Bruno Zanin, Magali Noel

Top 100 Films #81

Scott’s Review #357

247784

Reviewed January 9, 2016

Grade: A

Federico Fellini’s Amarcord, the winner of the Best Foreign Language Oscar and Golden Globe in 1974, is a semi-autobiographical film based on the childhood of the famed director himself.

Set in the small Italian village of Borgo San Giuliano, the film features quite an array of weird and eccentric characters inhabiting the village.

The plot centers around young Titta, and his coming-of-age development as he blossoms into a young man- his sexual desires and fantasies are heavily explored in this zany film.

Since the time is the 1930s and Fascism, led by the tyrannical Mussolini, was rearing its ugly head, Amarcord is not all light-hearted fun and games, despite how it appears on the surface- there is a serious undertone to the entire film.

Still, the film lacks any sort of story that can be dissected very well, which both pleases and frustrates- the film is simply to be “experienced”. It can either leave your head spinning, scratching your head, or disliking the film.

That is not to say that I take issue or offense with Amarcord I adore the film, but it is not an easy watch. Scenes meander about in a dream-like fashion as we follow Titta through his sexual blossoming.

In one memorable scene, Titta has a titillating experience with a buxom older female who lives in the village. Some of the other characters we meet are giddy with peculiarities: a blind accordion player and a female nymphomaniac to name but a couple.

Titta and his family are featured heavily as they eat together, fight together, and live together. When one day the family treks to visit their Uncle Teo, who is confined to an insane asylum, they take him out for a day in the country, where he climbs a tree and refuses to come down.

A dwarf nun and two orderlies finally arrive and coax him down- he obediently returns to the asylum. It is a bizarre sequence, but one that sums up Amarcord perfectly.

Amarcord contains one wacky scene after another, but many of the scenes are not just to showcase outlandish behavior nor are created as fluff. Fellini has a distinct message to the film and several scenes mock Christianity or Mussolini’s crazy political ideas.

The film is larger than life but also encrusted with the fear of 1930’s Fascism and the fear that the Italians felt during this time.

The film is also sweet and Fellini successfully adds a nostalgic feel to it- everyone feels cozy in a large sprawling town with unique characters, shenanigans, and a celebratory theme, but seriousness lurks beneath.

Amarcord is a zest for life throughout a tumultuous time and Fellini successfully creates a hybrid of the two creating one fantastic film in the process.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Director-Federico Fellini