The dynamic duo of Icarus Films and Distrib Films maintain their perfect track record with the September 22, 2020 DVD of the 2019 drama "The Girl With A Bracelet." This French film (complete with obligatory dance party scene but sans vehicular mayhem) depicts the murder trial of titular teen amiecide defendant Lise. The real crime is that this thought-provoking compelling drama did not get any amore de festival du film.
The following Distrib trailer for "Bracelet" highlights the related themes of Lise not being innocent even if she is not a killer and of her parents being the clueless ones in this case.
"Bracelet" bucks the trend of recent films commencing with trauma and drama only to soon shift the action to the onset of the series of unfortunate circumstances that bring us to that point. Wascally wabbit writer/director Stephane Demoustier provides a deceptive cold open in the form of neo-modern everyteen Lise, adorable younger brother Jules, and their 'rents enjoying a seaside idyll. The arrival of les gendarmes to escort Lise away shows that this is no day at the beach,
The action soon shifts to two years later. A typical sheepheaded Gallic teen chien du horn is sniffing around la maison of the family when the father of Lise tells the boy go, Diego, go, This leads to learning that a surprisingly outwardly blase Lise literally is under house arrest (as enforced by the titular ankle bling) and is about to stand trial.
Diego later showing up for a practice congenial visit is highly symbolic on a few levels. The same is true regarding the PERFECT final shot in "Bracelet."
The facts that soon emerge at the aforementioned judicial proceeding are that sleepover guest Lise apparently was the last person to see friend Flora alive before the mother of Flora discovers an especially gruesome murder scene the next afternoon. Although the murder weapon still is missing, the indirect evidence of guilt includes Flora filming and uploading a video of Lise fellating a teen boy simply because Lise is told to do so. The trial of the father of Lise includes having to watch that footage and having both the prosecution and the defense address its significance in open court.
The trial largely runs its course as expected with the exception of Lise not showing much emotion, This extends to it seeming that the death of her friend is a not a significant event even absent Lise being accused of that offense.
All of this culminates in the verdict in the trial; the cynicism as to this is that that outcome does not properly reflect the culpability of Lise as a member of society.
The bigger picture this time is that the fact that "Bracelet" could have been made word-for-word and shot-for-shot in the US shows that parents everywhere really do not know how their teens spend their days and nights. A related message is that most parents always love their kids but do not always like them.
The Icarus Films DVD of the 2106 "ripped-from-the-headlines" French film "Down By Love" is a perfect example of the beautiful friendship between Icarus and Distrib Films from which North American audiences benefit. Like most Icarus/Distrib Films, this tale of the illicit affair between post-adolescent inmate Anna Amari and married middle-aged prison director Jean Firmino could be made word-for-word and shot-for-shot in the US.
The following Distrib trailer for "Love" offers a good sense of the apt level of drama that conveys the tale of this unusual triangle.
Our story begins with Anna en route to the facility run by Jean as the next stage of her unfortunate incarceration ahead of her trial for the offense of this young offender. She soon catches the eye of Jean, and they experience a form of love that dare not speak its name if they know what is good for them, An especially precious moment has Anna creating a fantasy world in which she and her "teacher" essentially move to Westchester together. The ambiguity as to the extent to which Anna looks to Jean for the forms of escape that should be higher priorities is part of what makes "Love" special.,
In true fashion as to this type of story. the truth comes out roughly halfway through the film. The surprising twist is the extent to which Jean risks his career and his family life to be with "the other woman."
One of the mot memorable scenes begins with Jean providing a form of wish fulfillment by taking Anna away during a weekend furlough; the ensuing awkwardness and tension illustrate the principle of being careful for what you wish.
All of this culminates in a not-so-grande finale with a neo-modern twist on a Golden Age trope. If nothing else, it shows that equality has been achieved.
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.
Expert purveyors of thought-provoking documentaries Icarus Films and Bullfrog Films continue their long-standing beautiful friendship with the April 21, 2020 DVD release of the 2018 non-fiction movie "The Sequel." This one is a study of the life of futurist David Fleming. The Fleming opus "Lean Logic: A Dictionary for the Future and How to Survive It" is sadly relevant in this era in which it seems that COVID-19 ain't ever goin' nowhere.
The message of "Sequel" is similar to (reviewed) fellow recent Icraus Film "System Error." "Error" both studies capitalism and provides reason to think that the good run for that model is reaching its end.
