Category Archives: International Drama

2018 Films, Drama, International, International Drama

Shoplifters-2018

November 26, 2019 scottmet99 Leave a comment

Shoplifters-2018

Director-Hirokazu Kore-eda

Starring-Lily Franky, Sakura Ando

Scott’s Review #962

Reviewed November 26, 2019

Grade: A-

Shoplifters (2018) is a fabulous Japanese offering, directed, written, and edited by Hirokazu Kore-Eda. The film is slow-moving and understated, but provides a moving and poignant message about family, by blood or not, and the powerful ties that bind individuals compassionately and emotionally.

The film is character-driven and humanistic, offering sentiment and emotion without ever feeling overwrought or manipulative. It is not to be missed.

A dysfunctional group of outsiders resides together in a dingy basement establishment in Tokyo, Japan, escaping their poverty by shoplifting and embarking on mild adventures to pass the time. They share a deep bond and look out for each other.

The audience assumes they are family, which they are, but not in the biological sense. The family rescues an abused young girl and takes her into their home, showering her with love and affection.

Eventually, trouble comes when one of them is caught shoplifting, which leads to a domino effect of terrible events.

The group consists of Osamu (Lily Franky), a day laborer forced to leave his job after twisting his ankle; his “wife” Nobuyo (Sakura Ando), who works for industrial laundry service; Aki (Mayu Matsuoka), who works at a hostess club; Shota (Kairi Jo), a young boy; and Hatsue (Kirin Kiki), an elderly woman who owns the home and supports the group with her deceased husband’s pension.

The film showcases most of the characters equally as they work, drink and hang out together. The abused girl, named Yuri, is given a haircut and renamed Lin, and is central to the plot. Nobuyo and Shota take a shine to her, she teaches Lin that parents who love their children hug them and do not hit them, while Shota teaches her the ins and outs of stealing groceries.

Though the watch is a slow one the audience inevitably falls in love with the characters and the connection becomes powerful before the viewer knows it. We know Osamu and Nobuyo should leave Yuri where she is when they see her unattended and shivering on a cold balcony, but they cannot help themselves.

Their actions lead the audience to immediately realize that they are good, kind people, who have been handed bad life circumstances to deal with.

The film is a tough watch and is not one ever to be defined as edge-of-your-seat. Many scenes involve characters walking around the streets, almost aimlessly, commenting that the weather is cold or other trivial conversational bits.

The scenes could be defined as boring or bleak, but eventually, something magical happens and the characters become favorites, the viewer immersed in their world unflinchingly.

The character of Yuri is a tough one to observe. With bruises on her arms and a burn from a hot iron, tearful is the imagining of the terror the little girl has already been through at the hands of blood relatives, especially since her parents assume she has run off and is thrilled she is out of their lives.

The conclusion of the film is cold and harsh, hitting home that the justice system is flawed and cruel, as Yuri ultimately is returned to her parents, certain to face more abuse and eventual death. Doesn’t child abuse usually turn out like this?

Director, Kore-eda, could have spun a feel-good story with the family parading onto the beach in the sunshine, but he chooses not to. We wonder how Yuri’s life might have turned out under better circumstances and if the courts had not gotten involved.

Kore-eda instead paints of stark picture of reality and not the fictional happily-ever-after that films too often rush to craft.

Shoplifters (2018) offers a look at humanity at its best and its worst with a story about joy and pain. The film is quiet and careful and ultimately keeps one in its grips. It sticks with the viewer and makes one question what a family really is and what it is defined as in the court of law.

Who is to decide who is family and who is not family? The film will make one ponder many things which a treasured quality of good cinema is.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

2012 Films, Álvaro Cervantes, Àstrid Bergès-Frisbey, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Llorenç González, Spanish, Xavier Villaverde

Angels of Sex-2012

August 23, 2019 scottmet99 Leave a comment

Angels of Sex-2012

Director Xavier Villaverde

Starring Astrid Berges-Frisbey, Alvaro Cervantes, Llorenc Gonzalez

Scott’s Review #934

Reviewed August 23, 2019

Grade: C

Angels of Sex (2012) is a Spanish LGBT drama that attempts to create an intriguing romantic relationship between its characters but slowly teeters into a plot-driven soap opera mess, leaving the viewer unsatisfied.

Casting good-looking actors and showing plenty of skin only goes so far before one’s attention span begins to wane and one starts yearning for more depth, which never comes in this film.

The filmmakers do get some props for crafting a diverse film, but the story ultimately sucks.

The urban setting of Barcelona, Spain is the backdrop of the film as a student, Bruno (Llorenc Gonzalez), is saved by karate instructor, Rai (Alvaro Cervantes), and begins to question his sexuality as the men grow attracted to one another.

Throwing a hurtle into their blissful affair is Bruno’s girlfriend, Carla (Astrid Berges-Frisbey), who is drawn to both men while shunning their romantic attraction to one another.

The three characters interact and carry on affairs with each other leading to a series of emotions that influence their decisions.

The premise is intriguing, at the beginning of the story anyway, as a “straight man meets gay man” moment immediately occurs, and sparks fly between the men.

When Bruno accepts his attraction to Rai while also continuing his attraction to Carla a unique bisexual premise is offered. Why can’t Bruno spend equal time with Rai and Carla? Which one will he decide to choose or will choose him? Will each of the three be okay with the arrangement?

These are the sorts of interesting questions offered by the film until it slips about halfway through.

Each character begins to crumble and become banal and wishy-washy, especially Carla. She accepts the “time-sharing” relationship but then gets mad when she sees Rai and Bruno kiss, finally falling for Rai and having an affair with him. Huh?

This is character assassination 101. Bruno’s motivations become unclear as he hedges on nearly every decision, while Rai becomes more brooding and indecisive.

It’s as if the writers did not know which direction to take the characters in or thought their good looks would carry the film.

Other gripes include the title of the film having nothing meaningful to do with the story and rather seems like a weak effort at gaining some attention (and viewers) by incorporating such a title.

Another irritant was the constant inclusion of unknown characters break-dancing to the song. Was this necessary? Rai has an interest in the genre, we get that, but the needless scenes seem like attempts to fill time.

Better use of time might have been additional scenes of Carla and her mother. A passing scene or two and a situation involving Carla’s father cheating on the mother is limiting and could have been an interesting sub-plot, perhaps even figuring into the main story.

Carla’s group of friends add little to the film especially her slutty friend bedding two others in the group. The situation seems more like an add-on or a time filler than rich writing.

Props go to any film with the desire to showcase an LGBT-themed story as, despite the film being made in 2012, most LGBT films are still indie projects.

I hoped for and expected more from the film especially the culturally interesting location of a European hotbed of sexuality and parties.

Angels of Sex (2012) starts well until disintegrating into a bad LGBT episode of “As the World Turns” or “Days of our Lives” with poor character writing, unnecessary supporting characters and a feeble attempt at a twist ending that merely turns into a red herring and thereby a disappointment.

2017 Films, Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International

BPM (Beats Per Minute)- 2017

April 11, 2019 scottmet99 Leave a comment

BPM (Beats Per Minute)- 2017

Director-Robin Campillo

Starring-Nahuel Perez Biscayart, Arnaud Valois

Scott’s Review #884

Reviewed April 11, 2019

Grade: A-

BPM (Beats Per Minute) (2017) is a film that is both exhilarating and heartbreaking to watch. Churning out emotional reactions such as empathy and empowerment the film channels a potential life-saving cause.

Of French language and shot documentary style, the film is not an easy watch as the viewer is transplanted back to the early 1990s when the AIDS epidemic was ravaging the world in general and the gay community specifically.

A mixture of a community-oriented movement amidst a love story makes this project worthwhile viewing.

The immediate focal point of the story is an impassioned and aggressive Paris-based chapter of ACT UP (AIDS Coalition to Unleash Power), a unified gay and lesbian organization intent on speeding up the French government’s response to the unwieldy AIDS epidemic.

The group resorts to extreme public protests consisting of fake blood throwing and invading prominent pharmaceutical company meetings. They intend to get them to release trial results immediately instead of waiting until the next year.

The various debates and infighting among the chapter are heavily featured.

As the film progresses BPM (Beats Per Minute) slowly shifts its focus from the protests to the personal lives of the ACT UP members as a romance brews between nineteen-year-old HIV positive Sean (Perez Biscayart), who already exhibits visible infections from the disease, and HIV negative Nathan (Valois), a newcomer to the group.

The pair quickly become inseparable as Sean’s body becomes ravaged by the disease resulting in a poignant and dire conclusion sure to elicit tears.

Director, Campillo, and co-screenwriter Philippe Mangeot drew on their personal experiences with ACT UP in developing the story enriching the authenticity of the experience.

Despite being shot in the present day the film feels genuine with a 1990’s feel and flavor. The gray Parisian locales though gorgeous and picturesque also portray a hint of sadness and bleakness.

As Sean gazes outside we sense his fear and anguish. Through this character, Campillo and Mangeot provide personal stories representing the plight of many during that time.

A particularly racy scene erupts approximately halfway through the film as Sean and Nathan’s love story takes center stage.

Foreign language films are not known for shying away from nudity or sexuality the way many American films do. As the impassioned pair make love for the first time, little is left to the imagination.

Despite the gratuitous nudity and the overt sexual tones, the duo’s relationship is not solely physical, and the audience will undoubtedly come to care for both men the way that I did.

The two-fold story is a wise choice and the overall message that BPM (Beats Per Minute) presents is both inspiring and a good telling of the LGBT community’s struggles at notice and inclusion during the 1980s and 1990s.

This point is both a positive and a negative as the story beckons back to a day in the community’s history dripping with pain and loneliness and this comes across on film. The film is hardly a happy experience and quite rather the downer.

The main drawback to the film is its length. At nearly two and a half hours the story and principle points begin to become redundant which causes the overall message to lose a bit of thunder.

The constant bickering and debate among the ACT UP group become tedious to watch as fight and clash after fight and clash resurface repeatedly.

Though painful to experience and not very uplifting, BPM (Beats Per Minute) is an important film to view given how far the treatments of HIV have progressed over several decades.

Not taking things for granted, a trip down memory lane for those alive during the epidemic is recommended.

For those fortunate enough to have missed the 1980s and the 1990s the film is a necessary reminder of how life once was for the unfortunate victim of a devastating epidemic.

