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.
Breaking Glass Pictures takes a break from international queer cinema DVD releases that range from the flirty to the filthy to offer the highly compelling stylized 2013 Italian drama "Naples in Veils." This sophisticated sibling of Lifetime fare centers around coroner Adriana being a donna on the verge of a nervous breakdown.
Some of the numerous accolades for "Veils" include a "Best Cinematography" win at the 2018 David di Donatello awards and "Best Actress" at the 2018 Moscow International Film Festival.
The following Breaking trailer for "Veils" tantalizes with glimpse of the intrigue and the award-winning cinematography. You also see that Breaking gives a breeder boy a chance to show that he more than qualifies to flaunt it.
Early Euro drama commences with a flashback in which we see (presumably) Adriana as a child see (presumably) her mother (presumably) commit a (presumably) heinous act. This memory haunts Adriana as she watches a symbolism-dripping live sacrilegious performance of a bizarre variation on the Joan Rivers-Billy Crystal pregnant man '70s comedy film "Rabbit Test."
In true Lifetime fashion. Adriana invites fellow audience member Andrea back to her place without any pretense as to showing him her etchings. This beginning of a beautiful friendship with benefits turns into a one-night stand when Andrea stands up Adriana. His (presumably) showing up on her slab the next provides a (presumably) good excuse for ghosting (pun intended) her.
The first element of twin (pun intended) hysteria ensues on Adriana learning that the guy with whom she shares genuine intimacy after a brief conversation is not the guy whom she thought that he was. The follow-up is being convinced that she repeatedly thinks that she sees her short-time companion walking about after he shows up at her workplace.
The latter is soon explained by the object of the obsession of Adriana identifying himself as Luca, the essentially separated-at-birth identical twin brother of Andrea. Two spoilers are that Luca lacks both a goatee and an eye patch.
Adriana harbors the brother from the same mother while seeking answers as to the alleged nefarious activity of Andrea and the reason for his (presumed) murder. The indications that Adriana may have possession of either a coveted possession or information further keep her embroiled in the plot.
The highly symbolic Euro drama continues as Adriana and Luca pursue their "its highly complicated" relationship while Adriana seeks closure as to her relationship with Luca. The fact that insanity does not run, it gallops, in the family of Adriana does not help matters.
The strong quality of every aspect of "Veils" unambiguously is why it meets the high standards of Breaking; the incredible ambiguity and layers of meaning make it even more special.
This is not to mention the uncertainty as to both the cause and the effect of virtually every event; this begins with Adriana possibly scoring with Andrea solely based on his believing that she is the girl with something extra.
Breaking supplements this with deleted scenes and a "Backstage with Cast & Crew" special feature.
The Breaking Glass Pictures DVD release of the 2018 drama "Drive Me Home" expands on a common theme in Breaking films. Many of the World Cinema indie flicks in the Breaking catalog are about gay teen boys or post-adolescents reuniting between 10 and 20 years after parting ways in a manner typically involving trauma and drama.
The following Breaking trailer for "Drive" showcases the edgy energy and the stylistic look of the film.
Early scenes center around Sicilian teens Antonio and Agostino dreaming of creating a Utopia (complete with a crocodile-laden moat) on the family farm of the former. Their paradise is lost when Agostino abruptly leaves literally without so much as a ciao to his BFF.
The fast-forward this time is roughly 15 years. Antonio tracks down Agostino in his big rig at a truck stop. Whether Antonio provides some combination of ass, gas, or grass for the subsequent journey (including a night at a bathhouse) remains to be seen.
The pattern of the main part of the film remains largely true to form. The chums catch up, obtain closure, and gain a deeper understanding of the other person. Agostino being able to fully express himself to his friend is a highlight.
Seeing Agostino play a (frequently exasperated) older brother role adds good charm to the film. This additionally verifies that he is the "adult" in the relationship.
The rest of the story is that the motives of Antonio extend beyond wanting to reconnect with arguably the most stable influence in his life. His now-abandoned homestead is about to go on the auction block to pay back taxes, and he is hoping that Agostino will buy the farm. This is akin to high-school boys who jointly run a summer business dreaming of that becoming their vocation.
