The Film Movement Classics division of Film Movement Blu-ray of the 1995 Salma Hayek film "Midaq Alley" has EVERY element that makes it a perfect film. This begins with a young attractive cast that has someone for everyone, a telenovela vibe that provides no-reason-to-feel-guilty pleasure, and high-concept in the form of being based on a novel by Nobel laurete Naguib Mahfouz. The IDEAL blend of humor and drama of both the melo and regular varieties is the topping on the fried ice cream. There truly is not a dull moment.
The crystal-clear images and audio (not to mention a behind-the-scenes feature and a written essay) in this restoration further make this one well worthy adding to your video library.
The impressive 27 festival wins for "Midaq" include several awards at the 1995 Ariel Awards in Mexico.
The below Movement trailer for Midaq Alley highlights the exceptional quality of every aspect of the film.
In addition to an awesome live-stage vibe, "Midaq" evokes strong thoughts of the similarly themed 2006-09 BBC serial series "The Street" that tells the inter-connected stories of the residents of a London neighborhood. Both productions do an excellent job keeping all the players in play and showing how their lives overlap.
"Midaq" centers around the neighborhood bar that Don Ru owns and operates. This watering hole truly is a place where everyone knows your name (and your business).
A brief glimpse of the life of Ru and of his 20-something son Chava is the tip of the iceberg that provides a good sense of the "Midaq" style. The blatant Freudian aspects of that relationship begin with Ru being disappointed with the poor work ethic of Chava, who obsessively dreams of moving El Norte.
The disappointment of Ru regarding his offspring is an element as to developing a friendship with benefits with a young clothing store clerk whom is closer to what Ru considers an ideal son. The extent to which Ru and this post-adolescent express their mutual affection contributes an ick factor on a couple of levels.
The desired traveling buddy of Chava is Abel, who is a local barber obsessed with local beauty Alma (Hayek). Of course, Alma drives plenty of drama herself.
The ripples extend from there to the opportunistic bartender, the horny spinster, the tarot card reader, etc.
The big picture this time it that "Midaq" is both compelling and funny because it is true.
The recent Film Movement DVD release of the 2019 drama "Temblores" is the perfect Pride Month movie for anyone over the age of 13 who is anywhere along the Kinsey Scale. Writer/director Jayro Bustamante not sugarcoating anything and opting out of a Hollywood ending alone make the film one to watch.
The 13 festival wins for "Temblores" further speak to the quality of this film that IMDb describes as follows. "The coming out of an evangelical father shatters his family, his community and uncovers a profoundly repressive society."
The below Movement trailer for "Temblores" highlights the live-stage vibe of this compelling story about upper-middle class middle-aged Pablo choosing a relationship with working-class Francisco over his life with well-heeled and well-bred wife Isa and their two children.
Our story begins on a highly melodramatic note; a clearly frantic Pablo rushes home and ignores the intervention-style gathering of relatives to lock himself in his bedroom. This, of course, prompts great concern by the assembled group. Many who are familiar with real or reel gay trauma and drama can predict that the cause of death-of-a-beloved level angst relates to a gay issue. Blatant symbolism as to this includes a literal tremor literally threatening to bring down the house as Pablo and his family contend with his new normal.
The resulting bedside confrontations range from heart-felt sympathy to not-so-righteous indignation as to Pablo being a fallen man in this particular sense of that term. The fact that that Pablo remains stricken and distraught without overdoing it is a primary example of Bustamante keeping it real.
The action then shifts to somewhat grungy bar where Francisco simultaneously introduces his new significant other into both his life and "the life." Although Pablo does not seem to have buyer's remorse, it is clear that he is experiencing an especially rude awakening. This relates to the frequent "Temblores" theme of many gay men not having it easy.
All this leads to Isa prohibiting Pablo from having any contact with his children; this coincides with a wolf in sheep's clothing not-so-subtly moving toward filling the Pablo-sized void in the life of Isa; truly no double-entendres are intended.
A relative calm in the middle of the film leads to a rebuilding of drama as the true sexual orientation of Pablo increasingly is seen as an addiction by his family. Intense distress as to all that he has given up prompts our family man to enter conversion therapy that ironically seems as if it would result in even the most straight man in the world to lose all interest in women.
This leads to the aforementioned not-so-happy ending in which Pablo decides the extent to which he will sacrifice the needs of the few to satisfy the needs of the many.
Movement supplements "Temblores" with the short "Black Hat," which is the Film Movement Award winner at the 2019 San Francisco Jewish Film Festival. This less dramatic look at a family man on the gay end of the Kinsey Scale uses the titular head covering as highly symbolic as a religious item and the public persona of the man. The hat coming off allows him to be more true to himself.
The Film Movement Classics division of Film Movement expands a recent Eurocentric pattern that largely consists of vintage films from Ealing Studios and/or Alistair Sim, which are reviewed in the Film Movement section of this site, to separately release the French tragromcomdram "Serie Noire" on DVD and Blu-ray on April 14, 2020. Adding "Serie" to the incredibly broad Movement catalog provides a chance to see why Time Out considers it one of the 100 best French films of all time.
The '70stastic realistic grittiness of "Serie" looks especially good in the remastered Blu-ray edition right from the opening scenes of middle-aged door-to-door salesman Franck Poupart releasing his frustration before going to the seedy house of "la tante" in search of handyman/boxer Tikides, who is behind in his payment on a suit. This soon leads to Auntie bargaining with Franck to give her a quilted robe in exchange for a tryst with her niece Mona. It is clear that this is the not the first time that Aunty has engaged in this form of bartering.
The next scene in which Mona is resigned to taking one for the team but Franck is protecting the virtue of both his new friend and himself is one of the best in the film. It also is the start of a not-so-beautiful friendship between these two persons who are slaves in their own ways.
The additional desperate times that lead to the "Strangers On a Train"/"Throw Momma From the Train" style desperate measures revolve around Franck's wife Jeanne amping up her crazy and his boss Staplin taking a very hard line on learning that Franck has been skimming from the top,
This is not to mention things turning equally personal and violent as to Tikides.
The aforementioned plot revolves around Franck essentially using one stone for a murder of crows; this wicked deed largely goes off as planned but leads to wonderfully darkly comic fallout that involves all concerned.
The first awesome message of "Serie" is that you should never have an amateur do a job that requires a professional; a related message is that the boss always acts in his or her own best interest and never truly is the friend of an employee.
The home-video extras are the featurettes "Serie Noire, The Darkness of the Soul" and an interview with director Alain Cormeau and star Marie Trintignant (Moma). Classics also includes an always insightful written essay on the film du jour.
The Film Movement DVD release of the 2017 drama "Outrage Coda" wraps up the underworld crime series of movies by Takeshi Kitano. Based merely on this one, it is clear that Quentin Tarantino lacks a monopoly on over-the-top bloody "mob" movies. In this case, the yakuza system is front-and-center. The fault as to not fully following every twist in this fast-paced chess game of a film lies within your not-so-humble reviewer, not with Kitano.
The following Movement trailer for "Coda" showcases the aforementioned wonderfully perverse violence that far exceeds the expectations of the 12 year-old boy in many of us. Another way of thinking about this is that it brings the spirit of "Itchy and Scratchy" into the live-action realm.
Our story begins on a typically deceptive low-key note; South Korean made-man Chang is chatting with a younger guy about fishing; this scene sets the stage for a more violent depiction of the middle-aged man and the sea.
The story fully gets underway when Chang is called in to after yakuza middle-manager Hakuna is caught with his pants down during a tryst with a couple of prostitutes who do not want to play rough. Chang fully puts this blowhard in his place and sends him packing.
Meanwhile back at the ranch, the yakuza boss sees the absence of Hakuna at an all-hands meeting as verification of his "I don't get no respect" attitude. Part of the basis for this is that this CEO has never been a guest of the Emperor or otherwise gotten his hands dirty.