Like all good documentaries, "Sequel" stars strong; crystal-clear images of earth from space soon lead to a group of students in an Ewok-caliber forest (sans redwoods) getting an awesome ecology lesson. A measuring tape is used to represent the history of the earth from its beginnings to the present; major events get a 25-words-or-less explanation, and our highly industrialized society is seen at the end of the tape (i.e., rope).
We next hear from friends, colleagues, and devotees of textbook academic Fleming. The Great Man himself also enlightens us about the entertaining story that leads to the writing of "Logic." There is no doubt that Fleming pours his heart into that tome.
The basic idea is that we need a sea change in an effort to stop the polar ice caps from flooding us and/or to prevent another plague-level disaster from making humans either extinct or an endangered species. Another way of stating this is it is the end of the world as we know it, and it is up to us as to whether we feel fine.
A segment on the failure of Greece to rebound from its massive economic downfall is a particularly impactful example. The images of modern-day poverty and the dismal statistics as to the lack of wealth of the nature seem to be what will soon be the case in America.
The bottom line is that modern events show that the guy who literally wrote the book on the subject is right; whether we heed is message may well be a matter of life or death.
The Icarus Films April 28, 2020 DVD release of the 2018 Florian Optiz documentary "System Error" provides an inadvertently timely look at the limits of capitalism at a time that a majority of Americans either have massive income insecurity or are on the verge of doing so. The most inadvertently amusing segment features massively failed White House Director of Communications Anthony "The Mooch" Scaramucci. One of the best things about the movie is that achieves the genre ideal of being equally entertaining and educational.
This film, which features numerous intertitles of quotes from Karl Marx, has talking heads from several countries weigh on whether the growth potential for capitalism is infinite. One of the most effective topics is the wide-scale development of the Rain Forest; a soybean producer who is doing more than his share to force monkeys out of their habitats is the ideal face for this.
One spoiler is that the film shows us that nothing is unlimited; a good example of this is the Flash Crash and the markets since that time.
The bottom line this time is that bad times traditionally do lead to good times, but all parties must end.
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 Icarus Films March 10, 2020 DVD of the 2018 documentary "Time Thieves" (not to be confused with the 1981 Terry Gilliam film "Time Bandits") aptly is a good investment of 85 minutes and will leave you wanting more.
Writer/director Cosima Dannoritzer shows a mastery of her subject in the manner in which she presents her theme on the role of time in the context of business. Each segment is the perfect length, and the overall pace is brick but far from overwhelming.
An early topic in "Thieves" inarguably is the most entertaining in a film full of highlights and lacking a single dull moment. The viewers are introduced to a Amsterdam restaurant in which the diners do all the work to put the food on their tables. The true payoff is the statement of the method behind that madness.
Another highly amusing segment centers around a married couple that were efficiency expert pioneers. Those parents manipulating their unwitting offspring into doing their literal and figurative dirty work is hilarious.
We also learn early on that rail fatalities play a big role in America fully going on the clock in the 1880s; Dannoritzer deserves minute (pun intended) criticism for not addressing how the proliferation of digital clocks and watches in the 1970s escalates the general American obsession with time.
A large focus is on the well-known Japanese work ethic. Learning about the negative economic impact of Japanese people not using all of their vacation time is amusing; the tale of employees at a Japanese electronics firm playing cat-and-mouse with their employer in order to double-down on overtime is bittersweet; learning about the karoshi, which describes overworking being a primary factor in a death is tragic.
Dannoritzer introduces us to the highly sympathetic widow of a chef/karoshi victim. We also learn of the extensive support system for folks who are in imminent danger of the same fate as the chef.
The timely lesson of all this is that the per-unit labor cost often is the most controllable expense in producing a good or service; naming the department that oversees this human RESOURCES fully reflects that.
The secondary lesson is that the general public being agreeable to (and even enjoying) self-check-out at the grocery store or checking themselves in for a flight or a hotel stay proves that there is a sucker born every minute. Anyone in the Boston area who would like a free aerobic workout is invited to do the seasonal clean-up and preparation of a 6,000 square-foot yard.
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.
Icarus Films provides a sadly timeless lesson in survival as to its double-feature DVD release of the Anne Georget documentaries "Imaginary Feasts" and "Mina's Recipe Book, Terezin 1944." This message is that mentally escaping a harsh reality is an effective tool for surviving seemingly fatal horrific hardship.
"Feasts" provides a truly in-depth look at prisoners in Nazi concentration camps, Soviet Gulags, and Japanese prison camps discussing their favorite meals in order to survive near starvation and other atrocities as to their confinement. These include an American soldier and a woman who pays a heavy price for her unwarranted reliance on the principle of diplomatic immunity.