The joy of this and the rest of "Drive" is that it keeps the realistic twists coming to the end, We further see how everything is connected and that life is a series of comprises.
The DVD extras include deleted scenes and a Sky TV interview with the director and the cast.
The Icarus Films and Distrib Films collaboration as to the June 23, 2020 DVD release of the 2019 French based-on-a-true story drama "The Perfect Nanny" (nee "Chanson deuce") once again proves that Euro cinema far outshines Hollywood (and U.S. indie) fare across the board. This story of a governess with a dark passenger is a high-quality production that likely would have been a Lifetime-caliber movie if made here.
The following trailer for "Nanny" PERFECTLY captures the world-class work by director/writer Lucie Borleteau and the equally strong portrayal of titular caregiver Louise by Karin Viard.
The social commentary alone makes "Nanny" worthy of study in either a sociology or film class. This begins with voice-over narration by mother/attorney Myriam discussing adding infant Adam to her family that includes musician husband Paul and young daughter Mila. Speaking as the once parent of two littermate kittens after losing an "only child" cat, it is easy to understand Myriam feeling overhwhelmed after voluntarily becoming outnumbered. (Challenges includes one "kid" getting wise and hiding after my capturing the other to go to the vet and that same sibling constantly eating both his food and that of his brother.)
The next commentary comes in the form of Paul noting in response to Myriam expressing a desire to return to work that having a nanny would eat up the entire amount that Myriam would earn as a litigator, That is a more of a statement as to the value that yuppie couples place on delegating their childcare responsibilities than it is on the perceived worth of a legal advocate.
The next segment consists of the trope of comically toxic applicants, including a quirky college student, for the caretaker job until perfect candidate Louise shows up. One spoiler is that this is not a case that she is there to sell make-up but the father sees more.
The subtle manner in which Louise (with more than a little help from her friends) subsequently descends into madness is much of what sets "Nanny" apart from a basic-cable movie starring Tracey Gold. This starts out with things such as overreacting to an playground incident and arguing with Myriam as to giving the children yogurt that is past its expiration date. That debate alone is particularly apt in this era in which food is becoming more expensive and harder to find.
The creep factor really sets in when Louise increasingly treats older child Mila in a very adult manner; making up that five year-old in a grotesquely whorish manner is the tip of the iceberg as to that particular practice. Louise passing that off as a harmless game on being confronted amps up the creepiness factor.
That incident and many others introduce commentary in the form of the debate regarding whether to keep a clearly bad (and potentially dangerous) individual on the payroll and realizing that outwardly good help is hard to find. In other words, Paul and Myriam must balance endangering their children with the desire of Mom to feel fulfilled.
The seemingly innocent ways that Paul and Myriam inadvertently push Louise to the inevitable edge include confronting her about an embarrassing legal matter and a last-minute temporary substitution of caregiver. This leads to both disturbing scenes of the home life of Louise and the equivalent of a "boiled bunny" moment at the home of her employer. An amazing aspect of the latter is that even that does not prompt the couple to toss the nanny out on her fanny.
All of this leads to an exceptionally well-executed climax that really shows the chops of both Borleteau and Viard. You WILL avert your eyes.
The fact that "Nanny" is ripped-from-the-headlines shows that the story of Louise is sad but true; the fact that such incidents occur in many countries shows the almost universal aspect of the film. The final piece of this trifecta is that "Nanny" easily can be made line-for-line and shot-for-shot in the U.S.
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 TLA Releasing DVD release of the 2017 Mexican drama "Seeds" (nee "Cuernavaca") shows both that everything is relative and that relatable growing pains can be traumatic. The accolades for this Dickensian coming-of-age tale include the Best International Feature Award at the 2018 Borderlands Film Festival and three honors at the 2018 Films Infest.
The following YouTube clip of a "Seeds" trailer provides a sense of the angst of central character Andy; the glimpse of the wonderful cinematography reinforces the hope of a future Releasing Blu-ray of the film.
Tween Andy is a Dickens stereotype in that he is small, quiet, pale, and classically blond. Sadly, nothing about him even early in the film supports the theory that people with that hair color have more fun.