The subsequent intertwined plots revolve around a desire for a management change and an effort to obtain maximum profit as to compensating Team Chang for the offense of Hakuna. The negotiations as to the latter are hilarious in a manner that proves that made men have a great sense of humor.
The better fun comes in the form of mob violence that often is staged to not be as it seems. Such attacks including one in a restaurant and another in a car show that the classics never go out of style.
All of this leads to a highly satisfying climax that provides a perfect conclusion to the film and the "Outrage" series. Hakuna learns a trifecta of lessons in the form of being doomed to repeat history when you do not learn from it, being careful about for what you wish, and the consequences of shooting off you mouth. Meanwhile, the fate of the yakuza boss depicts a fantasy for anyone who ever has had a toxic employer. One easily can say that his team is driven to this extreme.
Movement supplements this with a "making of" documentary and trailers of Takeshi films that Movement has released on DVD and Blu-ray.
The Film Movement Classics April 14, 2020 Blu-ray release of "Alastair Sim's School for Laughter" awesomely continues this division of art-house god Film Movement giving timeless British comedies their due. This release also expands the Classics catalog of Ealing Films that are reviewed in the Movement section of this site.
The scope of "Laughter" is akin to the recent (equally bonus-features laden) Classics BD collection "Their Finest Hour." This reviewed set of five films showcases Ealing WWII- themed productions that include the original version of "Dunkirk."
The following Classics trailer for "Laughter" expertly schools viewers in each of the films in a manner that showcases the wonderful deadpan humor of Sim, who arguably is best known for his standard-setting portrayal of Ebenezer Scrooge in "A Christmas Carol."
The fun begins with the wonderfully titled farce "The Belles of St. Trinian's" (1954). Sim plays the dual roles of the headmistress of the titular girls' boarding school and her neer-do-well brother. The success of Sim in pulling off this feat is one of many examples of this skills in this set.
The overall theme of the "Belles" is that the student body is comprised of a group of feral females that strikes fear in the hearts of the locals. For her part, headmistress Millicent Fritton must contend with both the wolves of Wall Street constantly at her door looking for loan payments and a faculty that is comprised of a highly disgruntled rogues' gallery.
These factors (in addition to the new "Eastland" girls) converge in a perfect comedic storm that drives much of the "Belles" action. A faction that figuratively has a horse in the race is competing with another faction that literally and figuratively has a horse in the same contest.
The central conflict results in there being a dorm resident who is a real nag.
Next up is the original "School for Scoundrels" (1960). This wonderfully dark comedy has Sim shining as Stephen Potter, who runs the titular "College of Lifemanship" that teaches decent folks who repeatedly are victimized by "scoundrels" to learn how to get the larger end of the stick.
"Scoundrel" Delauney (Terry-Thomas of "Munster, Go Home" fame) repeatedly being the Bluto (or Brutus) to the Popeye of Henry Palfrey (Ian Carmichael) prompts the latter to engage in continuing education so that he can school his rival and regain the primary affection of "Olive Oyl."
Although the dead-pan classroom aspects of "School" are highly entertaining, the best scenes are the "before" and "after" ones between Delauney and Palfrey. Watching these men alternatively get the upper-hand over the other is timeless classic comedy.
The bonus features include an charming and insightful modern interview with a film critic.
"Laughter in Paradise" (1951) arguably has the most social commentary in this quartet. Sim plays one of four potential heirs in this variation of both versions of "Brewster's Millions." The right of each named beneficiary in the will to collect his or her share of the loot is conditioned on completing a 28-day task that is directly contrary to his or her nature.
The mission of secret pulp-fiction novelist Denniston Russell (Sim) is to commit an offense that will make him a guest of the Queen until 28 days later. Watching him question local law-enforcement as to what crime will result in that specific amount of time is amusing. A shoplifting effort that goes comically awry is hilarious.
Classics aptly wraps things up with "Hue and Cry" (1947), which is the first Ealing comedy. Sim once again plays a paperback writer, whose fiction provides the basis for actual heists by a criminal gang. This tale centers around a teen Hardy boy and his gang that must thwart the bad guys on their own.
The surprise ending truly is that. The less good news is that it involves a serious beatdown of our excitable boy, who already has experienced undue physical and emotional batterings in his quest for truth, justice, and the English way.
Classics supplements this with trailers and "behind-the-scenes" features on the films. We also get the usual, but far from typical, written essay on the topic du set.
The Film Movement DVD release of the 2016 Dutch erotic drama "Out of Love" adds to the mountain of proof that Movement provides regarding many themes being universal. A simplistic way of looking at this movie is that it a dark intense version of the Michael Douglas and Kathleen Turner comedy "The War of the Roses."
The wider perspective is that "Love" supports the theory that many relationships fail because neither person reveals his or her crazy until after exchanging vows. Another aspect of this is the cliche that opposites attract, This is from the perspective of someone who loves "I Dream of Jeannie" living with someone who prefers "Bewitched."
"Love" opens on a charmingly flirtatious note as chef Nikolai and customer/manicurist Varya exchange increasingly intimate glances during her visit to his restaurant., This leads to a witty initial conversation that furthers enhances the live-stage vibe that runs throughout the film. The talents of our leads, who comprise most of the cast, further make you feel as if you are enjoying a night at the theater.
Our love birds still are enjoying their honeymoon phase when they move in together. A hilarious scene in which Varya has a bad reaction to a meal by Nikolai is an early indication of trouble in paradise. A (confirmed) early sense that Varya is a bit unstable comes when she massively overreacts to an innocent observation by Nikolai.
In fairness to Varya, Nikolai being assertively (rather than aggressively) persistent when told not now is a valid basis for complaint.
A less relatable aspect of "Love" is the profession of Nikolai being a factor. Although many of us fantasize about having a partner who equally passionate (and skilled) in the kitchen and the bedroom as well as being very easy on the eyes, the reality apparently is not-so-great.
The starting point of dissension is the long and the late hours of NIkolai. This leads to disappointments that include being left alone much of the time, Further, the inconvenience of eating dinner fashionably late is a legitimate gripe; the same goes for being served food that creates digestion issues.
Varya cracks first; the heat-of-the-moment reaction by Nikolai makes a bad situation even worse; the ensuing events nicely show that residual love often exists even when it is time to seek a restraining order. We also get a telling moment in which Varya expresses an odd form of sorrow,
The truth continues to the conclusion of the film. Our story ends on a note that does not fully resolve whether this couple determines they are happier being apart than they would be together. Folks who have reached that stage know that that answer can change even a few times a day.
Omnibus Entertainment (which is a division of foreign-movie god Film Movement) wonderfully goes old school with the DVD release of the highly stylized 2013 black-and-white drama "She Wolf." This work of art visually and thematically evokes thoughts of French New Wave Cinema. The copious extreme physical and sexual violence against our damsel (who may not have a name) in distress alone surely precludes any Hollywood version of this story
This film opens with Damsel being the sub. in a relatively intense S&M sex session. The real climax of this encounter involves her poisoning Mr. Right Now; it soon becomes clear that this is far from her first trip to the rodeo.
Subsequently watching this predator in action proves that man is his own worst enemy. She merely throws out the bait by looking flirtatious; the chum always approaches her completely unaware of their fate.
The plot thickens on a neighbor confronting this praying mantis; he essentially tells her that he knows who she does all summer and that he is going to ensure that she is held accountable for her sins. Young and small relatively innocent Leo becomes the unlikely savior/buddy of Damsel.
Scenes in which the relative heights of Leo and his new girl shift provide some of the heavy symbolism in the film. The manner in which we effectively see the three faces of Eve is even more telling, As indicated above, "Wolf" is a far cry (pun intended) from "Basic Instinct." This dynamic extends to Damsel becoming a protector of Leo.