The main focus is on female prisoners in a concentration camp who take thinking about their favorite foods to the next level; they risk heavy retribution to steal scraps of papers to write down the recipes for those treats. This extends to the contribution of each woman representing the cuisine of her region of her country. It is highly predictable that the French woman are the stars of this project.
A survivor, the ancestors of survivors. a historian, and a chef are among the talking heads who put everything in perspective. In addition to learning about these books, it is surprising to hear even more general information about concentration camps than many of us have known for decades. The relationship between the foods and their native regions is equally interesting.
"Book" tells about the pre-war life and the imprisonment of the author of that tome; we also learn of the post-war path of the book and the importance of it to the persons into whose hands it travels.
As indicated above, the larger impact of these films is how the prisoners used the books to survive when most of us would have chosen a run for the barbed wire as a relatively easy out as to a seemingly unsurvivable situation. It also provides perspective the next time that we endure an hour or so of hunger until our next meal, which likely will be exactly what we are craving at the moment. Even more importantly, fussing because a promised 30-minute wait at Olive Garden is at the 45-minute mark should be shame inducing,
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.
The Icarus Films DVD release of the 2015 documentary within a documentary "A Quest for Meaning" aptly is off a nature that makes writing about it a challenge for unenlightened souls. Fully appreciating the film that is the latest in a strong Icarus collaboration with Bullfrog Films requires abandoning a cynical view of the world that results from the "stinking thinking" that largely is responsible for most of us not being at peace with the real real world.
The following YouTube clip of the Icarus trailer for "Meaning" creates a strong hunger for more of the abundant food for thought in the film.
The aforementioned cynicism quickly enters the picture on learning about the tellers of the tale; the intent of 20-something narrator Nathanael Coste in sharing that he and his partner-in-filmmaking Marc de la Menardiere are wealthy Manhattan party monsters who are seeking deeper knowledge likely resonates with other Millennials. Gen Xers likely will be as turned off regarding this self-indulgent exercise in the same manner that this demographic responds to the college kid who works at Starbucks providing a greeting of Namaste.
Cynicism remaining regarding the messengers soon takes a backseat to the copious insightful messages that the film contains. The inconvenient truth is that many of us will not take those messages to heart.
These hardy boys begin our journey in India before going off to pick the best brains in France and other countries and then literally and figuratively bringing things home. A highly satisfying aspect of this is that the aforementioned more highly evolved individuals shame the "namaste" poseurs for not practicing what they preach.
A personal highlight is a talking head calling out people who meditate or practice yoga every day only to be nasty to his or her fellow man or woman the rest of the day. We also hear from someone who states that shelling out big bucks for yoga and meditation classes is a huge waste of money.
The valid but incredibly challenging concepts that seek to put right what once went wrong center around a few guiding principles. Achieving the ideal of only using what we need (rather than acquiring wants as well) is very tough in this highly consumer-oriented society.
A truth bomb regarding what we consider happiness and other emotions is especially eye-opening. This makes the strongest case for striving to live a life of peace, love, and understanding. At the same time, some people should avoid peeling back layers of the onion.
We additionally learn that true enlightenment requires a strong connection with both the earth and everything else in our macro and micro universe. Hearing a theory about the actual origin of man brings this home. Another aspect of this is taking recycling to the nth degree.
One of the most thought-provoking aspects of "Meaning" relates to an urban farmer who has incredibly cute and friendly goats. This man notes that his farm is now the envy of the neighborhood. There also are many stories of urbanites (ala attorney Oliver Wendell Douglas) growing vegetables in pots. All of these folks put those of us who do not plant gardens in our large yards to shame.
The big picture shows how we got to our present place. Most Americans grew up in households in which we wanted to show up the Joneses and in which we were not even encouraged to literally or figuratively get our hands dirty. It is hard to persuade us to strain our muscles growing our food when we can go online and get it delivered either for free or for a relatively low price.
The DVD extras include "Ego Not Bad," which is an extension of "Meaning." The narrowed focus this time is enhancing self-awareness.
The bottom line regarding all this is "Meaning" shows that fully embracing the concept of namaste when you say it and the other person being receptive to that message are good first steps toward being truly shiny happy people,
The Icarus Films recent DVD release of the 2017 truly labor of love documentary "The Other Side of Everything" put a very personal face on the decades of turmoil that have plagued Belgrade, Filmmaker Mila Turajlic interviews her mother, who is political activist and retired professor Srbijanka Turajlic.
The accolades for this kinder and gentler version of classic shut-in documentary "Grey Gardens" include a Best Documentary award at the 2017 Amsterdam International Documentary Film Festival and a Best Director win at the RiverRun International Film Festival.