Independent Spirit Award Nominations: Best International Film

1948 Films, Drama, Enzo Staiola, International, International Drama, Italian, Lamberto Maggiorani, Vittorio De Sica

The Bicycle Thief-1948

February 16, 2019 scottmet99 Leave a comment

The Bicycle Thief-1948

Director Vittorio De Sica

Starring Lamberto Maggiorani, Enzo Staiola

Scott’s Review #867

Reviewed February 16, 2019

Grade: A

The Bicycle Thief (1948), modified to the English title from the original Italian Bicycle Thieves (Ladri di biciclette), is an essential and cherished film containing a powerful message enshrined in a compelling story.

The emotional film focuses on a robust relationship between a father and his son and their determination to retrieve what is rightfully theirs. Made after World War II, it has a socialist theme and a hallmark neorealist style centered around working-class people.

The film is an example of cinema being art and not merely entertainment.

The film deservedly was awarded a special Academy Award for “Most Outstanding Foreign Language Film” before the historic Best Foreign Language Film award existed.

This is a testament to the power and humanism the film envelopes as the sad and occasionally incredible story unfolds. Professional actors and non-actors make the film a strong and authentic watch in a quick one-hour and twenty-nine-minute running time.

In the late 1940s, Rome Antonio Ricci (Lamberto Maggiorani) struggles to find decent work to support himself and his family. When an opportunity presents itself but requires a bicycle, Antonio’s wife Maria (Lianella Carell) selflessly sells family heirlooms to acquire his pawned bicycle.

Things look great for the family as Antonio begins his new job. On his first day, a thief steals his bicycle. Antonio sits atop a ladder, helplessly witnessing the theft. Determined to track the thief down and retrieve his stolen bike, he and his son Bruno (Enzo Staiola) traverse the city in desperation.

The Bicycle Thief is a simple story that enraptures readers with many different emotions: anger at the thief, empathy for Antonio and Bruno, inspiration from the humanity of some characters, and rage at the actions of others.

Antonio strives to be a good role model for his son and a provider for Maria. By the end, he has become a more complicated character, resorting to dire means to solve his problems. Antonio is desperate, guilt-ridden, and ashamed, but he is also a highly inspirational character.

Fans of the gorgeous and historic European city of Rome are in for a treat. The Bicycle Thief is peppered with enchanting shots of the famous town and focuses on the events of everyday people as they go to work and spend their days on a mission.

Director Vittorio de Sica’s bright and sunny lighting portrays Rome as a hot and bustling epicenter. The atmosphere is foreboding, as we know something dire will soon occur amid the warm and cheery metropolis.

The acting is central to The Bicycle Thief’s success, with inspired performances by Maggiorani and Staiola as father and son.

Staiola is masterful as a young boy who needs a father figure and hangs on his father’s every move. In many scenes, his soulful and expressive eyes contain sadness and hope as he yearns and prays for his father to be happy again and for himself to feel safe.

In comparison, Maggiorani possesses an ability to portray strength and angst interchangeably. His finest scene is pivotal as he realizes he has become no better than the thief he despises early in the film and is buried in shame.

The Bicycle Thief (1948) is a film powerful and memorable because of its simplicity and humanistic sensibilities. The plot is basic and explores one man’s quest for justice and the right to live his life and care for his family.

His journey is complex and fraught with tense moments, making the film palpable and heart racing as his adventure unfolds before us.

Thanks to gorgeous cinematography and a dose of pathos, those who watch this film will be in store for a treasure of powerful cinematic storytelling.

Oscar Nominations: Best Screenplay

2018 Films, Best International Film Oscar Winners, Drama, International, International Drama

Roma-2018

February 2, 2019 scottmet99 Leave a comment

Roma-2018

Director-Alfonso Cuarón

Starring-Yalitza Aparicio, Marina de Tavira

Scott’s Review #862

Reviewed February 2, 2019

Grade: A

Roma (2018) is a film to be experienced rather than merely viewed.

A cinematic, black and white feast for the eyes and direction to be amazed by is utterly impressive and a triumph in masterful film-making.

On par with geographically picturesque epics such as Lawrence of Arabia (1962), the piece is at first not an easy watch, but the audience will become both enraptured and rewarded with each passing moment as the characters emerge to flawless perfection reaching a crescendo of magnificent art.

Set during a politically tumultuous time in Mexico City during 1970 and 1971, the film follows a young maid working for a middle-class Mexican family and her perspective on her surroundings.

She serves as housekeeper going about her numerous duties of mopping, cooking, even cleaning up the family dog excrement that runs rampant, and as emotional support for the members of the family.

Cleo (Yalitza Aparicio) and her best friend, fellow maid Adela (Nancy Garcia) tend to four children of varying ages and their troubled parents, he is a doctor, and she the family matriarch. Antonio and Sofia (Marina de Tavira) have a troubled marriage as he supposedly goes to Quebec for business as tensions mount among the family.

Through it, all, Teresa, Antonio’s mother resides with the family as Cleo learns she is pregnant, and her boyfriend Fermin flees after hearing the news.

Director Alfonso Cuarón, responsible for the writing, direction, cinematography, editing, and nearly every other aspect of the picture, draws from his personal experience growing up in Mexico City.

Cuarón reportedly created the film as an artful love letter to his beloved family housekeeper whom he adored. In this way, there is rich personality and intimacy throughout and a definite family angle.

As the film centers mainly around Cleo’s trials and tribulations, the entire family appears in numerous scenes and thus feels like an ensemble feature.

Cleo is a quiet and modest girl happily going about her chores and serving the needs of everyone around her. She is treated well by the family and adored by the children only occasionally enduring the wrath of Sofia’s temper and troubles, but she is loved and appreciated.

In love with Fermin and her only sexual experience, she winds up pregnant which scares the aggressive and battle-minded young man.

The storyline takes place for a year, so we see Cleo’s entire pregnancy progress and experience her devastation as she gives birth to a still-born girl.

My favorite aspects of Roma are the simplicity and the monumental touches that Cuarón includes.

The film begins with a lengthy shot of water being thrown on a cement garage and the puddles and circulation of the water. Seen from above is a slow-moving airplane and numerous background shots of a slowly landing airplane subsequently appear throughout the film.

Is this to represent the slowness of life? Life, death, and near-death experiences are featured in Roma. Cleo’s pregnancy, the death of a baby, and the near-drowning of one of the children rescued by Cleo despite the girl not being able to swim.

Gorgeous scenes of Cleo traversing through the streets of downtown Mexico City exude beauty. Undoubtedly the scenes represent her journey through life and the pain and rewards that she experiences, but they also feature dozens of interesting characters if one pays close attention.

A man lighting a cigarette, a woman gazing, and other ordinary people doing things that look illuminating and like glimpses of the past. The automobiles are representative of the 1970s as a Ford Galaxy, the family car is extensively featured.

The film’s cover art (pictured above) is a creation that perfectly captures the theme of Roma and is highly symbolic. Huddled on the sand at the beach the family encircles Cleo with expressions of panic, fear, and gratitude.

The black and white add depth as it could easily be a piece immersed in an art museum. The group of people appear unified and cling to Cleo for dear life also in a show of support and appreciation.

The photo is endearing and beautiful to look at.

Roma (2018) received an impressive ten Academy Award nominations as well as numerous year-end accolades an impressive achievement for a foreign language film.

Those with enough patience to let the film and its components marinate will be rewarded with a fine appreciation for cinematic artistry.

The dreamlike quality with meticulous attention to detail makes this personal work a fascinating masterpiece.

Oscar Nominations: Best Picture, Best Director-Alfonso Cuarón (won), Best Actress-Yalitza Aparicio, Best Supporting Actress-Marina de Tavira, Best Original Screenplay, Best Foreign Language Film (won), Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography (won)

Independent Spirit Award Nominations: Best International Film (won)

2018 Films, Drama, International, International Drama

Cold War-2018

January 29, 2019 scottmet99 Leave a comment

Cold War-2018

Director-Pawel Pawlikowski

Starring-Joanna Kulig, Tomasz Kot

Scott’s Review #861

Reviewed January 29, 2019

Grade: A

Every once in a long while a modern film set in a different time- period comes along that embodies that era with such authenticity and grace that we forget that it was not shot in the time the story is told.

Cold War (2018) is one such film that dares to whisk the viewer to another world with genuine timelessness emboldened by the torturous romantic entanglements of its main characters.

Reminiscent of an Ingmar Bergman film and shot in black and white the film is lovely, tragic, and fraught with historical references. One can dissect both character nuances and atmospheric qualities encompassing the entire experience.

The film is a sum of its parts with a painful layer of veneer immersed in all the various tidbits. Cold War contains almost no humor but rather doom and gloom.

Amid the ruins of post-World War II Poland, repressed and self-destructive musicians Wiktor (Tomasz Kot) and Zula (Joanna Kulig) forge into an obsessive love affair and cannot stay away from each other despite the European cities and countries that stand in their way.

Spanning over a decade they battle alcohol abuse, rage, and imprisonment as they traverse Poland, France, Berlin, and Yugoslavia.

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

The conclusion of the film is powerful, macabre, and emotional.

To state that Cold War is a tragedy is almost an understatement though viewers will probably not realize this going into the film.

When Zula auditions at a Polish house for the musically gifted and Wiktor accompanies her on the piano sparks fly between the two as they meet for the first time.

Zula appears to be a simple farm girl and sings a mountain song in duet with another girl. Spirited, Zula flirts with men but is forever drawn to Wiktor and their chemistry runs rampant.

The direction, art direction, and cinematography are superb offering a magnificent look to the film. The use of black and white filming gives the piece an immeasurably timeless quality especially as streets and avenues in Paris emerge from time to time.

They could easily be 1950’s France. The lovely halls that the pair perform in add ambiance and effect and musical treasures such as the melancholy main song performed in multiple languages and tones sparkle with culture.

With a run-time of only eighty-nine brief minutes Cold War never feels rushed and compartmentalizes all that it needs to tell in this time.

The story contents run from 1949 until the early 1960s and the film’s title is no mere accident. The historical reference is plain and obvious the film also contains a bleak and frigid quality in both its surroundings and its characters.

One worth mentioning is a rigid government man who complains that one girl in the chorus is “too dark”, the connotation is one of nationalism.

Multiple comparisons to Pawlikowski’s masterpiece Ida (2014) can be drawn one of which is that Kulig stars in both films.

In addition to the black and white shooting, both films feature a central female character that is tortured, a Nazi occupation of Poland or the after-effects of such an occupation, and the effects of repression or otherwise obsessive behavior featured in both films.

Pawlikowski is superb at crafting these types of damaged and conflicted characters in his films.

Director Pawlikowski successfully achieves a second Polish film offering that challenges his audiences with remarkable story-telling, a dark mood, and a reminder of the terrible effects of the aftermath of World War II and those left in its wake.

Psychological scars can wound as much as physical scars as Pawlikowski proves in the characters he draws from and their doomed lives.