Damsel fully becomes the prey when an undercover cop gets on her scent; his inept partner provides needed comic relief. A scene in which the cop stalks his prey in her hunting ground of the subway system provides some of the best moments of the film.
Of course, this leads to the noose tightening; the question remains whether the beast will break loose in this film that holds absolutely no allegiance to the Hays Code.
The bottom line this time is that writer/director Tamae Garateguy aptly puts a neo spin on one of the most artistic film styles ever. This modern approach awesomely includes the statement that women are equally whore and Madonna and that having their reproductive organs on the inside does not prevent them from being as brutal as men.
Film Movement fully demonstrates its art-house cred. regarding the DVD release of the documentary "Narcissister Organ Player." This documentary about the titular performance artist reflects the spirit of this genre by provoking a strong or negative reaction.
The following YouTube clip of a trailer for "Narcissister" highlights every element of the film. You get both a glimpse of the freakish theme of the performances and of the psychological bases for those works.
Love her or hate her, one must give Narcissister her due for her creativity and performance ability. The opening scenes demonstrate how she uses her trademark plastic mannequin masks and phenomenal agility to put on what even her biggest fans must admit is a freakish show, These displays are sure to provoke nightmares in small children, who are too young to watch an often topless woman pull items out of her vagina.
The extensive narrative by Narcissister puts her art in perfect context. The starting point is that she is the mixed-race daughter of a Sephardic Jewish mother from Morocco and a black father from Los Angeles, who is a certified physics genius. Growing up brown-skinned among beautiful blonde-haired and blue-eyed people in Southern California also helps make our subject the woman she is today.
A particular manner in which Narcissister makes her use of plastic masks a statement is her portrayal of Marilyn Monroe. An element of this is the artist adoring the movie star during the youth of the former and having her parents inform her of the falseness of the idolized beauty,
A rather vivid piece in which Narcissister relives her birth is one of the most symbolic scenes in the film; we also see her live out her fantasy of being a lady who lunches; the bizarre twist at the end is pure performance art. On top of this, we witness a freaky scene in which Narcissister portrays a grunge teen boy only to have things once again go in an even weirder direction,
The strongest behind-the-scenes theme of "Narcissister" is the relationship between the woman of the hour-and-31-minutes and her mother. We extensively see and hear from the elder woman, who shows that the apple does not fall far from the tree. It is clear that Narcissister owes her maternal parent as much thanks for her fame as Christina Crawford owes Mommie Dearest for hers.
Mom also is the center of a childhood memory that will gross out anyone who has ever had a mother. Suffice it to say that the scene that a young Narcissister inadvertently witnesses should be far more traumatic than walking in on parents having sex. This ties with a piece (no pun intended) that is an actual depiction of a piece of excrement as the most disgusting moment in this inarguably provocative documentary.
The bonus features provide the litmus test regarding this particular fandom. Folks whom Narcissister leaves wanting more will delight in the extended and deleted scenes of her performances. Viewers whom she does not enchant will decide that they have had enough.
The Film Movement Classics division of cinephile god Film Movement finds itself at the right place at the right time as to its March 31, 2020 release of "Their Finest Hour" coinciding with most of us entering at least a third week of house arrest; "The Shining" jokes stopped being funny several days ago.
"Hour" supplements a recent series of Classics Blu-ray releases of Ealing Studios comedies from the same era as the five WWII-related films that make up new releases. Posts on the comedies can be found in the Film Movement section of this site.
An important perspective as to "Hour" is comparable to an unfounded bias against westerns; just as tales of cowboys and indians typically are about much more than saloon fights and high noon showdowns, films that center around war-related events offer much more than battles.
The aforementioned cabin fever is a major (no pun intended) factor as to not reading the essay or watching most of the five-hours of special features in "Hour." There can be too much of a good thing when you spend at least eight hours a day watching movies everyday for a few weeks.
Similarly, a desire to not make this post a novella requires striking a happy medium between a 25-words-or-less synopsis of each of the five movies and writing a full review.
The collection begins with the 1958 version of "Dunkirk." Unlike the 2017 Christopher Nolan blockbuster, the Ealing version gives the events leading up to the civilian flotilla rescue of far more that seven stranded castaways on the titular shore roughly equal screen time as that exodus. We also get a much more in-depth look at the homefront aspects of those events than Nolan provides.
The Ealing short "The Young Veteran," which looks at WWII from the perspective of a post-adolescent literally and figuratively in the trenches, and a newsreel on Dunkirk are especially notable bonus features.
Classics tells us that the docudrama "The Dam Busters" (1955) inspires the central mission, aside from rescuing the princess, in the original "Star Wars." This compelling films portrays the efforts of a patriotic British engineer to develop a highly precise bomb to further the war effort; we also see the skilled RAF flyers who must meet very tough and equally specifics to allow the weapon of mass destruction to do its job.
"The Colditz Story" is a wonderful mash-up between "The Great Escape" and the '60s sitcom "Hogan's Heroes," both of which almost certainly take inspiration both from the film and the events that inspire it. The central plot this time is that the Germans convert the titular castle into a POW camp for prisoners who escaped from other places where they had unfortunate incarcerations. A series of intertitles that serve as an epilogue provide good context that an include documentary on the castle enhances.
"Ice Cold in Alex" (1958) follows a traditional action-adventure film format; the titular brew is a "carrot" in much the same way that almost all of us look forward to a meal at our favorite restaurant once our own unfortunate incarcerations end. The reel challenge is driving a run-down Army ambulance across the Nazi-infested scorching North African desert.
"Went the Day Well" (1942) arguably is the "Hour" film that is closest to the Ealing comedies. This film, which is based on Graham Greene story, is about a rural British village that is duped in literally welcoming a group of German soldiers into their homes.
In typical Ealing style. the story commences with the daily lives of the villagers, whose existence is somewhere between the central character (reviewed) "Passport to Pimlico" and (reviewed) "Whiskey Galore." The aforementioned fascists soon arrive disguised as British soldiers.
The web of lies soon unravels, and the real drama unfolds when the Nazis figuratively show their true nature. The clear message is to not f**k with the British.
The Film Movement Classics division of indie-film god Film Movement March 10, 2020 BD double-feature release of "Whiskey Galore" (1949) and "The Maggie" (1954) (aka "High and Dry") once again proves both that funny always is funny and that the Brits kick the arses of Yanks when it comes to comedy. This release also is the third Classics BD of Ealing Studios releases. This site has already covered the Blu-ray of "The Titfield Thunderbolt" (1953) and reviewed the Blu-ray of the 1949 farce "Passport to Pimlico."
These four never-a-dull-moment films make a wonderful home-based classic film festival. The copious in-depth special features that accompany these UK gems aptly give them the royal treatment and are well worth watching.
One of the many common elements of "Whiskey" and "Maggie" is that the are both from Ealing director Alexander Mackendrick, who is better known for "The Ladykillers" and "The Man in the White Suit."
The following SPOILER-LADEN Classics trailer for "Galore" highlights the award-worthy restoration. This promo also provides a strong sense of the so-near and yet-so-far aspect of a small Scottish island that has its supply of the titular libation go dry at the same time that a ship with a large supply of that nectar rounds aground just off shore. Hilarity galore ensues.
Classics does "Maggie" equally proud as to the trailer for that film. The primary "sit" that provides the "com" this time is that wily boat captain McTaggart responds to desperate times by undertaking the desperate measure of deceptively getting the job of transporting cargo that is very precious to American businessman Calvin B. Marshall. Once more, there is copious hilarity.
"Whiskey" is well-acted movie about eccentric antics of quirky residents of a small Scottish island that evokes strong thoughts of similar fare of days of yore such as "The Englishman Who Went Up a Hill but Came Down A Mountain" and "Waking Ned Devine." This is a nice contrast to the modern formula of placing the matinee or teen-boy idol of the week in a film that relies on crude and/or slapstick humor.