The strong historical drama vibe of "Side" begins with opening scenes of Srbijanka trying to open a recently rediscovered interior door in her dated and shadowy (but very clean) Belgrade apartment. This lead to Srbijanka discussing being a child living in that space in the building that her parents owned when the Communists took over.
This woman who has seen Belgrade repeatedly experience massive changes during several decades tells of a party official knocking on the door during the adolescence of Srbijanka to announce that the family now must live in very tight quarters. We also hear the tale of an effort to get the bureaucracy to allow the family to retain a slightly larger portion of their own property,
An especially creepy aspect of this is hearing Srbijanka reminisce about hearing but not seeing the other families that are uninvited residents of her family home.
We also get a sense of the aforementioned activism of Srbijanka, which includes her reaction to Sloboban Milosevic. A heart-rending aspect of the national politics is the story of some voters being denied the option of declaring their nationality.
The climax of the film is the highly symbolic opening of the door to the past; we get a literal view of how the other half lives. For her part, Srbijanka is reminded of long forgotten aspects of her life before everything changes.
The bigger picture is that "Side" shows that life does go on and that it often does not matter who is in charge.
The Icarus Films September 3, 2019 DVD release of the 2001 documentary "Ghosts of Attica" does the Icarus history of releasing thought-provoking documentaries proud. Every DVD in this portion of the Icarus catalog achieves the genre ideal of being equally entertaining and educational.
In this case, narrator Susan Sarandon has the guards and the prisoners who were there tell the story of the September 1971 Attica uprising. We also learn of the decades-long effort of the prisoners to receive compensation for the harm that they sustained during that event.
Much of the film revolves around self-described Frank "Big Black" Smith, who is drafted into being a leader of the prisoners when (still highly relevant) demands for things such as religious freedom and being paid minimum wage escalates into the inmates temporarily taking over the asylum. The vintage photos and film footage of the prisoners when order is being restored perfectly illustrates why they are pursuing monetary damages.
We also meet Smith employer Liz Frank, who is the lead attorney for the prisoners. This stems from intense empathy for those guests of the state dating to the aftermath of the aforementioned events.
On the surface, a $12 million award to the prisoners seems to be a major victory. One-third of that going to the attorneys is an accurately cynical example of the United States legal system. On top of that, this award understandably prompts resentment among the guards who endured "troubles" during the uprising. A talking head properly notes that asserting that the workers' compensation system provides the guards an adequate remedy is absurd.
This is not to mention the inevitable appeal by New York.
The rest of the story that makes this incident documentary-worthy is that the then-Governor Rockefeller ordering the retaking of the prison with extreme prejudice comes back to bite him as to his bid for the vice-presidency. Suffice it to say that a cover-up is at least attempted.
These inter-related elements are intriguing in that they start with one of many cases in which the disenfranchised aggressively act to become enfranchised, the powers-that-be come down hard, both sides try to win the hearts and minds of the American public, and all feel that they have a right to compensation.
The underlying theme is the highly adversarial tone of interactions between the "haves" and the "have nots" that is becoming deafening during what may be an even more divisive era that the Civil War and the highly contentious late '60s. Clearly, we cannot all just get along and cannot rely on the folks who control the message to tell it like it is.
The DVD bonus features are and audio recording of Frank and more archival images from the uprising.
The Icarus Films August 6, 2019 DVD release of the 2017 mystery thriller "The Girl in the Fog" adds to the mountain of proof that Euro cinema greatly outshines Hollywood fare. This tale of a 16 year-old gone girl is based on the novel of the same name by Donato Carrisi, who writes the screenplay and directs the film.
The formal accolades for "Girl" include a 2018 Italian Golden Globe for Carrisi for his screenplay and an even more deserved Best Actor Golden Globe for Toni Servillo for his perfect portrayal of police Detective Vogel.
Carrisi achieves an ideal balance of action, exposition, and tone by having the opening scene portray the title of the film. We see a shadowy village teen walk out of her Avechot home in the Italian ALps and disappear into the night. This little wander is outwardly good-girl Anna Lou Kastner, who never makes it to her stated destination of her fundamentalist church.
The quality of this film with frequent narrative time shifts is reinforced by following a variation of the modern movie staple of immediately moving us to the beginning of the end of the story without insulting our intelligence by including an intertitle that explains that jump,
This leap begins with a literal rude awakening for town shrink Dr. Augusto Flores (Jean Reno). He is called into his hospital office in the middle of the night due to an emergency related to a car accident.