Cold War (2018) is an achievement in many ways and makes for thoughtful conversation after the credits roll.

Oscar Nominations: Best Director-Pawel Pawlikowski, Best Foreign Language Film, Best Cinematography

1987 Films, Drama, French, International, International Drama

Au Revoir Les Enfants-1987

January 21, 2019 scottmet99 Leave a comment

Au Revoir Les Enfants-1987

Director Louis Malle

Starring Gaspard Manesse, Raphael Fejto

Scott’s Review #859

Reviewed January 21, 2019

Grade: A

Au Revoir Les Enfants (1987), the English translation Goodbye, Children is a powerful story of youth and friendship amid a French boarding school during the Nazi occupation of France.

As World War II rages on Director Louis Malle crafts a tragic and poignant film that resonates on many levels featuring both good and evil and the forever loss of childhood innocence.

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

What a powerful and tragic event he faced, and he brilliantly transplants this into his film.

We meet young Julien Quentin (Gaspard Manesse) as he bids his mother farewell and takes a train to his boarding school after a lengthy vacation. The headmaster introduces three new students one of which is Julien’s age. Jean Bonnet (Raphael Fejto) is socially awkward but excels at mathematics and piano.

The boys initially dislike one another but slowly forge a powerful bond when they are immersed in playing a game of treasure hunt together. Julien soon discovers that Bonnet is Jewish, and the school is protecting him from capture.

The film is divided into two main stories, the troubled relationship and subsequent friendship between Julien and Bonnet, the revelation that Bonnet is Jewish, and the benevolence of the school officials to the plight of Jews.

The latter gives Au Revoir Les Enfantes a socially relevant angle as the audience begins to care deeply about Bonnet and the other Jewish boys yearning for education and freedom.

Their innocence and confusion over being hated are effective and painful to watch.

The tyranny of the Gestapo is matched by the kindness and courage of the teachers who defy the anti-Semitic policies and admit Jewish students into the school under assumed names.

The teachers are the heroes of the story and largely unsung as they yearn to give children of any religion a good education and a chance at happiness and fulfillment.

I would love to see schools feature Au Revoir Les Enfantes to their students as a lesson in bravery.

Any viewer who has visited France will assimilate nicely with the good culture and sophistication of the country envelopes. Most scenes occur at the boarding school with lessons being learned and the growth of many of the students, but a favorite scene takes place at a gourmet restaurant.

As Julien and his mother lunch with Bonnet and others the meals, staff, and ambiance exude French style and goodness, but among these luxuries also lies the constant threat of the Nazis as they bombard the restaurant and attempt to kick a Jewish man out of the establishment.

Malle wisely affixes the camera closely on the faces of Manesse and Fejto with a glowing quality that is both beautiful and haunting. This results in many scenes featuring the expressions of the boys including wonderment, shock, intensity, and fear.

The young actors rise to the occasion and perform their roles flawlessly with a natural quality.

The boys learn a myriad of valuable lessons most notably that the world is unjust and filled with unfairness. Malle gives the finale more than enough power and angst to leave the viewer pondering the fates of the Jewish characters.

Their fates are undoubtedly sealed by the Nazis the hows and the whys are left ambiguous eliciting powerful emotions.

Au Revoir Les Enfantes (1987) is a superb and relevant offering depicting the pain and fear experienced by Jewish people in a tragic period of history. Told through the eyes of children the film hits home as innocence is discovered and then lost.

The film was nominated for the Best Foreign Language Film Oscar but was defeated by Babette’s Feast.

Oscar Nominations: Best Screenplay Written Directly for the Screen, Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

2017 Films, Drama, International, International Drama

The Insult-2017

October 1, 2018 scottmet99 Leave a comment

The Insult-2017

Director-Ziad Doueiri

Starring-Adel Karam, Kamel El Basha

Scott’s Review #815

Reviewed October 1, 2018

Grade: B

A Lebanese film nominated for the Best Foreign Language Film Academy award, The Insult (2017) offers its audience what I would categorize as a message film.

A battle of cultures and religions leads to chaos and controversy culminating with an embattled court case as we get to know supporting characters as well.

While the film is above average it is also too glossy and at times plays out more like a television series- with dramatic effects and plot developments for miles.

Still, the film is a worthy watch.

In a small Lebanese village, the main character Tony Hanna (Adel Karam) lives with his pregnant wife Shirine. Working as an automobile mechanic, Tony is a proud member of the Christian community, attending rallies and events.

His village employs Palestinian refugees to perform maintenance repairs, which irritates Tony. When a verbal altercation with middle-aged refugee Yasser (Kamel El Basha) occurs over a broken gutter, a failed apology results in physical violence as the situation rapidly escalates.

The courtroom drama, while compelling, seems a very familiar story.

Other recent foreign-language films such as A Separation (2011), and Gett: The Trial of Vivian Amsalem (2014) use similar plot devices of family conflict that wind up in the courtroom.

Those films are better written and feel more authentic and raw than The Insult does. Throughout the film, I kept telling myself I was not watching a middle-eastern version of Law & Order, but that is what it felt like.

Personally, I felt little sympathy for Tony and I was not completely sure if we were supposed to feel anything for him. With his brooding nature, and populist attitude he is written as downright unlikeable at first.

I assume the intent was to soften the character over the length of the film when he briefly comes to Yasser’s aid and helps start the man’s car. However, Tony soon reverts to his original stubborn nature.

Yasser is a much more likable fellow, albeit with a temper. Hurling curse words at Tony is the reason the tension between the two men begins in the first place and attempted apologies only lead to miscommunications between everyone.

But Yasser gets my vote for the most compassionate character.

In the supporting roles, an interesting (though perhaps not completely necessary) side story exists as the embattled lawyers are revealed to be father and daughter.

The major problem with The Insult is that the entire story seems plot-driven and each step is created to come up with a way to build or add tension.

For example, a speeding motorcycle angrily side-swipes Tony and his wife. The partners are then in peril because their daughter is born prematurely due to stress.

Situations and tensions could have easily been wrapped up or smoothed over under different circumstances, therefore the tone of the films feels less than authentic and manipulative despite some good drama.

Still, what the writing team does is introduce the audience to the turbulent world of Middle Eastern politics in a way that undoubtedly results in thought-provoking views and exposures to opposing ideas.

The film also provides a distinct hopeful slant at the conclusion so as not to send a dour message. The direction is that people can come together as one peaceful group, but that it will not be easy.

The Insult (2017) is not a bad watch and, in fact, compels the viewer to witness an interesting story of differing cultures and warring religious beliefs churning two men inside out when faced with conflict.

The film also does a fine job of emitting a peaceful message of coming together as human beings.

An overall rating of “B” is a nice score but given the dozens of potential Best Foreign Language finalists, I am not sure the film quite “cuts the mustard” for me- surely there were superior entries.

But then this Oscar category’s nominating process has always been a mystery.

Oscar Nominations: Best Foreign Language Film

2017 Films, Drama, International, International Drama

The Square-2017

September 28, 2018 scottmet99 Leave a comment

The Square-2017

Director-Ruben Oslund

Starring-Claes Bang, Elisabeth Moss

Scott’s Review #814

Reviewed September 28, 2018

Grade: B+

The Square (2017) is an eccentric Swedish language film that is highly interpretive and does not always make perfect sense the way a more mainstream film would.

This is both a positive and a negative as the ultimate message of the film is admirable, though some parts are both perplexing and downright bizarre.

The film was bestowed an Oscar nomination, undoubtedly for its bravery and cutting-edge approach, for the Best Foreign Language Film- subsequently, it lost to A Fantastic Woman (2017).

The X-Royal art museum in Stockholm, Sweden is the primary setting of the film. The action centers mostly around the museum’s creative director Christian (Claes Bang), who is new to the job and attempting to introduce a new installation called “The Square”.

A misunderstanding with a youthful public relations firm hired to make the exhibit as accessible as possible leads to controversy.

The film also interjects various sub-plots that are by and large interesting in themselves, but do not always make logical sense.

Bang is quite compelling in the lead role and the best part of the film for me. He is charismatic, a good father to his two daughters, and helps the homeless- even going so far as to help a young woman when nobody else will, only to find his wallet stolen- an unfortunate victim of a scam.

Furthermore, Christian’s desire to create “The Square” is quite humane and admirable- a safe zone for trust and compassion. The character is a good guy, but also concerned with his status.

Common themes of satire and human beings’ natural hypocritical nature abound. For example, in one scene Christian, proud to drive his flashy Tesla car and give money to the homeless, is then afraid to be seen in a run-down apartment house.

Later, a man with Tourettes syndrome disrupts an interview at the museum and is looked down on by “open-minded people” as a result. The latter scene is admittedly quite amusing as the man erupts with various expletives at the most inopportune times.

My favorite sequence by far occurs approximately mid-way through the film. As bizarre as the scene is, it is also riveting in its momentum and bravery.

When a group of well-dressed museum members gather for a lavish dinner and to watch a human art show, a bare-chested man who only grunts emerges and slowly begins to antagonize certain guests.

He begins pulling the hair of one woman while chasing one angry man from the hall. Shocking, intense, and thought-provoking are words to describe this scene.

But perplexing is what does the scene mean?

A treat for me was being able to view the frequent interior and exterior scenes of the famous Stockholm museum- of which I was privy to have visited in 2016.

So fresh was this experience that it brought back wonderful memories of not only the museum but of the gorgeous city of Stockholm itself.

The chemistry between Christian (who is Swedish) and an American reporter, Anne (Elisabeth Moss), does nothing for the film. In fact, it feels completely disjointed and unnecessary and there is little connection between the two characters.

Engaging in a one-night stand, the duo has a dispute about a used condom. Does Christian think that Anne is desperate enough to use his sperm and impregnate herself? The resulting spat between the two seems meaningless.

The Square (2017) is a very tough film to review.

Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure I particularly need to view it again and try to figure out the plot because I am uncertain if that was the intent of director Ruben Oslund.

Having directed the wonderful Force Majeure (2014), a more straightforward and superior film, in my opinion, The Square is worth a watch in its own right.

Oscar Nominations: Best Foreign Language Film

1987 Films, Best International Film Oscar Winners, Danish, Drama, International, International Drama, Stéphane Audran

Babette’s Feast-1987

July 27, 2018 scottmet99 Leave a comment

Babette’s Feast-1987

Director Gabriel Axel

Starring Stéphane Audran

Scott’s Review #796

Reviewed July 27, 2018

Grade: A

Babette’s Feast (1987) is a pure delight for any viewer who is a foodie, particularly of stylish French cuisine.