The quaint old world setting this time is the small community of Todday. Although the year is 1943, the only impact of the war is the local pub running out of whisky and not having any hope of replenishing its supply any time soon. The lack of a more serious threat is not stopping the "Dad's Army" style local Home Guard officer from maintaining road blocks and otherwise exercising undue diligence. This textbook self-righteous fool is easily frustrated by the "incompetence" of subordinates and the absurd manner in which the military operates.
The daily life of the Sam Druckeresque postmaster/shop keeper is being complicated by his youngest daughter and earnest school teacher George Campbell wanting to get married despite the strong opposition of Mrs. Campbell, who is the mother of all mothers. The engagement of the older daughter to a soldier on leave is free of similar drama.
The conflict between the cold warring factions heats up when a ship that is transporting 50,000 cases of whisky runs aground off the shore of Todday. The locals want to salvage the titular beverage for their own use, and the Home Guard wet blanket wants to obey the letter of the law. This results in highly entertaining mad dashes on the land and on the sea, as well as hilarious scenes of concealing whisky bottles.
The humor and the action in "Whisky" is so well presented throughout that the film does not climax so much as it winds down. Some characters are a little wiser, others emboldened, and most quite a bit drunker.
An especially awesome of "Whiskey" is that it is funny because it is (somewhat) true.
"The Maggie" follows a similar figurative path; McTaggart encounters numerous obstacles in trying to deliver the goods, which is needed to literally keep his business afloat. This involves literal and figurative rocky moments; the real fun commences with Marshall literally (but not figuratively) comes on board after McTaggart evades earlier attempts to get things on the right course. The ending this time literally and figuratively is far from Hollywood.
Film Movement fully celebrates the independent spirit of art-house films with the DVD release of the 2017 drama "I Am Not a Witch." Folks who prefer to download this tale of nine year-old Shula being sent to witch camp can do so through the Movement streaming service.
The sweet 16 accolades for "Witch" begin with the 2018 BAFTA award for "Outstanding Debut by a British Writer, Director, or Producer." Many of the other 15 wins similarly honor the film itself and writer/director Rungano Nyoni.
The following YouTube clip of the Movement trailer for "Witch" casts a spell that compels you to want to see more of the guilty-pleasure absurdity and themes that earn the film so much critical love.
The fun begins with wonderful dual commentary on the nature of tourism and the treatment of the disenfranchised in any society. We see tourons (a.ka. tourists + morons) in Zambia traveling to a witch camp. Of course, a group member balks at the price of the experience.
On arriving at their destination, the visitors treat the not-so-beloved sorceresses like zoo animals. For their part, the women who endure that humiliation do so with supernatural stoicism. The education of the day trippers includes the explanation that tethering the women to white ribbons is intended to prevent them from flying away to go on a killing spree. One spoiler is that at least one witch reaches the end of her rope.
The primary commentary then commences in the village where unaccompanied minor Shula resides; our introduction to her shows the incident that leads to her being accused of witchcraft. That judicial proceeding provides a strong sense of the comparable Salem witch trials.
This leads to government official Mr. Banda bringing the girl to the aforementioned camp. A form of tiger repellent logic is used in convincing Shula that she either can consent to be tethered to a white ribbon or be turned into a goat.
Banda subsequently exploits the perception of an unenthusiastic Shula for fun and profit. This includes making her use her alleged power to catch a thief. We also see her sit quietly by as Banta and his partner-in-crime try to get her to play along with a scheme to show that she can literally be a rainmaker.
Meanwhile, the witches also profit from the perception of Shula. They additionally amusingly go about their lives as the bicker and do what is required of them. We additionally get further proof that people from "civilized" nations are clueless.
All of this shows both that every society has the same basic flaws and that all of us should be ashamed, very ashamed.
Movement supplements "Witch" with the Nyoni short-film "Mwansa the Great." We further get an interview in which Nyoni discusses visiting an actual witch camp.
'The Miracle of the Little Prince' DVD: Classic Children's Book Gives Dying Cultures Royal Treatment
The Film Movement December 3, 2019 DVD release of the 2018 documentary "The Miracle of the Littlel Prince" serves the noble purpose of reminding us that so many world cultures have been lost as more dominate entities have moved in and taken over, The bonus is a multi-lingual reading of a WWII-era classic.
A benign relatable example in the United States is the massive numbers of children, especially from Asia, who come here with their families and speak their native tongues at home only to struggle with having to speak English at school even in this age of ESL and overall greater cultural sensitivity. Of course, a big difference is that the US powers that be are not trying to kill off any other cultures.
The following Movement trailer for "Miracle" expertly conveys the theme and the tone of the film. We see that the translations are as much of a labor of love as the movie itself.
Movement does just as well describing "Miracle" in writing as it does in the trailer. A passage from the text on DVD back cover states: "There are now versions of the beloved children' story in over 300 different languages. In this emotionally rich, globetrotting documentary director Marjoleine Boonstra travels to Morocco, Scandinavia, El Salvador, and Tibet to find people from diverse backgrounds and linguistic regions who have all chosen this cherished book to help keep their endangered languages and cultures alive."
The above also reflects the meta element of "Miracle." Making a film that highlights all but dead languages and their cultures helps prevent those things from entirely dying out.
Although every segment in "Miracle" is strong and unique, the El Salvador story is the most interesting in that it centers around a ground of older woman helping keep the translation in in their traditional language as accurate as possible. An example of that it that language being able to describe a red flower but lacking a word for rose. The horticulture history lesson as to that is that the Spanish explorers introduce roses to the Americas.
The engaging man who is heading up the effort to translate "Prince" in Tibet also achieves the documentary ideal of being equally entertaining and educational. We also get a strong sense of the level of oppression in that country.
The true legacy of these efforts go back to when man first adequately evolved to communicate in a manner that helps keep early culture alive, We may have come a long way, Baby, but the folks featured in "Miracle" show the value of going old school.
The Film Movement Classics division of Film Movement does those of us enduring a winter of discontent a true solid by releasing a literal picture- (and sound) perfect Blu-ray release of the classic 1980 coming-of-age teen romcom "Gregory's Girl" on Blu-ray on January 21, 2019. This Scottish film awesomeiy combines the best of "American Graffiti," "The Summer of '42," and John Hughes movies.
As critics and audiences alike acknowledge, "Girl" director Bill Forsyth ("Local Hero") hits the mark by depicting all of us in his portrayals of the titular lad (John Gordon Sinclair) and everyone else in his life. Those of us with one Y chromosome and one X chromosome are Gregory; the females of the species decide that our good points warrant putting up with our arrested development, which occurs in our tween years.
Formal accolades for "Girl" include the 1982 BAFTA for Best Screenplay.
Movement chooses wisely as to the selected clips for its "Gregory's" trailer; they perfectly show off the adorkable charm of the lead character.
The perfection of this truly eternal movie that is identified as one of the best-loved British films of all time begins with the opening scene of Gregory and his buddies peeping on a woman undressing; their interaction (including the first of several scene-stealing antics of everyteen Andy) is more entertaining than the inadvertent striptease; Forsyth adds to the fun as to the events in the immediate afermath of Team Gregory moving on.
The story fully gets underway on Gregory facing losing his star position on his school football (my people call it soccer) team; his cavalier approach to his coach sharing the bad news is another of countless memorable scenes in the film.
This game-changer paves the way for tomboy Dorothy to tryout for the team; the coach quickly learns that resistance to having a girl be one of the boys is futile. This epitomizes a sausage party ending.
This new teammate quickly becomes the object of the affection of Gregory, who illustrates why his condition is called puppy love, A scene in which Dorothy captures that lad in a particularly embarrassing moment in the locker room is another of the aforementioned highlights. Also, once again, subsequent events enhance an already perfect moment.
This leads to the film climax in which Dorothy agrees to a date with Gregory; the ensuing hilarity (and charm) clearly shows that Hughes learns from Forsyth.