On arriving, Flores is dually (and duly) surprised to see that his patient is unscathed physically (and seemingly mentally intact) and is Vogel, who is a local celebrity due to both the Kastner case and an earlier (and even more bizarre) crime spree known as "The Mutilator Case." The latter involves a mad bomber hiding explosives in containers for everyday items and putting them on grocery-store shelves.
This discussion between these two weary veterans of their professions provides exposition for the rest of the film, which mostly shifts among the events following the disappearance and the "whodunit" scene at the end of "Girl." These men further talk about the theme of connectivity that is a major element of the film.
All of this relates to Vogel being more interested in media relations and providing a resolution that satisfies the masses, rather than bringing the actual killer to justice. Ambiguity exists regarding the extent to which Vogel will go to achieve his objective. This is not to mention a television reporter showing that she can play the game as well as the boys.
New high-school teacher Prof. Loris Martini is at the center of much of the primary action. One lesson here is that just because you find yourself in a Kafkaesque nightmare does not necessarily mean that your are innocent; the second-part of this moral is that the guilty and the innocent alike face intense media persecution.
An "incident" has prompted Loris to move his (now unemployed) attorney wife and his (now sullen) teen daughter to the village. A media-whore girl does not help matters when she first persuades Loris to give her acting lessons and then distorts the nature of their extra-curricular relationship when he becomes the prime suspect in the Kastner case.
Circumstantial evidence of varying degrees of credibility creates a strong possibility that Loris will spend the rest of his life as a guest of the state regardless of his guilt. The important thing for some with a horse in the race is that Loris is an attractive suspect.
This initially culminates in revealing the full story behind the"accident" of Vogel and then what becomes of Anna Lou, who is a pet with her own secret life.
All of this amounts to "Girl" proving that quality intelligent thrillers still are out there and just require a little investigating to find,
An "Eureka" moment perfectly reflects the movie-going public service that Olive Films, which fully embraces its 'Cinema Lives Here' motto, provides. Frequent distress regarding the lack of any desirable options at the multiplex led to thoughts that well-produced thrillers were a dead art form.
Lamenting the loss of quality mysteries coincided with the arrival of the Olive Blu-ray of the 1987 John Schlesinger (MUST-SEE "Marathon Man") thriller "The Believers," which is being released on June 25.
Olive pairing this release with a (reviewed) Blu-ray of the cult-classic '60s beach movie "How to Stuff a Wild Bikini" led to recognizing the Olive commitment to keeping discarded subgeenres alive. Those of us familiar with these perfect blends of art and commerce are infinitely grateful to Olive. "Virgins" literally do not know what they are missing,
The exceptional Blu-ray masters of every Olive release are a special treat to "sluts" who have only seen these films in more grainy versions both on the not-so-silver screen and on even HDTVs. You definitely will get immersed like you never have before.
Olive reminds us that the behind-the-scenes cred. of this tale of wonderfully creepy tale of Santeria in the Big Apple extends beyond Schlesinger. Screenwriter Mark Frost is a co-creator of "Twin Peaks." Aptly, a damn-fine cup of coffee is a major plot point in "Believers."
In front of the camera, Martin Sheen delivers a perfect performance as newly widowed and relocated psychologist Cal Jamison.
EVERYTHING about "Believers" screams Hitchcock. This begins with setting the eerie scares in everyday settings and centering the film around an everyman initially thrown into an somewhat unusual circumstance that develops into a terrifying new normal.
Our story begins with a typical morning for Minneapolis residents Cal, his wife, and their young son Chris. A common (and typically minor) household accident leads to a horrific death for the wife that Cal and Chris witness.
The need for change prompts Cal to relocate Chris to New York. The common Hollywood magic as to this is that Cal finds a large, bright, and immaculate two-story apartment on a clean and quiet street. On top of this, pretty and nice landlord Jessica lives across the street. It is difficult to imagine such a place existing and any one that does not costing far more even a psychologist can afford, This is aside from having a landlord so close who also perfectly maintains the place,
The opening scenes also include a very primitive Santeria ritual and a practitioner of that religion playing the Jedi mind-trick on a JFK customs agent.
The worlds first collide when Chris runs off during a Central Park outing. He scurries behind some rocks and stumbles upon the remains of a ritual sacrifice. The subtext of this scene is amusing to viewers who are woke regarding the ritual in which some young men engage in that area of the park.
Cal fully joins the party on police Lieutenant McTaggert consulting him as to the detective investigating a series of murders of boys. That investigator is convinced that the cult committing the crimes has a supernatural hold on him and is out to get him. Stating that the theory that just because you are paranoid does not mean that no one is out to get you applies is not much of a spoiler.