In fact, during the final thirty minutes or so I was salivating with pleasure as a final multiple-course meal was presented before me. The film is rich with “flavor” and tells a wonderful tale of self-sacrifice, benevolence, and good human nature.

The film won the Oscar for Best Foreign Language Film- the very first Danish film to do so.

Adapted from a 1958 short story, Babette’s Feast tells of two elderly and deeply religious Protestant sisters, Martine (Birgitte Federspiel) and Phillipa (Bodil Kjer), who exist in a small village in Denmark.

The sisters have lived there all their lives and, through flashbacks, it is revealed that each had an opportunity for romance with men decades earlier, as young and fresh young ladies. Each resisted the temptation due to the deeply religious beliefs of their disapproving father.

When a delightful French woman, Babette (Stephane Audran), appears on their doorstep with a note from Phillipa’s potential beau, the kindly women take her in.

Babette is a refugee fleeing Paris and offers to serve as the sister’s housekeeper. Babette is filled with life and a passion for cooking and art- largely contrasting the townspeople, who frequently shun pleasures and harbor reserved and repressed feelings for joy.

When Babette wins the lottery and is assumed to depart back to Paris, she instead offers to make the town a lavish, classic french meal.

The film is a pure treat, especially in the final act when Babette decides to prepare an exquisite meal. This is the true highlight of the film and the menu simply must be listed below to wholly appreciate the film.

As each course is served, the film depicts the cooking process, as spices, salts, wines, and reductions are featured, so much so that we wonder, who made such a gorgeous meal when filming transpired? Audran, known to be a gourmet, must have adored this fabulous and creative role!

In order, Babette’s delicious feast consists of turtle soup served with Amontillado sherry, buckwheat pancakes with caviar and sour cream served with Veuve Cliquot Champagne, quail in a puff pastry shell with foie gras and truffle sauce served with Clos de Vougeot Pinot Noir, an endive salad, rum sponge cake with figs and candied cherries served with Champagne, assorted cheeses and fruits served with Sauternes, coffee with Vieux marc Grande Champagne Cognac.

My mouth is watering and my stomach growling as I write this!

Wisely and poignantly, the film heralds the return of Martine’s longtime admirer, Swedish officer Lorens, who escorts his elderly aunt to the dinner. The other dozen or so dinner guests agree not to fuss or voice any reactions to the meal, but Lorens is different.

With each serving, he comments in explicit detail the pleasures of the tastes and fondly recollects an experience with each course. He speaks for the rest of the guests as we see their reactions and the pleasures they exhibit non-verbally.

Tenderly, Lorens confessed that he had never forgotten Martine, and she the same for him. Despite not having seen nor heard from each other in decades, their connection has never wavered, and thus have spent their lives as one.

What a lovely and powerful scene this is and adds romanticism and elegance to the overall film.

The lighting is effective as many scenes seem to bask in an illuminating glow. The whimsical village is well lit with many soft or muted scenes exuding elegance and grace in the tiny living community.

The costumes and styles are meaningful and make the period of the 1800’s realistic. This adds a tremendous amount to the look and texture of Babette’s Feast.

The overall themes of Babette’s Feast (1987) are ones of kindness, forgiveness, enjoyment, and honesty. The characteristics are brought to life by the characters in the film, rich with flavor and taste, and all experienced through the importance and pleasures of food.

What a magnificent piece of film making this work is and the enormity of riches through good dining.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

2007 Films, Biography, Emmanuelle Seigner, French, International, International Drama, International Musical, Marion Cotillard, Musical, Musical Drama

La Vie en Rose-2007

July 18, 2018 scottmet99 Leave a comment

La Vie en Rose-2007

Director Olivier Dahan

Starring Marion Cotillard

Scott’s Review #790

Reviewed July 18, 2018

Grade: A

As a true fan of French actress Marion Cotillard, La Vie en Rose (2007) is the tremendously talented lady’s finest role to date- and I would venture to say one of the best in film history.

She immerses herself into the pivotal role of singer Edith Piaf and churns out a breathtaking performance.

Besides the vehicle to showcase her acting chops, the film as a whole is lovely, offering the poignant life story of the troubled star, adding enough French zest to offer more than just a biography.

The way that the plot is constructed is quite interesting as the story of Edith Piaf is told in a non-linear fashion. The highly complex singer’s biography is recounted first telling elements of her childhood and concluding with events occurring shortly before her death.

Her childhood is difficult so she is raised by her grandmother in a bordello and discovered on the streets to begin her meteoric rise to acclaim. The events of the film are known to be fairly accurate making the song-stresses life story awe-inspiring.

The visual aspects and cinematography elements of La Vie en Rose are lovely. With soft, muted tones, the film is rich with culture and has a wonderful French way about it.

Since the story commences in 1918 the period is fraught with a rich history including World War II and a lavish trip to New York City where Edit performs.

To say nothing of the lavish Parisian settings, the “look” of the film is enough reason to watch in wonderment.

Enough praise cannot be reaped upon Cotillard as Piaf and as enjoyable and profound as the film itself is, the casting of the French actress is both perfect and unimaginable to think of anyone else in the role.

As treasured a performance as Cotillard gives, the filmmakers wisely choose to leave Piaf’s actual voice in the musical numbers. Anyone else mimicking her would be unimaginable and frankly insulting. And an imitator would not have served the film well.

Regardless of the voice-overs, Cotillard delivers such a flawless and brave performance that it makes the film what it is. Piaf was known as a very difficult woman to deal with both personally and professionally, though there were many sympathetic qualities to her given her tough life.

Cotillard’s facial expressions and mannerisms perfectly mimic the star’s qualities so much so that the actress seemingly becomes the singer. The actress deservedly won the Best Actress Academy Award for her layered performance.

The final scene of the film is both profound and ghastly. A very ill Edith, looking haggard, clown-like with heavy makeup, decides to take the stage for the final time, aware that she is dying.

Refusing to cancel her show, she performs her well-known number, “Non, Je ne regrette rien”. She then exits the stage in a frail manner and dies shortly thereafter. She was the consummate professional and star until the moment of her death. This particular scene is a wonderful culmination of the film.

La Vie en Rose (2007) solely judged as a biopic is a very good piece of filmmaking that tells a graceful, sometimes moving story of incredible talent.

With a performance such as Cotillard’s the film goes to another level and the performance becomes the main event. The emotions and the characteristics the actress undertakes are astounding and go down as one of the finest depictions in cinematic history.

Oscar Nominations: 2 wins-Best Actress-Marion Cotillard (won), Best Makeup (won), Best Costume Design

2011 Films, Asghar Farhadi, Best Film of the Year, Best International Film Oscar Winners, Drama, International, International Drama, Leila Hatami, Persian, Peyman Moaadi, Shahab Hosseini

A Separation-2011

March 21, 2018 scottmet99 Leave a comment

A Separation-2011

Director Asghar Farhadi

Starring Leila Hatami, Peyman Moaadi

Scott’s Review #734

Reviewed March 21, 2018

Grade: A

A Separation is a 2011 Iranian film that was awarded the Best Foreign Language Film Academy Award statuette, the first Iranian film to achieve the honor.

The film is a wonderfully complex family drama and weaves typical family issues (divorce and school issues) with more complicated and cultural leanings, and keeps going and going with story nuances.

A Separation is directed by the acclaimed Asghar Farhadi, who is also responsible for the brilliant screenplay- this is a top-notch film.

Presumably set in Tehran, or a more progressive (by Iranian standards) city in Iran, husband and wife Nader and Simin reside with their teenage daughter, Termeh, and Nader’s elderly father, who suffers from Alzheimer’s disease.

Frustrated by her husband’s refusal to leave the country for a better life, Simin files for divorce, but her wish is rejected by male judges. When she leaves her family anyway, Nader is forced to hire a pregnant caregiver, Razieh, to tend to his ailing father.

After a controversial tragedy ensues, causing Razieh to suffer a miscarriage, the film shifts directions and adds an entirely new layer to the already fascinating story.

Farhadi is very keen on his delivery of a good story- he traditionally mixes themes of culture and social class in an interesting way as his future, 2017, work, The Salesman, would also do.

Thanks to Farhadi’s innovative storytelling, more notice is taken of Iran and Iranian culture, thereby humanizing its citizens more within the craft of film.

We see Iranian people just like ourselves and not the radical or dangerous individuals we are programmed to see.

With A Separation, there are no clear-cut protagonists or antagonists, and the viewer’s allegiances may shift throughout the run of the film.

Do we champion Simin for desiring a better life for herself and Termeh or scold her for refusing to live with her family? A progressive woman for sure, she is a layered character in her ambitions and her autonomy.

Nader is also a complex character- heroic for desiring the best of care for his father, but he is also fraught with danger and bad temperament, which is the main reason for the second half of the film, and leads to Razieh’s predicament.

Viewers will not be certain whether Nader is a good man or a villain, or perhaps a hybrid of the two. Subsequently, this is the meat of the entire story and makes for an enthralling experience in character development.

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

Shades of Alfred Hitchcock are evident throughout the film as the tension unfolds to a crescendo and the action builds and builds and builds in layers upon layers of good stuff.

The quick editing and unique camera angles mirror some classic works of the famous director.

The success of A Separation is the film’s fast-paced, nicely edited construction, in a way that, at over two hours in length, the film speeds along rather quickly, and causes those who experience it to ponder, wonder, think, and ascertain.

Asghar Farhadi has quickly become a prominent director, met with obstacles from his native country, and yet surpassing these hurdles to construct a great film.

I look forward to many more of his works.

Oscar Nominations: 1 win-Best Original Screenplay, Best Foreign Language Film (won)

Independent Spirit Award Nominations: 1 win-Best International Film (won)

2017 Films, Best International Film Oscar Winners, Drama, Independent, Independent Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Pablo Larraín

A Fantastic Woman-2017

February 27, 2018 scottmet99 Leave a comment

A Fantastic Woman-2017

Director-Sebastian Lelio

Starring-Daniela Vega, Francisco Reyes

Scott’s Review #729

Reviewed February 27, 2018

Grade: A

A Fantastic Woman is a 2017 Chilean film that is groundbreaking in subject matter and has rightfully received heaps of accolades including an Oscar nomination for Best Foreign Language Film.

Especially worthy of mention is the film’s lead actress, Daniela Vega, the first transgender woman to present an award at the Oscars and a dynamo performance in her represented film.

Besides all of the cultural achievements, the film succeeds in its own right as a compelling drama.

The film gets off to a sweet and romantic start as we meet Marina (Vega), a young waitress and aspiring singer, and Orlando (Francisco Reyes), a mature, affluent man thirty years her senior. Surprising her with a lovely birthday cake, the pair are beginning to embark on a serious relationship as Marina has recently moved in with Orlando.