As expressed throughout this post, the immense appeal of "Gregory" relates to the film keeping it real. Although the big night has its ups and down, the kids are alright (as well as a little older and wiser) at the end. This milestone also reinforces that Gregory epitomizes the related principles of dancing as if no one is watching and to thy own self be true.
Classics further enhances the enjoyment of the film by doing its usual extraordinary job as to copious bonus features. These include an insightful written essay, audio commentary by Forsyth, interviews with Forsyth, and the alternative US and French versions of "Gregory."
The Film Movement Classics division of Film Movement pairing the recent Blu-ray releases of the 1953 British comedy "The Titfield Thunderbolt" with a Blu-ray of the (reviewed) 1949 Ealing social-commentary-dripping comedy "Passport to Pimlico" provides an excellent chance for a taste of what the "Titfield" back cover aptly describes as the strong contribution of Ealing to the golden age of British cinema. The numerous comment elements of "Titfield" and "Pimlico" include legendary Britwit T.E.B. Clarke being the scribe of both.
"Titfield" being the first Ealing film shot in Technicolor makes it especially apt for Blu-ray. The British countryside truly looks idyllic.
Fans of '60scom "Petticoat Junction" will recognize many elements of "Titfield." A primary premise of both comedies is quirky good-natured small-town folk heavily relying on a rail line that operates between their community and a nearby town. Although the Hooterville Cannonball of "Petticoat" fame survives numerous attempts to shut it down, the effort to cease the operation of Titfield rail service succeeds. The rest of the story is that eliminating this competition profits a local bus company.
The Titfield populace demonstrates their "keep calm and carry on" fortitude by deciding to run the rail service themselves. Getting the initial provisional approval is only the tip of the iceberg as to this titanic endeavor.
The numerous obstacles as to actually running the train include a lack of necessary experience with the exception of a man who clearly does not work and play well with others. This is not to mention the opposition of those wanting to derail this effort.
Hilarity soon ensues as to things such as first building up an adequate head of steam and subsequently preventing an overheating that threatens to turn a potential figurative train wreck into an actual one.
In classic film fashion, it seems that a combination of sabotage and ineptitude is leading to an inevitable bad end for the good guys. The ensuing hilarity begins with taking a page out of both incarnations of classic scifi series "Battlestar Galactica."
This is the beginning of an extended climax in which the train being allowed to continue operating is conditioned on it making a monitored run on time. Of course, hilarity with a heavy dose of keeping "the suit" oblivious to the actual situation ensues. Suffice it to say that Clarke shows his awareness of a Hollywood ending.
The copious "Titfield" BD extras shows the same love for the film that Classic demonstrates for "Pimlico." A written essay provides great insight into the film, the bonus feature "Making 'The Titfiled Thunderbolt'" expands on that. We also get a handful of other "behind-the-scenes' features and the original trailer.
The Film Movement recent DVD release of the 2018 Freddie Fox-narrated documentary "The Ice King" is an awesome follow-up to the Movement DVD of the (reviewed) more docudrama-style non-fiction film "Over the Limit." Both films expertly tell the tales of the lives and loves (and associated thrill of victory and agony of defeat) of nice young kids who train hard in pursuit of Olympic gold. These releases reflect the same principle of the NPR show "Only A Game" that being a "high brow" and a sports fan are not mutually exclusive.
In the case of "King," our hero is 1976 Olympics star John Curry. His stating that one does not train for decades simply to end up skating in a Bugs Bunny costume perfectly captures his edgy wit and wisdom that makes "King" an engrossing story even for folks with no interest in ice sports,
The following Movement trailer for "King" confirms that the story of the subject proves that truth is more compelling than most fiction; there also will be be no doubt that John will curry your favor. This is an addition to evoking envy as to seeing that this guy is blessed with equally strong talent, good looks, and a natural charm. You must watch the film to see his "Black Swan" side.
The strongest aspect of the convergence of truth and fiction relates to a strong "Billy Elliot" vibe that is triggered near the beginning of "King" and that lasts throughout the film. This includes a sense of the tragic trajectory that might have befallen fictional aspiring ballet star Elliot had he been born twenty years earlier.
Fox tells us of Curry, who is born in 1949, developing an early love of ballet and wanting to learn that art. Although the father of Curry is better educated and higher up on the economic latter than the father of Elliot, he still refuses to let his son study ballet.
The good news for the world is that the elder Mr. Curry agrees to the comprise of his son taking skating lessons. Although not explicitly stated, the clear message is that skating is acceptable to Curry Senior because it is less faggy.
The story of the first skating lesson of a five-year old (?) Curry is a "KIng" highlight. It truly is a portent of things to come on and off the ice.
We soon meet Heinz Wirz, who has the dual roles of being the principal talking head and the probable soulmate of Curry. The personal recollections of Wirz and segments of letters from Curry to that man fully show how their relationship is complicated. We also are reminded of the consequences of choosing Mr. Right Now over Mr. Right.
We also hear from the daughter of an early patron of Curry; she tells of Curry confiding in her while living with her family in NYC in the mid '70s. This surrogate sister also is a recipient of correspondence from Curry throughout his life.
Ice skater Johnny Weir directly provides a more modern perspective as an openly gay Olympic skater who has followed in the blade marks of Curry; indirectly, the friendship of Weir and fellow skater Tara Lipinski is reminiscent of the bond between Curry and fellow '76 Olympics star Dorothy Hamill.
AIDS provides the morality tale aspect of "King." We truly see how that epidemic ends the party for handsome, charming (bit with a major edge), talented young gay men such as Curry. Regardless of our placement on the Kinsey Scale, not many of us can relate to being as desired as Curry.
Most of us can relate to his excitement on someone who is out of his league making him the object of his affection. We can also relate to a limited degree when the honeymoon is over; only folks without a soul can consider a horribly lingering illness followed by a premature death an equitable price for the highly tempting availability of constant sex without any known consequences other than easily curable physical and emotional harm. One can only imagine how much better 2020 would be if we did not lose so many creative and caring people in the '80s.
The separate DVD extras include "On the Beautiful Blue Danube: Creating the Music of 'The Ice King'" and a Q&A with "King" director James Erskine.
The Blu-ray quality Film Movement DVD of the 2018 drama "Styx" proves that some do make 'em like they used to; aspects of this are showing that art and commerce are not mutually exclusive and that even a simple low-budget concept can be exceptional in the right hands, such as those of writer/director Wolfgang Fischer.
The well-deserved 29 wins and 18 additional nominations for "Styx" circumventing the globe shows apt love for this film about a solo sailing trip turned horrific ethical and moral dilemma. These accolades include Fischer getting the "New Auteurs" honor at the 2018 AFI Fest and several wins at the 2019 German Film Awards.
The following Movement trailer for "Styx" offers a strong sense of the multi-award-wininng perfect performance by Susanne Wolff in this essentially one-woman show, the aforementioned cinematography, and the compelling dilemma around which much of the action is centered.
The opening on-the-job scenes establish emergency-room doctor Rike (Wolff) as a compassionate and fierce medical professional; subsequently embarking on the aforementioned journey to what can be considered a Charles in charge natural paradise shows that her strong will and independence are not limited to her work.
The first real obstacle on this trip is the most physically daunting; a warning of an impending storm does not deter Rike from literally and figuratively changing course. The ensuing tempest may not be perfect but does throw very rough weather at this fearless crew of one. Her tiny ship is tossed but not lost; nor does she run aground.
The calm after the storm is disrupted when Rike encounters a ship in distress that is filled with people who do have to live like refugees. Rike wisely initially follows maritime protocol in alerting the authorities; conflict arises when the powers-that-be express less-than-hoped-for concern while strongly directing Rike to not come to the rescue. Part of this relates to not attempting a rescue that endangers the rescuer.