Meanwhile, Cal entering a (perhaps bewitching) relationship with Jessica greatly upsets Chris, who also may be under a spell of his own. Ambiguity regarding both the incident that brings Cal back to New York and as to the reaction of Chris to his father becoming closer to Jessica is part of what makes "Believers" so awesome.
The final piece of the puzzle comes courtesy of the elderly academics who taught the dead wife of Cal; back in the day. ANYONE who has watched the MUST-SEE "Rosemary's Baby" or other similar films knows that any (particularly motherly) New Yorker who seems too good to be true probably is not so nice.
In true Hitchcock style, a perceived threat turns out to be a thwarted savior. We also get the common Hitchcockian element of the all-American boy in the film finding himself in peril and Dad rushing to the rescue. In this case. Chris becomes the chosen one in an unpredictable fashion.
The thrilling extended climax is pure Schlesinger. The unexpected twists galore are a treat in this era in which the conclusion of most movies is obvious in the first 15 minutes. Team Schlesinger goes above and beyond in upsetting the apple cart one more time in the final minutes.
The most important takeaway from "Believers" is that it is scary because it mostly could be true.
The Icarus Films May 14, 2019 DVD release of the 2018 period-piece comedy "Return of the Hero" fills the void left by Hollywood no longer producing amusing and clever (or at least adequately creative) summer movies. Subtitles aside, "Hero" is so good that you will not even want to look at your phone or other devices while watching it.
Another awesome aspect of "Hero" is that it shows that writer/director Laurent Tirard is more than a un trick cheval regarding the even more delightful (reviewed) "Nicholas on Holiday" (nee "Petit Nicholas") about the family summer vacation of the titular French school boy. Other "Hero" cred. relates to Oscar-winner Jean Dujardin delivering another award-worthy performance as the titular soldier who is not at Waterloo when Napoleon did surrender.
This presumably shot-on-location beautiful film begins in 1809 Burgundy. Captaine Charles-Gregoire Neuville seemingly employs his entire personal staff in preparation for froggy goin' a courtin'. The object of his affection is sweet and innocent girl next door Pauline. She lives on a lavish estate with her adoring parents and her less sweet and innocent older sister Elisabeth (Melanie Laurent).
Neuville seals a chaste deal with Pauline just ahead of being called on to defend emperor and country. Like many soldiers before and since, Neuville makes an empty promise to faithfully correspond with Pauline.
A combination of motives prompt Elisabeth to forge letters from Neuville to Pauline; the responses to that correspondence shows Elisabeth that her little sister is all grown up.
In true farce/classic sitcom style, the scheme of Elisabeth gets out of hand. Circumstances and her creativity result in increasing elaborate and contrived fictional adventures of Neuville that enrapture both Pauline and the rest of the local elite.
All goes well until the inevitable titular appearance of a filthy and disgraced Neuville in 1812; Elisabeth being the only one to initially know that that boy is back in town helps move the story forward; this plot thickens on Neuville returning after a brief absence and presenting himself as the man in the aforementioned letters. His objectives include wooing a now-married with children Pauline.
Dujardin and Laurent wonderfully play off each other as she must watch him make fools out of those nearest and dearest to her. Neuville further shows that he is no gentleman in using the vulnerability of Elisabeth for his own fun and profit,
One of many notable moments involves Elisabeth seeming to get the upper-hand on her frienemy. The manner in which Neuville turns that tactic around to his advantage proves that you cannot con a con man.
The aptly surprising climax that begins with a desperate act leads to a final scene that is very true to the spirit of the film and that is one of the best endings in any film ever. This lesson this time is that we all remain true to our nature.
The Icarus Films March 27, 2018 DVD release of the charming 2014 French family comedy "Nicholas on Holiday" provides equally strong (and entertaining) reminders that spring is on the way and that the blessings and the curses of family summer vacations are universal. The bigger picture is that "Nicholas" joins the ranks of films such as "Dirty Dancing" that provide a look at resorts that cater to long-term stays by families. One difference is that nobody tries to put Nicky in a corner.
"Nicholas" opens with the titular pre-adolescent narrator about to be sprung from his Parisian elementary school for the summer. He learns early in this vacation that his family is going to break with their tradition of going to the mountains and are headed to the sea for a few weeks. Part of the cuteness relates to this trip requiring a separation from the figurative girl-next-door.