When tragedy strikes and Orlando is rushed to the hospital after collapsing, Marina must face the harsh reality of her partner’s narrow-minded family and suspicions from law enforcement.

What a wonderful starring vehicle for this astounding young talent that is Vega. The film shares a story that has never been told before, though the transgender genre is slowly coming into its own- like 2015’s brilliant Tangerine.

With A Fantastic Woman though, the storytelling is more intimate and personal and clearly from Marina’s point of view. Faced with both financial issues and losing her love, she is forced to hurdle obstacles centered around her lifestyle that she had thought had been conquered through her open life with Orlando, who loved her for who she is.

Vega expresses so much with her wide-eyed stares and introspective glazed looks. A performance that is remarkably subdued, she does not have a traditional blowup or dramatic, emotional scene. Instead, she calmly goes from scene to scene with her anger and heartbreak brimming under the surface.

As she is verbally insulted and degraded by Orlando’s bitter ex-wife, Marina stands her ground and calmly accepts the verbal attack. Even when Orlando’s thuggish relatives physically assault her with tape, she is calm in her reaction.

This is a testament to Vega’s talents.

Perhaps the most touching subplot involves Marina’s struggle to retain the dog that Orlando had kindly given to her. When Orlando’s son refuses to let her keep the dog, Marina reaches her breaking point and begins to fight dirty, refusing to hand over the keys to Orlando’s flat until she gets her way.

The tender affection she has for the animal is wonderful as, despite having a few people in her corner, the dog is her pride and joy and best friend.

As stellar as Vega is, and the film does clearly belong to her, credit and mention must be given to the supporting players, who are largely unknown actors to me.

Though we feel no sympathy for Orlando’s ex-wife or his relatives, they are competently portrayed and we do feel their anger and spite. We do not know much about the back-story, but we do know that Orlando has revealed to all his involvement with a trans woman and he is proud of Marina.

Actor Reyes is a dream as Orlando and we wistfully imagine a different film centered solely on his romance with Marina. In their short time together, the audience falls madly in love with the duo.

A Fantastic Woman succeeds as a nuanced, level-headed drama with a powerful message and a timely approach. Never veering over the top or being too preachy, the film is a wonderful telling of a topical subject matter.

I only hope that more stories surrounding this genre are told in the future since it is a goldmine of uncharted story-telling with so much potential.

Oscar Nominations: Best Foreign Language Film (won)

Independent Spirit Award Nominations: Best International Film (won)

1965 Films, Comedy, Drama, Federico Fellini, Giulietta Masina, International, International Comedy, International Drama, Italian, Mario Pisu, Sandra Milo, Valentina Cortese

Juliet Of The Spirits-1965

February 15, 2018 scottmet99 Leave a comment

Juliet Of The Spirits-1965

Director Federico Fellini

Starring Giulietta Masina, Sandra Milo

Scott’s Review #725

Reviewed February 15, 2018

Grade: A

A true Fellini film in every sense and perhaps his most personal film, 1965’s Juliet of the Spirits, is a colorful and masterful experience with fluid art direction and stunning sets and costumes.

As with most of his films, the story and its intricacies are odd and do not always make perfect sense, but the film is meant to be absorbed and felt and exhibits more of a central plot than some of his other works.

Juliet of the Spirits is undoubtedly a must-see for fans of Fellini or any novice who wants an introduction to the great director.

In a compelling tidbit of background information, lead actress Giulietta Masina, wife and muse of director Fellini and sometimes deemed the female Charlie Chaplin, plays a true-to-life character.

In real life, the woman suffered from her with a philandering husband- Fellini himself!

For this reason alone, the film is fascinating as a true-to-life story, leading the audience to empathize with Giulietta and her life of doldrums and turmoil.

Giulietta Boldrini (Masina) is an affluent woman living in Italy with her successful and dashing husband, Giorgio (Mario Pisu). Despite wealth, two housekeepers, and free time to do whatever she pleases, she is dissatisfied with her life and surroundings.

This occurs mainly after she hears her husband mutter another woman’s name in his sleep. Concerned and intrigued, Giulietta hires investigators to unravel the mystery, which spawns an adventure for her.

Instead of being a cookie-cutter film with a basic plot explained above, in proper Fellini form, the character of Giulietta traverses on a journey into the dreamlike and odd experience, tapping into her repressed desires and innermost thoughts while being exposed to her larger-than-life and sexy neighbor, Suzy (Sandra Milo).

The oversexed Suzy enlightens Giulietta to the joys of her mansion, treehouse, dazzling, weird friends, and bubbling sensuality.

Juliet of the Spirits is a joy to watch and quite a bit more linear than other complex masterpieces such as the 1960’s La Dolce Vita or 1969’s Fellini Satyricon.

The plot is spelled out presently- Giulietta is depressed and anxious for something new and exciting. Her journey into this new life while wrestling with her demons and resistance makes this film so much fun.

Styles and colors are brilliant and lavishly loud. Take the gaudy and glamorous nest that Suzy calls home. Her palace is both tawdry and sophisticated, with a built-in underground swimming pool where she bathes after lovemaking and velvety red walls and furniture.

Fellini uses gorgeous reds, greens, and blues throughout the film to create dazzle and spectacles with larger-than-life characters.

To further focus on Suzy for a minute, the blonde bombshell frequently visits her very own treehouse, complete with a swing. She flirts with handsome young men who gaze up at the scantily dressed beauty as she tosses her high-heeled shoe down to them in a suggestive manner.

When they come up to the top of the treehouse by way of a mechanical basket, presumably for sex, this is too much for the overwhelmed Giulietta, who returns to the safety of her own home. But she is excited and scared.

The film belongs to Masina, and we cannot help but wonder if Fellini created Juliet of the Spirits for the actress for his reported years of cheating. Regardless, Masina plays a confident woman on the outside- insecure on the inside, flawlessly.

With her expressive eyes and a nice smile, Masina enthusiastically embraces the role, making her a perfect fit for a Fellini film.

Juliet of the Spirits mixes several film genres, including fantasy, drama, and light comedy, and contains interesting supporting characters.

Suzy’s seemingly clairvoyant mother is a great side character. Upon meeting Giulietta, she immediately sees that the woman is troubled. Giulietta’s father, whom we meet when she is a little girl appearing in a religious play, is boisterous and spirited.

I was fortunate enough to stay at the Grand Hotel in Rome, a lavish yet strange establishment where Fellini spent many nights as a guest. While watching Juliet of the Spirits, I fantasized that he drew inspiration for this film from the hotel.

The grand red textures appear in the hotel and the Fellini film so I could have experienced a truly inspiring facility.

Stalwart, creative, and masterful director Fellini once again creates a stylish film that must be thought about following a good, solid viewing.

Too much analysis, however, will ruin the enchanting experience. Juliet of the Spirits (1965) is best enjoyed as a treat that will mesmerize you in glamorous fashion.

Oscar Nominations: Best Art Direction, Color, Best Costume Design, Color

1959 Films, Art, Best International Film Oscar Winners, Breno Mello, International, International Drama, Marcel Camus, Marpessa Dawn, Portuguese

Black Orpheus-1959

October 8, 2017 scottmet99 Leave a comment

Black Orpheus-1959

Director Marcel Camus

Starring Breno Mello, Marpessa Dawn

Scott’s Review #689

Reviewed October 8, 2017

Grade: A

Black Orpheus is a 1959 French film made in Brazil, honored with a win in the coveted Best Foreign Language Film Academy Award category in 1960, considered somewhat of a surprise to win.

The film is adapted from the well-known Greek legend of Orpheus and Eurydice. It is now set in Rio de Janeiro during the festive celebration of Carnaval.

Black Orpheus, starring almost all black actors and providing a look at life on the streets of Brazil, is vibrant and filled with lively songs and dances.

The setting is key to the film as the beauty and merriment are mixed with loss and tragedy- loads of exterior shots of Rio de Janeiro flesh out with many shots high atop a hill in a quaint village where all of the characters live most in very close proximity to each other.

Like Shakespeare’s Romeo and Juliet, the film is romantic and lovely, but the story is also mired in jealousy and drama amid the dancing and many celebrations.

Many of the actors, lead Breno Mello and Marpessa Dawn, are non-actors, cast undoubtedly because of their gorgeous, authentic looks. Still, surprisingly, both are phenomenal in their roles and perfectly cast.

Wholesome Eurydice (Dawn) arrives in Rio de Janeiro by trolley driven by Orpheus (Mello), intent on visiting her cousin, Serafina. There is an instant attraction between the young man and the woman as he provides directions to her cousin’s village, which is also his.

Orpheus, however, is engaged to be married to his possessive and demanding fiance, Mira. He is less enthused about the impending marriage and would rather fix his guitar than buy Mira an engagement ring.

As the Carnival festivities get underway, Orpheus and Eurydice give in to their mutual attraction and dance the night away while subsequently trying to avoid the wrath of Mira and avoid a mysterious costumed man who has been stalking Eurydice since she escaped her village and fled to Rio.

Eurydice is terrified that the man may want to kill her, and his motivations are unknown. His character is particularly frightening as he is known as “Death” and dons a tight skeleton costume.

The tragic conclusion, culminating in an incredible chase scene in Orpheus’s trolley station, is fantastic. The morbid ending, based on the legendary Greek tale, is unsurprising. However, the Romeo and Juliet comparisons are still heartbreaking and challenging to experience, most notably the final scene atop a cliff.

The scene is shocking and brutal as the lovelorn couple topples down a hill together at the hands of another central character. However, as they are intertwined in each other’s arms, the scene is also gorgeous and a confirmation of true love and artistic beauty.

Some accusations of racial stereotypes within this film have abounded over the years, mainly the depiction of Brazil being inhabited by party-going, sex-crazed people.

I find the film a masterpiece and the type of cinematic experience to be enjoyed rather than over-analyzed.

The almost nonstop musical score created by Luiz Bonfa and Antonio Carlos Jobim is to die for and is an enormous part of what makes the film so engaging and entertaining.

Perfectly capturing the spirit of a jovial, cultural environment, Black Orpheus (1959) spins a riveting, heartbreaking tale of love amid a musical.

Tragedy, art, true love, romance, and death are all elements captured in this excellent film.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

2016 Films, Australian, Bentley Dean, Drama, International, International Drama, Marie Wawa, Martin Butler, Mungau Dain

Tanna-2016

August 18, 2017 scottmet99 Leave a comment

Tanna-2016

Director Bentley Dean, Martin Butler

Starring Mungau Dain, Marie Wawa

Scott’s Review #673

Reviewed August 18, 2017

Grade: A

Tanna, named for the tiny South Pacific nation of Vanuatu, close to Australia, was made in 2016 and nominated for the Best Foreign Language Academy Award.