The next round of ensuing chaos relates to the passengers on the sinking ship seeing the sailboat of Rike as a sanctuary that prompts a literal swim for the figurative border. However, Rike does bring one of these passengers on board; the ensuing events epically proves that no good deed goes unpunished.
Fischer and Wolff expertly convey the mounting tension as the situation on the other ship becomes increasingly dire, the still-absent authorities amp up the intensity of their insistence that Rike not jump ship, and the now unwelcome passenger exerts strong pressure to come to the aid of his group.
It is predictable that everything comes to a head (no pun intended) near the end of the film as all act according to his or her nature; the surprising manner in which this occurs reflects the 29 wins for the film.
Movement supplements this with the food-for-thought short film "Ashmina." The excellent pairing of this movella with "Styx" relates to the young girl at the center of it is like Rike in that she is caught between two clashing worlds and faces intense pressure to be a good girl and do as she is told. This is not to mention the girl having a similar third-world existence and aspirations as the refugees on the the "Styx" ship.
The Film Movement Classics division of Film Movement December 31, 2019 pristine Blu-ray release of the 1949 Ealing Studios Oscar and BAFTA-nominated classic comedy "Passport to Pimlico" (paired with a (soon-to-be-reviewed) Blu-ray of the 1953 Ealing comedy "The Titfield Thunderbolt") adds to the mountain of evidence that British fare kicks the arse of American movies.
The scope of this post allows sharing that "Pimlico" is an esteemed member of the genre of brilliant mid-century British political satires. Although not as well known as films such as "Dr. Strangelove" or the cult classic "The Mouse That Roared," "Pimlico" offers the same quality witty subversive social commentary. Suffice it to say that 10 Downing Street gets the royal treatment.
The "go to your local library to learn more" endorsement in this space is in the form of encouraging anyone who enjoys quality comedy based on strong material and quality performances to read the essay and to watch the bonus features in this set.
Highlights of the latter include the insightful and entertaining video interview with BFI curator Mark Duguid. His discussion of "Pimlico" includes its inclusion in the Ealing trilogy that consists of that film, "Whiskey Galore, and the Alec Guinness classic "Kind Heats and Coronets." Duguid also touches on the notable career of "Pimlico" screenwriter T.E.B. Clarke, which includes the Guinness film "The Lavender Hill Mob." Another extra "You Are There" tour of the on-location shooting shooting of the film.
From a more modern perspective, "Pimlico" plays out like an early-season "Simpsons" episode in that surprising increasing hilarity/mayhem ensures from an everyday occurrence gone comically awry.
The excavation of "the last unexploded bomb in England" (until another "last exploded bomb" is found) largely is a non-event in 1947 for this middle-class London community that has a Springfield-quality cast of quirky characters from every walk of life. This literal bombshell named Pamela becomes more newsworthy when a post-Blitz Bart Simpson and his pals engage in shenanigans that cause Pamela essentially to go nuclear.
The first twist is that the explosion reveals an 500 year-old treasure chamber. The "special guest star" that plays a major role in things getting out of hand is Margaret Rutherford of "Miss Marple" fame. Lumpy Rutherford plays the academic historian called in to investigate the discovery; Professor Hatton-Jones indisputably determines that both the treasure and the surrounding environs are the property of Burgundy.
The ensuing hilarity largely revolves around the once (and future?) Londoners in the community embracing living in Burgundy. Much of this glee revolves around these reverse-Brexit individuals determining that they no longer are subject to post-war rationing and other restrictions that the British government is imposing on them. This escalates to "border town" residents rushing to get in on the act in the same manner that Americans flees to Canada and Mexico for similar advantages.
A memorable moment in the interview with Duguid relates to his mentioning a scene in "Pimlico" in which a character comments that the community is defying the British government because that group believes in British principles.
This revolting (pun intended) development triggers a hazy memory of Springfield and/or Homer Simpson declaring sovereignty either separately or in the same episode sometime in the 31 seasons of "The Simpsons."
In true diplomatic fashion, each move by either the new residents of France or their British enemies prompts escalation on either side; this culminates in a siege in which the Brits try to isolate and starve out their former subjects. This culminates in a highly symbolic London ending that reflect the British attitude that many uproars ultimately turn out to be much ado about nothing.
In this case, the play especially is the scene and all's well that ends well. Adding that where there's a will, there's a way is mandatory.
The Film Movement DVD release of the documentary "Coby" provides teen girls who are at any stage of transitioning to male a good guide for what to expect. This film also offers a helpful perspective for parents who are having trouble accepting this desire.
The title refers to the name by which rural Ohio teen Suzanna wants to be known during the period in which she is transitioning from female to male. She later becomes early-20s paramedic Jacob.
The starting point regarding this film is that it serves the documentary purpose of enhancing the knowledge of the general population about a topic of interest. As mentioned above, "Coby" also presents a relatable story to folks dealing with the issue at the heart of the movie.
French filmmaker Christian Sonderegger alternates the focus of "Coby" between the transition period and the present in which Coby and life-in girlfriend Sara share their home with a couple of dogs and a flock of chickens. This footage consists of both interviews for the film and YouTube posts by Coby and Jacob.
Our story begins with Coby chronicling the early days of ingesting testosterone. His excitement regarding his voice getting deeper and the first hair appearing on his chin mirrors the glee of most people who are born male on achieving those milestones. The discussion of the impact of testosterone on personality helps everyone with that substance in his body understand personal forms of aggressive tendencies,
We also hear directly from Coby and his mother about her difficulty related to accepting this child changing genders. This includes discussing a conversation when this pair first talks about then-Suzanna being attracted to girls.
The issue of legal identity is an especially interesting topic. Most of us who do not change gender never think about the name on our license or our credit card not reflecting our outward appearance. This is not to mention the issue of having to present a birth certificate as a form of proof.
The only criticism of "Coby" is the larger issue of online fame. A teen transitioning is relatively rare, and the film provides plenty of food for thought on the topic. However, maintaining a vlog on YouTube or other social media is annoyingly narcissistic. Coby admits in one such video to providing TMI; another post on the removal of his breasts is a little gory.
The bottom line this time is that "Coby" shows that even the kid next door may desire to transition and that he or she has the potential for a full and happy life in a body that is more comfortable than the one in which that person is born.
The Film Movement Classics division of art house god Film Movement once again digs into the vault to perfectly restore a cult classic by releasing separate DVD and Blu-ray sets of the Fritz Lang two-part 1959 Indian epic "The Tiger of Eschnapur" and "The Indian Tomb." The Panorama-style cinematography alone justifies buying the Blu-ray set.
One can only hope that Classics follows the family tradition as to "Dad" following up its epic "Sissi Collection," which is the trilogy of docudramas about the titular Austrian empress with massive mother-in-law issues, with the (reviewed) condensed version of those films "Forever, My Love." Watching the Lang films as an uninterrupted whole truly would be epic.
Classics does both Lang films proud by including a booklet with an essay by film historian David Kalat, a documentary on the epic, and a feature of epic (in both senses of the word) star Debra Paget. Your not-so-humble reviewer does readers less proud by sacrificing reading the essay and watching the documentaries in the interest of timely posting a review of the films that Lang makes on returning after a 20-year exile from Germany that relates to an colossal furor.
The aptly titled "Tiger" commences with new kid in town German engineer Harald Berger chivalrously coming to the rescue of the assistant to famed dancer Seetha (Paget). This leads to this trio going on the road to see the Maharaja of Eschnapur (Chandra), the not-so-wonderful Maharaja of Eschnapur. Seetha is going in response to an offer for a command performance that she better not refuse, and Berger is going for the purpose of performing the public good of building schools and hospitals.
The initial spark between Seetha and Berger fully ignites on his coming to her rescue during their journey.
Although Chandra is a victim of the emerald-eye monster when his (for the moment) honored guests arrive; that is the least of his problems. Older brother Ramigani and his cabal are actively plotting to ascend to the throne that Ramigani considers his birthright.