Copious amounts of the kid-friendly humor relates to "Granny" being an Endora-level thorn in the side of her son-in-law. One of the best scenes regarding this comes early in the film. "Mere" makes the argument regarding taking her mother on the trip that making an elderly person spend the summer in Paris is cruel; "Pere" responds that he is glad to take an old person with them, just not Granny. Mere winning by having Granny come along is predictable to anyone familiar with the relevant dynamics in the reel and real worlds.
More hilarity ensues when great frustration regarding a traffic jam en route to the resort prompts Pere to take an ultimately ill-advised shortcut. Incurring the wrath of the masses regarding his detour is only part of his problem.
On arriving, Nicholas joins a group of stock character young boys. These include the annoying know-it-all, the almost albino nerd, the kid who will eat anything, and the younger kid who is a cry baby.
The primary complication comes in the form of weird girl Isabelle. The threat of a pre-teen romance prompts Nicholas and his posse to implement several plans to deter her. The most amusing of these include a comically botched effort to present a bad boy image and a separate act of sabotage that is designed to send the girl and her clan packing.
For her part, Mere gets a taste of stardom that causes Pere great distress. This also requires balancing pursuing literal fame and fortune with being a housewife.
For his part, Pere hysterically obsesses about his relationship with his boss. This leads to sitcom staple of writing a letter in haste and repenting at leisure. The manner in which Pere resolves this is another highlight of "Nicholas."
One common element of all this is that Nicholas is an everykid whose efforts to influence anything that effects him epically fail. This, in turn, leads to a textbook example of something being tragic when it happens to us and hilarious when it befalls someone else.
In the end, our family returns to their everyday life. Like all real and reel tales such as theirs, the titular vacation influences some aspects of this but mostly is a fond memory.
The Icarus Films February 5, 2019 DVD release of the 2017 Iranian drama "No Date, No Signature" adds more proof to the pile of evidence that world cinema eclipses even indie productions in the United States.
This release comes a few weeks after the announcement of the eight "Best Picture" nominees for the 2019 Oscars. Of this octet. having only seen "Black Panther" and solely doing so to keep up with the "Avengers" franchise reinforces that something is rotten in the state of California (and Wakanda).
On a lighter note, fans of the many (oft-reviewed) Icarus films will recognize the theme of a car striking a pedestrian that is an element of several movies in that catalog. It seems that a filmmaker who wants to increase the odds of Icarus releasing his or her production should have a character take one for the team.
Many of the 13 wins and additional 15 nominations being for rookie writer/director Vahid Jalilvand reinforces that that artist has excellent instincts. The fests that bestow that accolade range from the 2017 Chicago International Film Festival to the Fajr Film Festival the same year.
The following YouTube clip of the official U.S. trailer for "Date" further illustrate the merits of the film. It is a quality production of a compelling story. There is no reliance on the star power of the lead, and the story (mostly) avoids melodrama.
The opening scenes reflect Jalilvand striking a good balance between exposition and getting down to business. We see forensic pathologist Dr. Kaveh Nariman going about his business before getting in his car for the drive that changes everything.
Many of us can relate to the circumstances that lead to to Kaveh striking the motorcycle that Moosa is driving, These events also establish the theme of shared (and arguably ambiguous) culpability that runs throughout "Date."
Kaveh immediately does the right thing by offering medical care and monetary compensation; he also repeatedly urges Moosa to bring his injured young son to a nearby medical clinic. Moosa refuses the offered care and cash but indicates an intent to take his son to the clinic.
Anyone (i.e., all of us) who has experienced thinking that an unpleasant incident is resolved only to have it resurface can relate to Kaveh learning soon after the accident that the injured boy is DOA on arriving at the hospital where that medical professional works. The autopsy form listing the cause of death as unknown does not help matters.
The mystery for the co-workers of our Iranian version of Quincy is why he is so upset regarding the treatment of a boy that he merely identifies as the son of an acquaintance. The first part of the puzzle for Kaveh is whether the injuries from the hit without a run or the diagnosed botulism is the cause of the death of the deceased. A related issue is whether the boy would have fatally succumbed to the disease in a few days regardless of whether the accident occurred.
The survivor's guilt of Moosa manifests itself in his probable role in his child getting botulism. This prompts the distraught parent to confront a man with a role in those events. Suffice it to say that that exchange takes a heavy toll on both men.
All of this leads to resolutions that provide one-and-all realistic but not happy endings. The lessons are that many people can contribute to bad outcomes and that karma is the mother of all bitches.
One can imagine that (deceased) director Chris Marker would enjoy the discussion that the recent Icarus Films DVD release of his 1989 documentary "The Owl's Legacy" will prompt. Folks who prefer streaming over physical media can watch the series on Amazon Video,
The concept of this series is that great thinkers use a Greek word as the starting point for discussing the modern influence of Greek culture.. The following is based on watching the first four of the thirteen episodes.