Andy literally is clinging to a connection with his absent father in the opening scenes; his early interaction with his essentially single mother is very reminiscent of the parent-child relationship in "The Sixth Sense." This is down to Mom picking up a despondent Andy after a typically depressing day at school.
Rare mutual joy in the lives of Andy and his mother is short lived. Their grand afternoon out is continuing with ice cream when a "sliding doors" moment leads to Mom, rather than Andy, becoming the victim of a violent crime. This contributes to especially strong survivor's guilt.
The Dickens vibe initially picks up on the authorities being unable to locate the father of Andy to care for him during the hospitalization of his mother. This leads to the boy travelling to the titular rural suburb for a temporary relocation to the guava orchard of his firm but fair (functioning alcoholic) grandmother Carmen. The DVD liner notes state that Carmen portrayor Carmen Maura has a history of collaborating with Pedro Almodovar.
The eccentric members of the household include an aunt with Down's Syndrome, who provides a herd of cats with unnecessary ongoing medical care. There also is young fieldworker/kitchen helper Esmeralda, who essentially is child labor.
The guava of the eye of Andy is teen gardener Charley. Part of the artistry of "Seeds" is ambiguity regarding whether the younger boy sees the older one as a cool guy, a brother figure, a substitute father, or an object of carnal affection. Similarly, the feelings of Charley toward the boy are not very clear for much of the film.
One clear aspect of the Andy/Charley relationship is the latter taking advantage of the other. The boy being relatively wealthy, lonely, smitten, and otherwise vulnerable paves the way for Charley to con him. The aforementioned susceptibility to being taken includes Andy being desperate to reach his father to rescue him from his unfortunate circumstances. This includes the very Dickensian threat of boarding school.
Charley also provides context for the form of class divide that is common in Mexico and not unheard of El Norte. His modest home in his working-class neighborhood is just beyond a symbolic gate in an equally symbolic wall on the estate of Carmen. Further, Carmen heads an unofficial group of "respectable" members of the community that is seeking to run Charley and his kind out of town.
Twin drama ensues as Charley persuades Andy to fully betray his grandmother at a time that the prodigal son at least is back for a short visit. The two lessons here are to not invite the beast into the parlor and that a leopard never changes his spots.
The impact of all this on caring and trusting Andy is adequately heartbreaking to set "Seeds' apart from more cookie-cutter coming-of-age stories. Those films typically have the boy with at least strong gay tendencies end up with the right person and come out the other end of a traumatic experience wiser but not permanently sadder.
The first difference here is the nature and nurture combine to make Andy much more delicate than the typical emo twink boy next door who is starting to look at either his childhood friend or the new guy in school in "that way." Our lead seems destined either to spend his teen years locked in his room reading or shooting up the cafeteria at lunchtime. Either way, you cannot help feeling very sorry for him and hoping for the best.
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.
Icarus Films comes close to boldly taking cinephiles where no man has gone before regarding the DVD release of the 2017 politically oriented supernatural-thriller "Jupiter's Moon." This tale of a Syrian refugee becoming the boy with something extra has something for everyone and must be seen to be believed.
The numerous accolades for this Palme d'Or-nominated film include a very apt Fantastic Features win at the 2017 Austin Fantastic Fest. The Best Film award at the 2017 L'Etrnage Festival is equally appropriate.
The opening scenes of aforementioned young man Aryan Dashni riding a bus in an effort to illegally enter Hungary strike a good balance between exposition and getting down to the action. A police raid leads to Aryan getting shot and left for dead in one of several visually stunning "Moon" sequences. He soon discovers that his rebirth includes an ability to levitate at will.
In traditional movie-narrative style, we also soon meet Dr. Gabor Stern. He is engaged in a rather shady ongoing money-based scheme with his colleague Vera. It is clear that money is not a factor regarding their romantic relationship.
World-weary police official Laszlo brings this marginally God and Jesus pair together in the aftermath of the raid. He and Gabor have an uneasy friendship with limited benefits. Laszlo looks the other way much of the time as Gabor facilitates patients at a refugee camp being set free in Hungary.