The escalating tensions culminate in a climatic scene in which Chandra seeks to impose poetic justice on his romantic rival; this involving a cat fight adds an extra layer of aptness. This leads to a dramatic run for the border that seems to be the end of the story.
"Tomb" picks up in the immediate aftermath of "Tiger." Berger effectively is out of the picture; his sister Irene and boss/brother-in-law Walter Rhode are newly arrived and not buying the paper-thin explanation for the absence of Berger. Walter is further incensed as to the insistence of Chandra that he design and construct the titular mausoleum. This relates to the person for whom that structure is being built.
For his part, Ramigani is dividing his time between the final amassing of his supporters and manipulating his younger brother.
While all of this "meanwhile back at the ranch drama is unfolding, central fugitives from injustice initially discover that the golden rule trumps the desert code of hospitality. This leads to a walk-of-shame to face final judgment (and jeopardy).
The drama this time culminates in a great escape attempt that does not go as planned. Ultimately, we get a Berlin ending that significantly differs from the conclusion of Hollywood fare.
The Film Movement November 19, 2019 DVD release of the 2018 coming-of-age drama "Geneses" (aka "Genesis") proves that adolescent growing pains are both timeless and universal. Movement pairing this release with that of a DVD of (reviewed) "The Demons" (2015) by "Geneses" filmmaker Philippe Lesage further shows that Movement does right by lovers of art-house cinema.
"Demons" focuses on the preadolescence of filmmaker Philippe Lesage in the form of adventures of quirky Felix, who shows moderate gay tendencies. This leads to the "Genese" all-boys private school life of quirky teen Guillaume during a time that he and his half-sister Charlotte are learning the facts of life.
The numerous festival wins for "Genese" include "Best Film" honors at the 2018 Montreal Festival of New Cinema and Locarno International Film Festival.
The following Movement trailer for "Genese" expertly conveys the agony and the ecstasy of adolescence behind the aforementioned impact of this highly notable film. The audio commentary by Lesage most likely shares the extent to which this is live and is Memorex.
As Movement observes in DVD liner notes, "Genese" starts strong with Guillaume on top of his desk leading his classmates in a rousing sing-a-long., His ensuing interactions with classmates, including a stereotypical jock, are equally relatable to anyone who has attended high school around the globe.
Guillaume seems overall average in that he mostly is well-liked and can work and play well with others; he further clearly is the class clown. The only real animosity that he inspires is as to a teacher.
All is going reasonably well with close friend Nicolas until Guillaume acts on a love that dares not speak its name. Most adolescents can relate to having romantic feelings toward a friend and struggling with repressing it, The hope that expressing love will be well received is a major aspect of this.
Nicolas is more sensitive than the average teen boy in rejecting the unwanted advance, Not knowing better than to quit when he is ahead, Guillaume expresses his love for Nicolas in a witty and charming class presentation. The aforementioned reputation for being a joker is a factor regarding the response of the peers of Guillaume.
The auto-biographical relationship between Felix and his older brother plays a role as to a deepening friendship between Guillaume and a younger student/dormmate.
Particularly guys who attend a boarding school can relate to being on both sides of a younger brother/older brother style relationship, The younger guy largely is on his own likely for the first time in his life and is surrounded by bigger and more physically mature male classmates. The older guy can remember his early days and also feels protective toward the sweet and sensitive kid who is not quite in his element.
The sad truth that Lesage shares (and likely has lived) is that ignorant societal attitudes that include homophobia often lead to hasty incorrect judgments that can punish folks for kindness and PROPER love. Suffice it to say that things do not end well for Guillaume.
Lasage repeatedly shifts the narrative between the growing pains of Guillaume with the angst of Charlotte. Her relationship with Maxime is derailed when he suggests out of the blue that they start seeing other people. The confusion as to that includes the assertion of Maxime that he is not presently interested in anyone else.
A highly memorable scene involves Charlotte, who has started dating someone else, rejecting the lustful advances of Maxime. This leads to one of them weeping on the floor only wearing briefs and the other trying to console that person.
Part of the rest of this story is that Charlotte gets her first lesson regarding the universal truth that most men are alike.
The voice of experience for all the Charlottes (and Charles) out reflects the wisdom of the comic strip "Calvin and Hobbes." The "from the mouths of babes and tigers" wisdom is that you are lucky if you can find someone whom you can tolerate and they can stand you in return. The bonus advice is to ask yourself if you would be happier without the other person than you are with him or her.
Similar to "Demons," Lesage ends "Genese" with a vignette that centers around love and a big brother-little brother relationship at a summer camp. This inarguably is the most endearing tale that Lesage tells.
Movement supplements all this with the aptly titled short film "The Lesson." That one has a young woman become enamored with an outwardly desirable male motorcyclist only to learn the awful truth. A hilarious scene has the guy mansplaining only to get massively showed up. The man literally ending up in the bitch seat at the end is highly symbolic.
Film Movement provides perfect double-feature fodder by separately releasing DVDs of teen-angst movie "Genese" (2018) and coming-of-age topic du jour "The Demons" (2015) on November 19, 2019, Both movies are semi-auto-biographical as to writer/director Philippe Lesage.
The accolades for "Demons" include a well-deserved "New Director" award for Lesage at the 2016 San Francisco International Film Festival.
The figurative titular malevolent entities plague 10 year-old suburban boy Felix. The experiences of this pre-adolescent provide the perfect context for the quirky teen boy around whom "Genese" revolves. Other numerous parallels as to this film include both opening with classroom scenes of shiny happy students. Additionally, both boys have close friends whose mothers have serious embarrassing issues.
Much of the angst in the life of Felix revolves around his parents having violent fights only to calm down and hug it out with him and his older brother and older sister. This is a factor as to the older brother being loving and protective of Felix. This relationship symbolically plays itself out in "Genese."
Felix having a sensitive nature that manifests itself in aggressive behavior makes his school days challenging. The aforementioned opening moments include a teacher outwardly being cruel by strictly enforcing a rule against lending Felix a pencil; a similar bias plays out in "Genese."
Felix spending much of his time hanging out with his older brother and the teen friends of that sibling puts a boy in the world of a man. This includes playing on his fears as to a rash of local kidnappings and killings of boys of his age. The older guys also speaking critically about one of their peers being gay also causes Felix, who is displaying blatant homosexual tendencies, equally intense angst.
Some gay men and their childhood friends will relate to a play date in which Felix literally has his buddy play the female role. Scenes that revolve around the snatching and the killing of boys will strike a stronger chord with every viewer.
The skill of Lesage as to portraying a boy nearing the cusp of adolescence and another approaching the end of that awkward period is what makes his films Movement worthy and SCREAM for watching them as a double feature. Lesage expertly straddles the line between sensitive and saccharine.
You will feel the agony and the ecstasy of the subjects but never will feel that you are watching either an "After-School Special" or a Greg Berlanti or Ryan Murphy tale of the adolescence of those Millennial gay men idols.
The Film Movement DVD release of the 2013 Italian Gothic psychological thriller "Ritual: A Psychomagic Story" awesomely takes the concept of "50 Shades of Gray" to an exceptional level and celebrates the true spirit of feminism.
Vulnerable Lia is catnip to controlling manipulative Viktor from the moment that they meet; one spoiler is that both display their crazy long before there are any thoughts of putting a ring on it.
Viktor supplementing his compliment of the self-designed dress that Lia is wearing by suggesting that she complement it with the shackle-like bling that he apparently carries around for such chance meetings is the first of many warning signs.
Things "progress" to insanely jealous Viktor exerting increasing control over Lia to the point that she literally drops her panties as his command. Further kink comes courtesy of Viktor blindfolding his willing victim.
Lia finding herself with bastard introduces further drama in the relationship. Viktor insisting that Lia terminate the pregnancy does not help matters.