It is a marvelous work in every way, but the crowning achievement is how this film was made.

Shot entirely on the island with a minimal budget and the use of nonactors, the result is a romantic yet tragic love story that will move its viewer to tears in its innocence and beauty.

Tanna is shot in the Nauvhal and Nafe languages.

Film-makers reportedly spent seven months in the village of Yakel, immersing themselves in the tribe’s culture and civilization. The people are the last of their kind, rebuffing nearby colonial and Christian influences in favor of their traditional values and beliefs.

The film is based on a true story of love by two tribe members and played out by the villagers, each portraying a role close to their lives and hearts.

As the movie opens, we are immediately exposed to a tribal community living their daily lives. They wash, hunt, and wander through the jungles, exploring their natural surroundings.

The men wear simple penis sheaths, and the women are primarily topless. We sense a great community and a sense of togetherness.

When Dain and Wawa (I am unsure if these are the “actors” names or the real-life people) lay eyes on one another from across the jungle, they instantly fall in love and secretly begin to spend time in a tender and romantic courtship.

A traditional rule is arranged marriage, which becomes a significant problem for Dain and Wawa as their love blossoms. When a neighboring tribe attacks the Shaman over a dispute regarding bad crops, Dain wants revenge.

When cooler heads prevail, the leaders of each tribe decide that Wawa will marry a member of the other tribe, leaving her and Dain distraught and desperate.

Their love is then tested ultimately.

The actors who play Dain and Wawa are authentic and truthful. Although they have never acted before or seen a camera, both pour their souls into the characters they portray.

This also applies to Wawa’s little sister, a goldmine in her honest portrayal. All the performances are rich.

Visually, Tanna is breathtaking. One thing is the exotic lushness of the green jungles, mixed with the gorgeous running streams and waterfalls. Still, the oozing volcano inhabiting the island is colorful and picturesque during the night scenes.

The entire film is shot outdoors and captures the tribal world incredibly well. Thus, the film immerses the audience wholly in the tribal world.

Comparisons to the William Shakespeare play Romeo and Juliet must be made.

The film is a romantic tragedy of epic proportions, and the doomed couple shares everlasting love and a bond that can never be broken.

The truth in this tale is genuine as the couple must agonize over a decision to either remain together or risk the threat of Dain’s life and Wawa’s freedom if they return to their native village.

The film is almost poetic, never more so than in the final act, set upon the glorious spitting volcano.

Sadly, films similar in richness and honesty are rarely made today, but Tanna (2016) stands out as a treasure in beauty and thought.

Interestingly, because of the real-life couple’s determination and strength, the age-old tradition of chosen marriages has since been lifted, and true love encouraged.

Oscar Nominations: Best Foreign Language Film

2005 Films, Drama, German, International, International Drama

Punish Me-2005

August 9, 2017 scottmet99 Leave a comment

Punish Me-2005

Director Angelina Maccarone

Starring Maron Kroymann, Kostja Ullman

Scott’s Review #670

Reviewed August 9, 2017

Grade: A-

Punish Me (sometimes titled Hounded) is a provocative 2005 German-language film that pushes boundaries and titillates the viewer with its racy themes of masochism and pedophilia that will be way too much for your average viewer to marinate and digest.

Some may be completely turned off (rather than on) by this film. However, for the edgy thinker, the film is quite the find. Unique, extreme, and thoughtful, Punish Me is an experience to remember.

Shot entirely in black and white (rare for twenty-first-century cinema) the film appears bleak and harsh, cold almost- and that is no doubt an intentional measure.

The grizzled German landscape (the city is unidentified), gives the film interesting and effective cinematography, transforming the black and white colors exceptionally well, whether the scene is set in daylight or nighttime. Something about the black-and-white decision is genius.

Elsa Seifert (Maren Kroymann) is a fifty-year-old probation officer. Married and raising a teenage daughter, she appears to live a stable, middle-class existence. When one of her charges, Jan (Kostja Ullman), a sixteen-year-old, handsome young man, gives pursuit of her, their relationship turns into an obsessive, lustful situation for both.

Jan, you see, likes to be sexually beaten, and, at first, hesitant, Elsa slowly gets immersed in Jan’s world. When other characters begin to catch wind of the situation between Jan and Elsa, the film becomes intense.

Astounding to me is the fact that Punish Me is directed by a woman, Angelina Maccarone. This both surprises and impresses me. Thought-provoking is the female perspective in the film.

Elsa is not an unhappy woman- though she nervously chain-smokes in almost every scene.

She initially has no intention of being sucked into Jan’s eccentricities. As she awkwardly spanks him in their first steamy, sexual encounter, she is gentle, yet she quickly intensifies.

Is she insecure with her middle-aged body? She gets carried away by Jan’s charms, putting both her career and her husband at risk.

Can she stop herself before it’s too late?

One wonders a few things- How would this film feel if it were directed by a man? Maccarone centers the perspective on Elsa more than she does Jan- or are we to assume that Jan, at sixteen, is merely experimenting with his sexuality and therefore not the more interesting character?

This was my determination. Elsa has way more to lose than Jan does. We are not sure why Jan is so troubled, to begin with, or why he likes to be beaten- was he abused by his parents? sexually or otherwise? What deep-rooted issues does Elsa have?

I imagined the complexities offered had the film gone something like this- Elsa is a male character. Would the man-on-boy be too much? Is female on boy safer?

One wonders, but if Elsa was a male and Jan a female, I do not think the film would be half as controversial or daring. It would seem more exploitative or dare I say, conventional.

Instead, Maccarone turns the film into a psychoanalytical feast as we wonder what makes both Elsa and Jan tick and why they enjoy the discipline scene. Perhaps there is no clearly defined answer.

The supporting characters are not explored very well, other than a fellow troubled girl that Jan beds, commenting that she is too fat (she is not), or Elsa’s husband is revealed to have once had an affair with another woman pronouncing “it was only sex, not love”.

From this, one concludes that Elsa and her husband will reunite and resume their middle-class life together, but what will become of Jan?

Thanks to effortless direction and good choices by Maccarone, she makes Punish Me (2005) an examine-worthy look at sexuality, desire, and emotions.

Many will loathe the film or not bother to give it the time of day based on the subject matter, but the film is a treat for the creative cinematic lover and lovers of analysis.

2016 Films, Asghar Farhadi, Best International Film Oscar Winners, Drama, International, International Drama, Persian, Shahab Hosseini, Taraneh Alidoosti

The Salesman-2016

August 2, 2017 scottmet99 Leave a comment

The Salesman-2016

Director Asghar Farhadi

Starring Shahab Hosseini, Taraneh Alidoosti

Scott’s Review #668

Reviewed August 2, 2017

Grade: A

The Salesman is the latest film directed by Asghar Farhadi to win the coveted Best Foreign Language Film Oscar. 2011’s A Separation also won the crown, and 2013’s The Past, nestled between the other films, is nearly as good.

All contain mesmerizing and gripping plot elements that leave the audience in good discussion long after the film has concluded. That is what good storytelling is all about.

Rich with empathetic elements and crisp writing, Farhadi has become one of my favorite international filmmakers. Each of his pictures is as powerful in humanity as their counterparts.

Along with fellow contemporary Claude Chabrol (admittedly around a lot longer), similarities abound between the two creative maestros in the form of thrills, mystery, and differing character allegiances. I adore how both directors incorporate the same actors into their films.

Farhadi incorporates the classic stage production Death of a Salesman by Arthur Miller into the story. The play and the film contain similar themes- humiliation and secrets.

The young and good-looking couple, Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti), are community theater actors living in metropolitan Tehran, Iran.

They have wonderful friends and companions and are popular with their close neighbors and theater buddies. Emad, a well-liked high school teacher, and Rana, a housewife, make a perfect couple, but their bond will soon be severely tested.

Forced to move from their crumbling apartment into temporary quarters owned by a theater friend, they are unaware that the former tenant worked as a prostitute and had a bevy of gentleman callers.

She carelessly left the unit, leaving behind all of her belongings for them to sift through. One night, when Rana is home alone, she inadvertently allows a mystery person to enter, which leads to a terrible incident.

The film centers on determining what exactly happened between Rana and the intruder. Is she hiding the truth? Can she and Emad overcome the implications of the events?

The audience is presented with a powerful, intriguing mystery to absorb and unravel. Throughout most of the film, questions are raised to be considered: Who was the intruder? Will Emad exact revenge? What happened?

The brilliance of The Salesman is that we, as the audience, never actually see the incident inside Emad and Rana’s apartment, so we are baffled by what has transpired. We merely witness the after-effects and the questions the characters (mainly Emad) have.

Is Rana being truthful? Did she know the man who entered the apartment? Was it even a man or perhaps the former female tenant? With Farhadi, anything is possible, but rest assured, a startling climax will ensue.

The genius is how the viewer’s loyalties will be divided by character and change within a scene.

In one tense sequence, a heroic character becomes the villain and slowly returns to being the hero again, which is a topsy-turvy experience!

The Salesman is smothered with a roller coaster of emotions and feelings.

The way that more than one of the central characters changes their motivations is essentially the film’s most tremendous success. Rana, Emad, and “the Man” are flawed, complex characters, and what a treat it must have been for these actors to sink their teeth into these roles.

A special mention must be given to the other actors involved in the film. The Salesman is fraught with great performances, big and small.

In addition to the leads (Hosseini and Alidoosti), the supporting cast exudes immeasurable talent. Farid Sajadhosseini as “the Man” is astounding, and his family members, who appear mainly in the conclusion, deserve much praise.

These minor characters appear during the most pivotal part, giving it the acting chops to pull the result.

Asghar Farhadi hits another one out of the park with The Salesman (2016), and how deserving is the Oscar win for this man, a director whose films are always sure to be compelling, thought-provoking treats?

I cannot wait for his next film.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

2016 Films, Drama, Hannes Holm, Ida Engvoll, International, International Drama, Rolf Lassgård, Swedish

A Man Called Ove-2016

June 12, 2017 scottmet99 Leave a comment

A Man Called Ove-2016

Director Hannes Holm

Starring Rolf Lassgård, Ida Engvoll

Scott’s Review #653

Reviewed June 12, 2017

Grade: A

A Man Called Ove is a fantastic 2016 Swedish film honored with a Best Foreign Language Film Oscar nomination and is a darling watch.

The film is terrific.