Aryan soon comes out to Gabor on their meeting at the camp; this leads to the pair beginning a beautiful friendship based on mutual profit. Gabor will exploit the talent of Aryan, and the boy will obtain limited freedom.
Much of the conflict relates to Laszlo proving that his Momma did not raise no fool. He accurately concludes that Gabor has absconded with Aryan but has great difficulty taking the stranger in a strange land back into custody. Gabor additionally plays the Gladys Kravitz role in the film by knowing that Aryan can fly but being unable to get anyone to believe him.
The plot further thickens on Aryan confiding in Gabor regarding a plan to reconnect with his father, who is a suspected terrorist. This leads to an exceptional sequence in which the Chosen One finds himself in the middle of a terrorist plot.
We additionally learn why Gabor needs a large amount of money. This relates to his effort to rebuild his life after a tragedy that can be considered punishment for his sins. The extent to which Aryan is sent from above to facilitate this salvation is ambiguous.
The expected grand-scale mayhem at the end of "Moon" ends on a note that is very surprising beyond the actual partial resolution that it provides. The positive and strongly religious final images leave one with much more of a sense of serenity than the entire film suggests would lead to the closing credits.
The bigger successful trick of "Moon" is presenting heavy political commentary in the form of a religious-oriented fable in a compelling manner without being preachy.
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.
Cinema Libre provides an awesome twofer regarding the April 7, 2020 DVD of the wonderfully edgy 2019 Icelandic drama "From Iceland to Eden." This film shows that quality cinema still exists and that home-video more than compensates for arthouses and cineplexes facing the wrath of COVID-19.
The opening scenes strike the desired balance between exposition and starting the action. Nearly naked 20-something Oliver finds himself in a bathroom with equally compromised peer Loa. He is there on the run from the law, which is in the midst of raiding his supply of assorted illegal drugs; she is there sleeping off a wild night with her host, whom our near-future young lovers find dead from an overdose.
One of several film highlights courtesy of Oliver portaayor Hansel Eagle, whose credits include "Shirtless Dancer" on an episode of "Black Mirror," comes soon after this initial meeting. Oliver casually reciting the increasingly hardcore list of drugs in his inventory triggers Loa remembering him as a well-known drug dealer on the club circuit. An even better moment comes when Oliver expresses displeasure as to having imminently facing a hammer attack at one end and a "cock up my ass" at the other. The performance of the actor playing second-generation drug dealer/"Little Mermaid" fanatic Tumi adds great entertainment value as to that dual threat.
Oliver and Loa soon demonstrate the dual follies of youth and heavy drug use by scheming and dreaming of life in the titular paradise, which is Cuba in this case. This caper commences a development that is relatable to virtually anyone who has had a post-college roommate. Loa convinces her friend to harbor her and Mr. Not Right in the Head for one night despite the opposition of the other guy who shares the place. Of course, this turns into an extended stay.
The daring deeds of our dynamic duo, which including putting Loa at risk of losing what is left of her virtue, quickly escalate, This includes a not-so-bold grab of a stash and cash to a "one last job" plot to be armed and dangerous party crashers at Chez Tumi. Needless to say, things do not go as planned.
All of this culminates in a very surreal ending that both brings things back to the beginning of the film and offers proof that everyone has a soulmate.
The big picture this time is that all of us want a better life, and some of us must work a little harder toward enjoying that desired Utopia.
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.
Breaking Glass Pictures timely gave the viewing public a New Year's gift by releasing the 2017 Israeli drama "Scaffolding" on January 1, 2019. The delay in sharing thoughts about this coming-of-age film is attributable to Breaking Glass and other indie-film studios keeping this site very busy with the regular awesome additions to their catalogs.
The numerous accolades for "Scaffolding" include a well-deserved Israeli Film Academy Best Supporting Actor award for the man who portrays high-school literature teacher Rami. He represents the cultured side of the art versus commerce conflict with which excitable boy Asher is dealing. Tough and gruff dad Milo represents the other side.
The following YouTube clip of a "Scaffolding" trailer introduces the theme of the film and provides a strong sense of the characters.