The audience being a fly on the wall during therapy sessions that earn Lia portrayor Desiree Giorgetti at least a festival award provides further context for the dynamics of her relationship with Viktor. This relates to her premature introduction to womanhood being horrific for her.
A rude awakening convinces Viktor to reverse his denial of a request by Lia for a therapeutic visit with her aunt Agata, who lovingly raised Lia after the death of her mother. The icing on the cake is that Agata lives in the beautiful old family villa, The fly in the ointment is Viktor crashing the family reunion.
The rest of this portion of the story is that Agata is either a new-age healer or a witch depending on the mindset of the beholder, No one can dispute that she gets wonderful results for those who consult her.
The Shakespearean magic of this idyllic locale includes the nicest kids in town taking Lia under their wings. This offsets an highly psychological haunting.
All of this culminates in a titular rite that reinforces the girl power theme of the film.
The appeal of this character study is that Lia is a character well worth studying.
The Film Movement DVD release of the 2011 Danish drama "Room 304" facilitates North American cinephiles watching a recent (and great) addition to the drama (and comedy) subgenre of movies and television series that center around the lives and loves of hotel guests and staff, These range from the Greta Garbo film "Grand Hotel" to the Aaron Spelling '80s series "Hotel."
The following YouTube clip of the Movement trailer for "Room" aptly showcases the haunting atmospheric tone of the film.
The opening narration sets the proper mood for this engrossing dark drama by noting that the guests who laugh in a room may be staying in the same space where someone cried the previous night. "Room" further demonstrates its art-house cred. by following the modern indie film practice of often shifting the action between the present and the past in a manner that leads to a present climax.
The film centers around Kasper the adulterous hotel manager. We know early on that he uses his place of employment for nooners and that his partner-in-crime is Nina. We learn throughout "Room" that Kasper is dipping his pen in company ink and later discover the extent to which his relationship with Nina is complicated. An aspect of this is the depth to which we get in the mind of Kasper.
We also get Spanish stewardess Teresa, who takes a personal impromptu layover at the hotel in an effort to get her groove back. The manner in which her booty call with Mr. Right Now goes south provides one of the more alarming and compelling scenes in "Room." This encounter also provides a cautionary tale for those of us who fantasize about a hotel bar pick-up.
Sour and socially awkward but efficient desk clerk Martin is the most interesting member of this cast of characters. His response to being directed to smile more is hilarious.
We additionally get an Albanian couple who work at the hotel; their story involves the standard tale of the arrival of a guest with whom they have a past.
The two Filipino maids who serve as a Greek chorus round out the group. These young women additionally make frequent and infrequent travelers think about who cleans their rooms.
The filmmakers do an excellent job connecting all the dots in this maze; the audience further gets the delight of discovering how the glimpses of "Christmas yet to be" relate to visions of "Christmas present" that come later in the film.
As mentioned above, Kasper provides the common thread throughout these varying degrees of separation. This tortured soul further drives the complex web.
Although "Room' succeeds regarding its objective to prompt hotel guests to think about the history of their chamber, the film also touches on the larger picture of general privacy at hotels. You should assume that you are being filmed in public areas, but there is a history of real and reel reports of things such as cameras in hotel room televisions.
A personal philosophy regarding the latter is that adults know what goes on behind closed doors, and that someone who is watched engaging in any form of that activity should be comfortable in knowing that he or she is not acting in a shameful manner. The same cannot be said if the closed door is part of an elevator or a hotel linen closet.
The September 17, 2019 DVD release of the 2019 documentary "The Kids' Table" provides a good chance to watch an amusing old-school style film. This chronicle of four 20-somethings competing in the national bridge championship does for that dying card game what the 2002 documentary "Spellbound" does for the national spelling bee.
A fun aspect of the below trailer for this film about an activity that is tedious to watch and to play except for those who thoroughly enjoy it is that this promo hits most of the best moments in this film that achieves the documentary ideal of being equally entertaining and educational. Director/team captain (and player) Edd Benda makes a great poster boy for this past-its-prime pastime.
"Borrowing" the well-written and concise summary of "Table" from the press materials for the film is in the spirit of one theme of "Table" that younger people do not want to take the time to learn how to play bridge. This seems akin to the adage that chess takes a moment to learn and a lifetime to master. That aspect takes the fun out of playing with the "horsie" and the "castle."
The 25-words-or-more take of the official synopsis is "four millennial friends - filmmaker Benda, comedian Monique Thomas, Twitch host Stefanie Woodburn and actor Paul Stanko - bridge novices all, train and compete for a year on the National Bridge Circuit, going behind-the-scenes to better understand the game and its waning popularity. And as the millennials explore the world of competitive Bridge -- where the average age of their opponents is 73 - they discover the highs and lows of card-play, competition, and community while, hopefully, helping to build a strong foundation for the future of the game."
Benda shares his story of learning to play bridge as a child; the others largely seem to be along for the ride. Stanko is the scene-stealer in that he is the weakest link and has limited youthful exuberance for the game. All this makes him the one who seemingly needs the most coaching.
This quartet further entertains as we get caught up in the thrill of their victories and the agonies of their defeats. A high point for the players and the at-home spectators is the nicest kids in town scoring a highly coveted endorsement deal.
Another highlight is a figurative and literal tutorial on the rules of the game; this includes a frustrating electoral-college aspect that relates to the possibility that the team that wins the majority of the 13 rounds in a game still are branded the losers.
Benda additionally introduces us to two young teen boys, who literally are playing with the big boys. These lads charmingly admit their love of the game does not make them BMOCs.
Benda makes going along for the ride great fun and leaves us wanting more for our stars; it also prompts a desire to break out the bridge mix and help revive the game.
The most important point to consider regarding the Film Movement DVD release of the 2018 documentary (which plays like a docudrama) "Over the Limit" is that the appeal of this telling of the tale of Olympic Gold medalist Margarita Mamun extends well beyond sports fans. Pointing out that Variety aptly compares "Limit" to "Black Swan" does not help this case much but illustrates that this is another overcoming adversity story in the same style as "Rocky."
"Limit" being a New York Times Critic's Pick and figuratively earning the Gold at the 2018 Krakow Film Festival further documents the quality of this film for the masses.
The following Movement clip of the official US trailer for "Limit" highlights the intensity of the film and of the central relationship between Magmun and coach Irina Viner. There is NO doubt that a docudrama of this story would NEED to be titled "The Devil Wore Talbots."
Much of "Limit" centers around Magmun either training for competitions leading up to the main event or actually competing. Viner literally is there every step of the way mercilessly berating the gymnast and almost as diligently ensuring that this athlete always stays on her toes. This aspect of "Limit" should make it mandatory reviewing for any parent or "participant" who thinks that a recreation league or school coach is too hard on the kids.
One interesting dynamic is watching the mother of Magmum be good cop to bad cop Viner. This plays out in one of the most notable scenes in "Limit." The two parental figures argue about the allowable level of support that actual Mom can show her little girl.
We also see a friendly rivalry between Magmun and a fellow gymnast; the conflict here is that only one can be the best. This kinder and gentler version of the Tonya Harding and Nancy Kerrigan dynamic warrants kneecapping jokes.
Although folks who already are familiar with the tale of Magmun know the end of "Limit" before it begins, seeing how she gets there truly is all the fun. Everyone will cheer for her and feel her agony and her ecstasy.
Movement supplements "Limit" with the bonus 11-minute short "Iron Hands." This "Rocky" story tells the tale of a plucky 12 year-old girl bonding with a groundskeeper with a "history" while the girl does her final training for her tryout for the prestigious traditionally all-boys Chinese youth Olympic weightlifting team. The twice-told moral here is to not judge a book by its cover.
The final commentary regarding this sports-oriented double-feature is that they make particularly good viewing for a quiet weekend afternoon.