Equal parts whimsical, humorous, and heartbreaking, the film churns up emotions brought to the surface, which is quite telling about the experience.

The film is magical in a sense.

The lovely scenery of Sweden also abounds, making A Man Called Ove an unexpected marvel worth checking out for good film lovers.

Ove (Rolf Lassgard) is a fifty-nine-year-old curmudgeon living in suburban Sweden. He is the keeper of law and order in his quaint, little community of bungalows, regularly ridiculing rule breakers and the oblivious with torrents of shouts and insults.

He despises several neighbors, including a beautiful cat who walks around the complex as if she owns it.

When an interracial family moves in next door to Ove, his life forever changes as he becomes acquainted with the husband, the wife, and their two young girls. In his newfound entertainment, Ove regularly visits his deceased wife’s gravestone, bringing her flowers and plotting his suicide.

Through flashbacks, we are taken on a journey through the past as we learn all there is to know about Ove.

The film is a beautiful experience. I worried that A Man Called Ove would be too lighthearted and sentimental. The type of foreign language film the Academy far too often recognizes in place of darker, more complex (and, in my mind, deserving) films.

A Man Called Ove is not exactly dark, but it is certainly not trivial or fluff. The film is rich with excellent writing and character development.

Romance is also a significant theme, but not in a corny way. For much of the running time, Ove’s deceased wife, Sonja, is a complete mystery. We only know that Ove misses her terribly and cannot wait to be with her in the afterlife. We only get brief glimpses of her photo on the table.

When finally introduced to the story, we see them both in their younger years, filled with hope and promise. I beamed with delight during these wonderful moments. The scenes of their innocent first dates and the connection they develop are heartwarming.

Later, when Sonja’s story is fully explored, we show a new appreciation for Ove and why he is the way he is today. We understand him better, and the character develops.

Some paths that life takes Ove and Sonja down are tear-inducing and emotional, primarily due to Sonja’s character and personality. Along with the backstory of Ove and Sonja, we are treated to scenes of Ove and his father in the past.

With his mother dying way too young, the pair develop an unrelenting bond that is severed only by tragic circumstances.

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

A Man Called Ove (2016) is a pure treat in modern cinema. It perfectly balances drama, comedy, churning emotions, and heartbreaking honesty. It is highly recommended for those seeking a treasure with many characteristics.

Oscar Nominations: Best Foreign Language Film

1972 Films, Drama, Federico Fellini, International, International Drama, Italian, Marcello Mastroianni

Fellini’s Roma-1972

June 5, 2017 scottmet99 Leave a comment

Fellini’s Roma-1972

Director Federico Fellini

Starring Britta Barnes, Peter Gonzales

Scott’s Review #649

Reviewed June 5, 2017

Grade: A-

Fellini’s Roma (1973) is a trippy experience through Rome during two different periods

As with all Fellini films, the film is meant to be experienced rather than analyzed.

One must nestle into the life that Fellini offers on-screen- in this instance the fabulous city of Rome, Italy in both positives and negatives.

The experience was very good for me, as both a world of odd characters and of ancient Rome oozed from the screen appealingly and absurdly.

From a plot narrative- there is a rot one. Arguably the only character portrayed is Rome herself. The film takes place in both the 1930s as well as the 1970s and is said to be an autobiographical tale of director Fellini’s experiences growing up in Rome.

We see little Fellini as a youngster, experiencing the vast city for the first time, and as a teenager now living in the city. Interestingly, the film traverses from both sets of periods back and forth with really no rhyme or reason.

Throughout the film, we see both the beauty and the ugliness of Rome- the majestic Colosseum and the dirty entrails of the gloomy city. Scenes of seedy brothels, mainly in the 1930s, and a myriad of strange and scantily clad females prance before the cameras looking for a lucky score amid the droves of men lusting after them.

Another depicts a fashion show, of sorts, taking place at the Vatican, involving nuns and priests in bizarre costumes.

The 1930’s setting is my personal favorite. Gritty, cold, and harsh, the bleakness of Rome is depicted. Unsurprisingly, this has much to do with the historical period Since Mussolini was in power, and on the eve of World War II, the darkness was apparent.

In a frightening scene, bomb sirens wail while a woman shrieks in panic. The brothel scenes are downright creepy and the subsequent theatre scenes involving drunken, rowdy, young men leering and cursing at the entertainment, is a particular slice of a life sequence.

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

Again, much of this film is largely open to interpretation.

I adore Fellini’s Roma in terms of an expression of the city of Rome as an art form, but the film is highly unconventional- another plus for me.

Sure, I may have desired to learn more about the bevy of creepy and potentially interesting characters, but I finished the film with an appreciation of Rome, unlike none I have ever known.

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

As a film, Fellini’s Roma is a wonderful history lesson, but also a lesson in interpretation and film appreciation. Most filmgoers are accustomed to a beginning, middle, and end, as well as some semblance of a plot.

Roma contains none of that, but rather, is mind-opening and still fresh many years after its release, which is a true testament.

2016 Films, Andrew Ahn, Drama, Independent, Independent Drama, International, International Drama, Joe Seo, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International

Spa Night-2016

May 19, 2017 scottmet99 Leave a comment

Spa Night-2016

Director Andrew Ahn

Starring Joe Seo

Scott’s Review #645

Reviewed May 19, 2017

Grade: B+

On the surface, Spa Night (2016) may seem like a straight-ahead independent LGBTQ-themed film (of which, in recent years, there has been no shortage), but the film’s plot is twofold.

Sure, it tells the coming-of-age story of a young man’s sexuality. Still, Spa Night is also a story of the boy’s Korean parent’s financial struggles and their desire to raise a son into a successful young man, sacrificing their happiness.

The film’s tone is very subtle, and the action moves slowly, but it is a sweet and relevant story.

David Cho is a shy Korean-American high school student on the cusp of going to college. His parents (who only speak Korean) have sadly recently lost their take-out restaurant in Los Angeles. The parents struggle to make ends meet (she by waitressing, he by doing odd moving jobs), while David takes SAT classes to ensure he gets into a great college.

David is also struggling with his sexuality and one-night visits a local male spa with drunken friends. He gets a job there and begins to experience male-on-male shenanigans taking place on the sly in the spa, all the while developing his blossoming sexual feelings.

David’s development in the story is key- he is resistant to coming out as gay because his parents are traditionally Korean, constantly mentioning David finding a girlfriend and succeeding in school, becoming what they have failed to achieve.

When, at one point, he fools around with another male in the spa, David insists on a no-kissing policy. This reveals to the audience that he has issues with intimacy with another male, and in one compelling scene, some self-loathing occurs.

When he stares too long at a buddy in the bathroom, while both are inebriated, this clues in the friend, who is then distant towards David.

The film is enjoyable because it tells two stories rather than one, which helps it succeed. We also care greatly about David’s parents, who are compassionately portrayed rather than the stereotypical “tiger mom” and rigid father.

Wanting only the best for him and having no clue about his sexuality struggles, they trudge along with their issues. The father drinks too much, and the parents frequently squabble.

This is a clue to the film because it explains why David hesitates to mention anything to them, even though he is close to his parents.

I also enjoyed the slice-of-life and coming-of-age appeal that the film possesses.

Several shots of day-to-day life in Los Angeles are shown, mainly as characters go about their daily routines.

The budget allotted for Spa Night must have certainly been minimal. Still, the lesson learned is that some fantastic films are made for minuscule money, but as long as the characters are rich and the story humanistic, the film succeeds- this is the case in Spa Night.

Almost every character is of Asian descent- I am guessing all Korean actors. This is another positive I give to Spa Night.

In the cinematic world, where other cultures and races are woefully underutilized or still stereotypically portrayed, how refreshing is it that Spa Night breaks some new ground with an LGBTQ-centered film with Korean characters?

Spa Night has deservedly crowned the coveted John Cassavetes Award at the 2016 Independent Spirit Awards (for films made for under $500,000), and director Andrew Ahn is undoubtedly a talented novice director to be on the watch for.

He seems destined to tell good, interesting stories about people.

Independent Spirit Award Nominations: 1 win-John Cassavetes Award (won), Acura Someone to Watch Award

2016 Films, Anne Consigny, Drama, French, International, International Drama, International Thriller, Isabelle Huppert, Laurent Lafitte, Paul Verhoeven, Thriller

Elle-2016

May 17, 2017 scottmet99 Leave a comment

Elle-2016

Director Paul Verhoeven

Starring Isabelle Huppert

Scott’s Review #644

Reviewed May 17, 2017

Grade: A-

Sure to evoke both disgust and intrigue from viewers brave enough to watch it all the way through and hopefully ponder the character dynamics, Elle is a titillating French film that was showered with heaps of praise upon its release in 2016.

Controversial without question, in large part by the film’s main character, Elle, will undoubtedly divide film fans- some heralding the picture as greatness, others detesting it as too exploitive.

It is not an easy watch by any measure, but one aspect is cemented in truth-Isabelle Huppert gives a fantastic performance in a complex and perverse role.

Unique even in its first scene, Michele Leblanc (Huppert) is a ruthless, alpha businesswoman who is raped and beaten by an intruder in her lavish Paris home.

The violent act occurs in the first scene, immediately giving the film an “in your face” presence. When the rapist, who wears a ski mask, flees, Michele shakes off the incident with nary an emotional scar.

Through backstory, we learn that years ago, Michele’s father brutally murdered many people and was imprisoned for life. Michele’s mother is an aging glamour girl who hires sexy male escorts. Michele’s son is engaged to a domineering pregnant woman, and her ex-husband is dating a younger woman.

Michele lives a complicated life.

At first, Michele seems sympathetic, and we feel her pain as she is taunted by a woman in a coffee shop for her father’s past deeds.

To say nothing of her rape, we cringe when Michele hears noises and imagines the masked intruder returning to rape again, empathizing with the character.

When the mystery man harasses Michele, he sends notes and leaves “gifts” in her home, and we are scared for her. However, as the film goes along, Michele’s obsession and other questionable actions make the character challenging to like.

I also began to wonder if Michele was perhaps dreaming the entire film!

As a fan of acclaimed film director Claude Chabrol, Elle appears to be heavily influenced by him.

Director Paul Verhoeven certainly must have studied his works. He is no slouch himself—female-empowering sex films such as Basic Instinct (1992) and Showgirls (1995) that he directed come to mind. He gives Elle a sleek and sexy feel.

The fact that it is set in romantic Paris helps make the film glamorous and cultured. Verhoeven even weaves a whodunit into the story for much of the movie until the rapist is revealed shockingly.