Seventeen year-old Asher is the good son when "Scaffolding" opens; he is a strong and obedient offspring who happily is devoted to the titular company of his self-made man father, High school is a mutual nuisance regarding this highly disruptive presence and that educational institution.
The scales begin to tip in favor of book learning when Rami reaches Asher at a time that the boy also is facing his final finals. The conflict that is at the center of all films of this nature relates to Milo literally needing the help of his son more than ever. Milo directly stating that school is not very important creates more emotional turmoil.
The plot thickens on Asher experiencing the type of angst related to Rami that many of us feel when we view a high-school teacher as a parental figure. A blow to that relationship always hurts, and it is worse when we do not fully understand the cause.
The search for answers causes Asher to fully go out of bounds; of course, this merely worsens his situation.
The artistry of the "Scaffolding" relates to the understated manner in which this universal story unfolds. The actors who portray the three sides of the triangle all play their roles well. We are spared violently frenetic dancing in an empty warehouse and any other excessive demonstrations of teen angst.
We also do not get any extreme displays of adult frustration or other strong feelings. This makes the pivotal act of desperation by Rami especially surprising.
The international vibe of "Scaffolding" continues with the special features. A 20-minute making-of short is in Hebrew without subtitles; the five-minute version has subtitles.
The striking images and related spectacular cinematography in the Breaking Glass Pictures DVD release of the 2018 drama "Holiday" alone justify adding this film to your home-video collection. It also makes one wonder why Breaking does not spring for a Blu-ray release.
The festival love for this entertaining tale of the trophy girlfriend of an abusive drug lord includes numerous top honors. These accolades include Best Picture at the 2018 Austin Fantastic Fest and Best Director at the 2018 Nordic International Film Festival,
The following YouTube clip of a "Holiday" trailer does not do the style of the film justice but does provide a strong sense of the misogynistic elements and the counter-balancing theme of material girls with blonde ambition considering the boy with the cold hard cash to always be Mr. Right despite the cost of the relationship.
Early scenes have our heroine (pun intended) Sascha getting called out on a damsel-in-distress routine on the cusp of the extended titular vacation with aforementioned pusher Michael, This trip is to pimped-out villa in Bodrum on the Turkish Riviera, Their travel companions are the business associates of Michael and the significant others and children of those legitimate businessmen.
Although lounging in the sun, playing games at the arcade, and clubbing is fun, Sascha soon learns the same lesson as her "sisters" that anyone who "marries" for money pays a high price for enjoying the lifestyles of the rich and loathsome. This includes having to put out on demand and dealing with a man whose temper (and temperament) essentially precludes finding someone to stick around out of love.
One of the best and most telling "Holiday" scenes has a bored Michael sitting in the bitch husband chair at a jewelry store while Sascha shops. This kept woman selecting emerald earrings aptly provides her a sense that she is not in Kansas anymore. Another way of looking at this is that it shows the intersection of her grasping greed and the combination of the lust of Michael and his desire to have a status symbol other than a tattoo on his arm.
More drama enters the picture when Sascha strikes up an unsanctioned relationship with a yachting type. Handsome and kind sailor Thomas shares an intimate moment with Sascha, and both of them want more than a one evening stand. This prompts a jealous Michael to lure Thomas to the villa under false pretenses. The feral aspects of that evening show the true natures of both men.
The climax follows when Sascha plays a booty call gone wrong on Thomas; this leads to her becoming a girl interrupted who truly is dazed and confused. This adds to the morality tale aspect of this beautiful and compelling film.
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 IndiePix Films DVD release of the 2016 drama "Agony" is a perfect example of a neo-modern psychological drama; the social commentary on the dystopian existence of Millennials is icing on the cake.
This fact-based tale of two Millennials centers around the quarter-life crises of law student/aspiring judge Christian and recent Army vet./rapper/boxer Alex. The actual collateral damage of the post-teen angst of one of these "we need to talk about" boys is a 20-something woman whose remains get spread all over Vienna.
Alex divides much of his time between training at his gym and hanging out with his best friend with whom he not-so-secretly would like to obtain benefits. Christian studies hard, frequents the local club, and has a girlfriend/chum.
Rookie writer/director David Clay Diaz fairly evenly divides the screen time between these fine young cannibals. The few seconds of blackness between the segments devoted to them provide segues.
Being boomerang kids who essentially have trouble paying the 'rent is a common characteristic of our subjects. The lord and the lady of their respective manors express frustration regarding failing to pull their weight,
Alex has it worse; his father is a cop, who is increasingly frustrated both regarding keeping his son in protein powder and this Peter Pan lacking a viable career path. The former having to literally bail out the latter does not help matters.
For his part, Christian generally is angsty and is contending with an important test. A tense "meet the parents" aspect and his girlfriend being clingy does not help matters.
The dual climaxes of "Agony" revolves around both boys succumbing to the pressures in their lives. One takes a stab at relieving that pressure; the other decides to bag it. Both endings show that the kids are not alright.
The numerous merits of the film begin with the strong relatability regarding this movie about two 20-something guys having difficulty transitioning from being boys to fully manning up. This extends to showing that even Millennials who seem to have their lives together face the same challenges as apparent slackers. This is not to mention the ills associated with being on both sides in a relationship with unrequited love.
The underlying social commentary that includes the concept of "if it bleeds, it leads" and the fact that any similarities between our excitable boys and any persons living or dead is not purely coincidental adds good depth. These elements, along with the production quality of "Agony," elevate the movie above being an "After School Special" or a Lifetime Movie,
Icarus Films continues a long history of making (mostly foreign) "provocative" films available in North America with the release of the 2017 Chinese film "Angels Wear White." The 26 wins and additional 41 nominations for this film about a public official sexually assaulting two middle-school girls verify that this is a special addition to the incredible Icarus catalog.
The aforementioned accolades include Best Film and other top honors at the 2018 Asian Film Awards. Closer to home, "Angels" receives similar love at the 2018 Nashville Film Festival and the RiverRun International Film Festival.
Our story begins with middle-school girls Wen and Xin arriving late at school; their positive and less-than-positive interactions with classmates indicates that things are the same everywhere.
The plot thickens on school authorities and the 'rents getting involved. It quickly is learned that the girls are the victim of a sexual assault at the motel where they spent the night. The perpetrator being a local government official complicates matters.
Director/writer Vivian Qu divides the action between the investigation and the two older teen girls who live and work at the scene of the crime. Similar to the dynamic between Wen and Xin, Lily is a lazy party girl who spends a great deal of time with smooth criminal boyfriend Jian; Mia is the country mouse who wants to do the right thing but is vulnerable because she lacks the documentation that legal status requires.
Attorney Hao is the conduit between the two narratives. She wants to protect the victims against police coercion and also is persuading Mia to tell the truth,
Meanwhile, the aforementioned Commissioner is using every weapon in his arsenal in an effort to try to protect his freedom and his reputation. This includes exerting pressure on a man with unclean hands regarding the attack.
We also get a highly cynical negotiating session; this harsh scene includes the highly symbolic message that an iPhone should be of adequately high value to serve as payment for allowing sexual assaults to go unpunished. The significance is that the average Chinese person cannot afford this luxury item that Chinese workers are paid very little to produce.
The conclusion of "Angels" is surprising and provides the last bit of commentary on modern Chinese culture. We see the extent to which the government will go to maintain a facade of an orderly society and to protect the men in power.
The numerous themes in the movie show that it is one to watch; it provides a relatable dilemma and paints what seems to be a realistic picture of China. We additionally get reminded of the perils of hanging out with a bad influence.
Icarus Films once more shows the immense value of world cinema as to the DVD release of the 2017 Indonesian feminist drama "Marlina the Murderer in Four Acts." This compelling movie with a strong live-stage vibe shows that Quentin Tarantino does not have the monopoly on Amazon warrior revenge films.
The 17 wins and 25 additional nominations for "Marlina" show that director Mouly Surya has all the right stuff; these accolades include numerous honors at the 2018 Film Festival Indonesia and Best Cinematography at the 2018 Asia-Pacific Film Festival.
The following Icarus trailer for "Marlina" clearly shows the Tarantino and classic Western influences on this must-see film.
The titular felon is a relatively recent widow living in relative isolation on her farm; as is typical for good storytelling, the extent of her woes is revealed throughout the film.