If the film had ended with the big reveal, this would have made for a compelling, if not mainstream, Lifetime television-type film, but Elle takes off from this point. Michele, already fancying her handsome rapist, actually begins a macabre relationship with the man, going so far as to act out the rape again- her fantasies coming true!

This story turn may repel the average viewer, but to me, this turns the film into a completely left-of-center, layered, psychologically themed story.

Elle is not a revenge tale or a film about a victimized woman; it is much more.

What a dynamic performance Ruppert gives, and here is why- she successfully makes Michele both sympathetic and reviled.

Besides the aforementioned rape complexities, she despises her mother and sleeps with her best friend’s husband. In a scene that arguably makes Michele cross the line in reprehensible behavior, she confesses her affair to a best friend, Anna, when Anna is at her happiest moment- this is downright cruel!

So, no, the audience does not entirely sympathize with this character, but how layered this makes the character, and what a treat it is for actress Ruppert to sink her teeth into a character like this one.

With a wounded yet cold central character, partly thanks to exceptional direction by Verhoeven and a brilliant portrayal by Huppert, he takes Elle into largely unchartered territory and brave waters to create a film that will make the viewer both think and loathe.

Part nymphomaniac wounded bird and vicious shark, Elle contains a complex and memorable leading character.

Oscar Nominations: Best Actress-Isabelle Huppert

Independent Spirit Award Nominations: 1 win-Best Female Lead-Isabelle Huppert (won)

2013 Films, Drama, German, Hanno Koffler, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Max Riemelt, Stephan Lacant

Free Fall-2013

May 3, 2017 scottmet99 Leave a comment

Free Fall-2013

Director Stephan Lacant

Starring Hanno Koffler, Max Riemelt

Scott’s Review #641

Reviewed May 3, 2017

Grade: A-

Free Fall is a 2013 German-language film that is very reminiscent of the highly influential LGBT film, Brokeback Mountain (2005), only set in Germany- during present times.

The loneliness, struggles, and deceit that the characters face are similar in both films and both are arguably bleak as overall films. I, however, truly enjoyed this film and embraced the touching aspects and truthful writing.

In the case of Free Fall, as compared with Brokeback Mountain, only one of the male characters is a family man- coming to terms with his sexuality at very bad timing, while the other male character is more comfortable in his skin.

A case could be made that a similar characterization is apparent in Brokeback. In both films, a love story develops between two men, and outside forces thwart their happiness.

The film is a very good watch and the love scenes are particularly steamy and emotional.

Marc Borgmann is a young police officer, fresh out of the academy, living with his very pregnant girlfriend, Bettina. They are temporarily staying with Marc’s parents until the baby is born.

Seemingly happy, Marc befriends a recruit, Kay, and they begin a ritual of jogging together in the forest.

Both men are young and handsome and very masculine- an aspect in an LGBT film that I find as a positive. Kay is much more brazen about his sexuality than Marc, and they eventually fall in love with the added pressure of their very macho surroundings, and Marc’s pregnant girlfriend to contend with.

Free Fall, as the title implies, is not a cheerful, romantic film, as a whole- nor is it completely bleak either. Yes, the love affair between Marc and Kay has some happy moments, but more often than not they face some sort of peril and do not get much time to relax and enjoy each other.

As circumstances begin to unravel, Marc’s girlfriend slowly suspects something is going on with Marc, but when Kay is outed (the film suggests he purposely outs himself) during a gay nightclub raid, their lives spiral out of control.

The film itself is very realistic and does not come across as forced or plot-driven. The acting by both principal actors (Koffler and Riemelt) is quite strong and I buy their attraction instantly.

The scenes where Marc questions whether the pair are buddies while internally fighting his attraction for Kay are excellent and very passionate. The range of emotions on the face of the actor, Koffler, is excellent.

Passion is felt during every scene the pair share together.

The way many of the supporting characters are portrayed, however, is disappointing, yet also a brutal strength of the film. Marc’s parents are quite unsympathetic to either Marc or Kay and are written as stereotypical, anti-progressive, and rigid.

When Marc’s mother catches Marc and Kay kissing, she coldly chastises Marc for being “raised better than that”. In her mind being gay is bad- the father wholeheartedly shares her beliefs.

Another of the cops in the police academy is written as homophobic, but the film wisely writes Marc and Kay exceptionally well, proudly with none of the unfair effeminate qualities films and television still seem to cling to.

The characters are not written for laughs, nor should they be. They are strong men.

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

The conclusion of the film is slightly disappointing as the story ends abruptly and in a rather unsatisfying way- rumors of a proposed sequel have circulated the film.

Shot on a very small budget, the funding for a follow-up film must still be raised, which hopefully will occur. A nicer (and happier) ultimate resolution would be great.

American LGBT films, sometimes going too much the comical, or worse yet, the sappier route, can take a lesson from this treasure of a German-language film.

Free Fall (2012) is a humanistic, realistic, and brave film that I hope more people find themselves experiencing. The film will touch those who are either involved in or sympathetic towards the LGBT community.

2011 Films, Drama, Engin Cert, German, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Sinan Hancili, Tor Iben

The Visitor-2011

April 4, 2017 scottmet99 Leave a comment

The Visitor-2011

Director Tor Iben

Starring Sinan Hancili, Engin Cert

Scott’s Review #630

Reviewed April 4, 2017

Grade: B-

The Visitor is a 2011 LGBT-centered film that is set in Berlin, Germany but features mainly Turkish characters.

While the film tells a nice story and features some cool shots of the metropolitan city, it is rather amateurish in style.

The pieces of the film do not always come together or fit very well and there is no character development to speak of, but still, the film does have good intentions with a nice message and theme that deserves at least a few props.

The story involves a young male and female couple, Cibrial and Christine, who are dating. Cibrail works as a policeman and the pair seem to be in a happy relationship, enjoying walks and dinners together.

One day, when Christine’s gay cousin, Stefan, comes to town, the relationship between Cibrail and Christine sours. The cousin is openly gay and comfortable with his sexuality, while Cibrail secretly harbors feelings for the same sex, which he dares not tell Christine about, though she eventually catches on dramatically.

Stefan is looking for action, cruising the city and parks for sex and companionship, while Cibrail is both lustful and jealous of Stefan.

Many scenes involve Cibrail looking longingly at Stefan and fantasizing about him. In that regard, the film teeters on being quite steamy and features more than one nude shower scene- this smoldering element helps the film avoid complete doldrums.

Specifically, Cibrail showers alone during one scene, washing and presumably daydreaming about Stefan. But too many other scenes show a character jogging or walking around the park- too much like filler material.

The climax of the film is highly predictable as the two men find their way into each other’s arms, though the passion is not exactly evident to the audience.

The lack of buildup is a negative aspect of the film because there is very little rooting value and too many questions.

Is the film a love story? Is it supposed to be about Cibrail coming to terms with his sexuality? Why do we not see more of a blowup scene between Cibrail and Christine?

He simply moves out once she catches him in bed with Stefan and before we know it, Stefan and Cibrail passionately embrace and the film closes in celebration.

A side story involving a dead body found in the park- a park known for gay shenanigans- is included as Cibrail investigates the crime with his police partner, but this seems to have nothing to do with the main plot unless we are to suspect one of the two men as the killer, but this is hardly focused on.

Another shot of a gay pride parade in Berlin is included, but is this to make it known that The Visitor is a gay film?

Additionally, a statue of two men is shown in several scenes for seemingly no other reason than to reinforce that the film is gay-themed.

The Visitor is a simple story of two men finding each other, which is a nice message, but the film’s run time is a brief seventy minutes, hardly enough time for character development.

A muted, videotaped look does not help the film seem very professional, and seems downright amateurish as an entire film, so much so that I would not be surprised if a film student might have made The Visitor (2011).

2008 Films, Cyrus Nowrasteh, Drama, International, International Drama, Persian, Scott's Top 10 Most Disturbing Films, Shohreh Aghdashloo

The Stoning of Soraya M.-2008

February 18, 2017 scottmet99 Leave a comment

The Stoning of Soraya M.-2008

Director Cyrus Nowrasteh

Starring Shohreh Aghdashloo

Top 10 Disturbing Films #2

Scott’s Review #618

Reviewed February 18, 2017

Grade: A

The Stoning of Soraya M. (2008) is a brutal film and one of the most disturbing films that I have ever seen. I have viewed the film a total of two times and that is enough for me.

The terrifying aspect of the film is that the story is true and the events depicted not only have happened to the woman featured but happen to women day in and day out in certain cultures.

The film is a frightening reminder of the atrocities of human suffering.

The film is an American Persian language film made in 2008. Academy Award nominee, Shohreh Aghdashloo, stars as a woman living in a remote village in Iran- the time is 1986.

Interestingly, the film begins following the events that conclude the story and works in reverse. A reporter who has car trouble and is lost in the village is taken by the aunt of Soraya (Aghdashloo) who must tell the journalist the painful story of a tragedy that befell poor Soraya the day before.

Soraya was brutally stoned to death, and wrongfully accused of adultery, and the journalist wisely records the aunt’s tale with his tape recorder. The journalist must then escape the village alive for Soraya’s story to be told to the masses.

From this point, the film transfers to several days earlier.

Soraya’s abusive husband, Ali, wishes to divorce Soraya so that he can marry a fourteen-year-old girl from the village. When she refuses, Ali uses manipulation and blackmail to turn many in the village against Soraya, including her two teenage sons.

Ali convinces everyone that Soraya has been unfaithful to him with a widower whom Soraya innocently works for. Ali is then granted his divorce and Soraya is sentenced to be stoned, as an example, in front of the entire village.

The message is clear- women are not equal to men and are not permitted to do the things that men can.

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

When Soraya is chained to a short pole and buried up to her neck so that she cannot move, the scene of her victimization is almost unbearable to watch. Ali and her sons are the first to cast the stones that strike her square in the head.

Director, Nowrasteh provides the stoning sequence with a dull, muted sound so that we almost experience the thuds of the rocks from Soraya’s perspective, making the scene all the more chilling.

The scene also goes on for seemingly an eternity as it takes a long time for Soraya to succumb to her many wounds. Needless to say, she is a bloody mess and unrecognizable.

This scene is not for the squeamish.

How disheartening to know that experiences like Soraya’s still occurring to this day in Iran and many other countries and there is not much that is done to help.

The Stoning of Soraya M. is based on a 1990 book, Le Femme Lapidee, written by Freidoune Sahebjam, who appears in the film as a journalist. The book has been banned in Iran.

The Stoning of Soraya M. (2008) is one of the most disturbing films that I have ever seen and as much as the message is tragic and painful, I never want to see this film again.

The pain rings too real and the thought fills me with sadness.

Welcome to my blog! 1,450 + reviews posted! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.