The nightmare begins within the first moments of "Marlina." Bad hombre Markus shows at her door and immediately plays cat-and-mouse. The horrible truth is soon shared when the interloper matter-of-factly tells his hostess that his gang is on their way to steal all of her livestock and to rape her if they have time after that theft. He adds insult to those imminent injuries by ordering her to start cooking dinner for the group.
As the film title indicates, things do not go as planned. This leads to the second act that centers around Marlina taking the long journey to the nearest town to report the crimes and her response with extreme prejudice. This trip involves both "persuading" a bus driver to co-operate and an overdue pregnant woman with her own man troubles to join the crusade.
The response of the police is true to factual and fictional patterns; any viewer with a soul will want to smash the typewriter of the cop who takes the statement of Marlina over his head.
The long arm of the law coming up short leads to showing that you sometimes must send a woman to do the job of a man. The even more sad truth as to this is that it demonstrates the limited extent to which the phrase "you've come a long way, Baby" applies.
All of this leads to a climax that brings the action back full circle to the beginning of the film; the sad messages as to this are that things never change and that you often much take matters into your own hands.
The bonus features include behind-the-scenes coverage and an interview with Surya.
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 Breaking Glass Pictures DVD release of the 2018 Buenos Aires-based drama "We Are Thr3e" aptly can be considered the non-missing link between the Breaking tradition of releasing (often artfully arousing) gay-themed films and more mainstream world cinema fare. "Thr3e" sensitively (and mildly arousingly) explores the theme of a long-term loving male-male-female relationship. Minimally, it will give anyone near the middle of the Kinsey Scale something about which to think.
One spoiler is that any guy with an interest in having a broamce include benefits is encouraged to show his buddy this film and proceed according to his reaction.
Breaking does an especially good job communicating the theme and the tone of the film in the following trailer. It clearly shows that the cast is well selected and that writer/director Marcelo Briem Stamm is a good spokesperson for relationships that further expand boundaries in an era in which gay couples receive widespread acceptance in much of the US and beyond.
The depicted genesis of the relationship between Russian-born bartender/free-spirit Sebastian, conformist Argentinian Nacho, and divorced girl-next-door Ana reflects the truism that no one can predict when any form of relationship will develop while engaged any form of activity. The rest of this story is that love more often stems from when you are not seeking it than from when you are searching for Mr. or Ms. Right (or Right Now).
Nacho and Ana meet cute at a party; Sebastian literally and figuratively enters the picture when the other two go in search of the bar. Sebastian soon subtly seduces (but does not abandon) the latest objects of his affection. Although Sebastian calls many of the shots and largely directs the course of the relationship, a morning after scene makes it clear that he is not one of the chosen people.
A pivotal (and particularly well-played) scene is a variation of a situation that is very relatable to any dude who has been on either side of this interaction. Sebastian takes an unauthorized break to catch up with a bonding Nacho and Ana. The sense of relatability continues with Sebastian orchestrating things so that Nacho faces the test of (presumably) having his first mano a mano kiss. The hesitancy of Nacho to take this step provides an early in a series of looks at the skill of Sebastian to proceed things at the pace that Nacho and Ana can handle.
Thing fairly quickly proceed to Sebastian presenting logical arguments for the trois to form a long-term loving menage. The point of reference this time is feeling love for someone who is unable to fulfill all of your physical and/or emotional needs. All of this being out in the open at least as to the three willing participants arguably is worth trying.
One thing on which Stamm does not directly touch is the desire for male intimacy that virtually every man directly or indirectly feels as evidenced by previously largely straight Nacho not displaying much resistance as to the advances of Sebastian. This often manifests itself in the form of at least curiosity as to sex with another man regarding whom there is adequate attraction and trust to deal with the physical and emotional aspect of crossing the final frontier. Some acts are enjoyable for some of us only when you love the one with whom you are with.
The theme of love conquering all continues with Nacho especially becoming emboldened as to sharing the nature of his current relationship. The analogy here from the early days of the campaign for equal rights for gay men essentially is that the friends and family of Nacho must process not only that he now likes men but also has someone special in his life.
Stamm and his cast do a good job keeping things seemingly realistic as to the early sense of Nacho and Ana that the absence of Sebastian creates a hole. The same is true regarding Nacho and Ana inadvertently making Sebastian jealous.
We further see the complications as to our trio already contending with the practical issues that arise in any romantic relationship that further are complicated as to the nature of their arrangement. Accountant Nacho raises many of the transactional considerations, such as the law and business institutions only recognizing one spouse in a relationship.
The bigger picture (no pun intended) is to the extent to which the vision of Stamm is prophetic, The next stage as to gay relationships may be the "straight" guys who traditionally use the anonymous cruising methods of the era to be more open by getting everything that he needs at home, including a willing "beard," who actively participates in her two men mutually enjoying intimacy.
Sebastian addresses the female perspective by offering Ana husband material in the form of Nacho and boyfriend material in the form of himself. Many modern women likely would enjoy having her cake and the hunky baker as well.
The DVD bonuses include what must be an insightful interview with the cast and crew. A time constraint when watching "Thr3e" requires delayed gratification as to that feature.
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 Icarus Films DVD of the 2017 Chinese drama "The Widowed Witch" helps bring one of the most stylized and bizarre (not to mention honestly cynical) films in the past few years to North American audiences. Whether "Witch" casts its spell on you partially depends on whether you believe in magic (i.e., whether you believe that you believe that you do.) A related note is that if your mission is magic,your love will shine through.
The accolades for this bizarre comically tragic mash-up of the '60scoms "Bewitched" and "The Andy Griffith Show" include director/writer Cai Chengjie winning the coveted Tiger Award at the 2018 Rotterdam International Film Festival. Star Tian Tian equally deserves the Best New Actress trophy that she brings home from the 2018 Chinese Young Generation Film Forum.
The visually artistic elements of "Witch" extend beyond the very sharp cinematography to the shifts between color and black-and-white with some scenes having elements of both. The symbolical use of this technique expands on the use of it in the 1998 Tobey Maguire film "Pleasantville," which also has a strong connection with "TV Land" series.
The real action begins after a prologue. The camera is from the POV of the titular sorceress Er Hao, who newly is a three-time loser regarding husbands. She is paralyzed and initially silently witnesses the conclusion of the ritual that is credited with saving her life.
Er Hao soon learns of Husband Number Three dying in an explosion at his fireworks factory that also is the home of the couple. The ensuing violation is almost as sickening to the viewer as it is to Er Hao.
The rest of the story is that young Er Hao having buried three husbands is a major factor regarding the superstitious rubes in her rural village both believing that she is a witch and shunning her based on that conclusion.
A homeless Er Hao soon discovers that her only options for shelter involve requiring that she allow men who hold the keys to have their way with her, This is the first of many instances in "Witch" in which someone with something to gain does not mind consorting with a bride of Satan if that association involves a benefit.
These desperate times drive (pun intended) Er Hao and her deaf 10 year-old brother-in-law to take up residence in a panel van. It soon becomes clear that that downfall does not satisfy some angry villagers. An early confrontation indicates that Cai Chenjie is a fan of "Back to the Future III."
The interpretation of the results of a hilarious oversight by Er Hao in this portion of the film further establishes her cred, as a magical being; other humor relates to the aforementioned shifting sentiments regarding whether our lead is a good witch or a bad witch.
Er Hao fully plays the survival game when charged with ridding a home of a spirit; the rubes readily accept her statement that that ghost busting requires an extended stay in the house,
The best flip-flopping is saved for last; we really see that an irate mob has no shame when the locals come looking for help after inflicting a humiliating punishment on Er Hao related to the same manner in which they essentially asking that she twitch her nose and put right what once went wrong at the hands of the supplicants.
The nature of this film that is made far from California makes it just as likely that it lacks a Hollywood ending as it is that Er Hao marries a loving advertising executive and raises a family with him in the suburbs.
As indicated early in this post and as shown throughout, the primary appeal of "Witch" beyond the exceptional surface elements is the mirror that reflects every society. "Respectable" people are very quick to spit on outcasts until they almost inevitable require assistance from that undesirable.