"Legacy" will make you think. You also will enjoy the insights of most of the participants and find a few laughably haughty. I'm talkin' to you American-hating Frenchie. Your not-so-humble reviewer is not one to wave the flag or to assert that the average American even reads books these days but does not see the need to refer to us as if we are something stepped in at the dog park.
The most amusing statement in "Legacy" is the first utterance in the series premiere. which is on the word "symposium." The narrator declares that the series provides information that intelligent people already know and that morons cannot understand. This likely reflects the French sense of humor but expresses that "Legacy" lacks an audience.
Writing from the perspective of a pretty bright guy, the presented material seems digestible by the average person; you also likely will learn new things.
The other three watched episodes are on "Olympics," "Democracy," and "Nostalgia." Like "Symposium," the origin of the word is the starting point.
An interesting aspect of "Olympics" is discussing the connections between some of the modern games and the lives of notables, such as "Legacy" participant filmmaker Elia Kazan. We also learn of the important role of the first Olympics in European history.
"Democracy" is the most entertaining and educational of the watched episodes; the highlights include seeing how the earliest form of this system resembles the manner in which a condo. association operates. A primary difference is that the last owner to arrive at the clubhouse does not literally get branded.
This episode further discusses the conflict between Athens and Sparta. The description of this dispute is dumbed down to a level that even the aforementioned drooling idiots can understand it.
"Nostalgia" discusses the reasons that we prefer the past to the present; the general idea is selective memory. An aspect of this is the phenomenon of our childhood homes seeming to be smaller then remembered when we revisit them as adults. Similarly, best friends from high school often lose their luster in their 30s. Take that Gregory William.
The remaining nine topics include Mythology, Misogyn , and Tragedy.
The accompanying comprehensive booklet is a wonderful CliffNotes companion to the series. A couple of essays provide good perspectives regarding the production and Marker. We also get detailed episode synopses and blurbs about the numerous "best brains" who host the 13 smarty parties.
A happy coincidence regarding writing this review of the Icarus Films February 5, 2019 DVD release of the 2017 Bullfrog Films documentary "Free Lunch Society" the day after Martin Luther King Day is finding a quote from King on the DVD back cover, This statement is that "the solution to poverty is to abolish it directly by a now widely discussed measure: the guaranteed income."
Filmmaker Christian Tod clearly is on Team MLK; Tod entertains and educates as he shows how a few communities have taken the concept of money for nothing (but not chicks for free) to heart to varying degrees.
The blanket tax refunds during the George W. Bush years provide the proverbial bigger picture here. it is difficult to imagine someone not liking getting a check in the mail, and having a little money either to help with the bills or simply to "treat yo self" always is a good thing. On the other hand, these handouts are a factor regarding the current huge federal deficit.
Going back further in time, advocating teaching someone to fish rather than giving him or her a trout has merit, Aptly going deeper, this works best when all have equal access to the fishing hole.
The first general caveat that must be considered before learning more about this social experiment is that even propaganda that supports your view still is propaganda. A related truism is that there is your side, my side, and the truth.
Much of the focus of the film is on the efforts in Germany to literally share the wealth. A very high-profile advocate of this is drugstore king Gotz Werner. We also meet Michael Bohmeyer, who uses a combination of crowdfunding and Oprah to distribute 1,000 Euros each month for a year to folks who literally get it for being at exactly the right place at the right time.
Moving closer to home, Tod discusses the Alaska state government distributing pipeline profits to the people, The rationale here extends beyond spreading the wealth to compensating the victims of the collateral damage from the project.
The scope of the "Society" also encompasses the history of consideration of widespread handouts by the U.S. federal government.
The numerous talking heads provide copious data regarding the extent to which these programs trigger sloth by recipients of the oft-mentioned bounty. A look at how hitting a jackpot affects lottery workers provides a good indication of the impact of streets paved with bronze.
Although Tod does not address this point in-depth, a classic sitcom once again provides particularly apt insight. A scene in an episode of the '60s fantasycom "I Dream of Jeannie" has master Tony Nelson finishing what he thinks is the latest in an eternal string of free lunches. This astronaut crashes back to earth on learning that the titular genie does not conjure up all of his delicacies out of thin air; she buys some of the gourmet goodies from the local grocery store, and the bill has just come due.
Fans of companion show "Bewitched" likely recall many occasions on which Madman Darrin Stephens must take money from the household budget to remedy harm from witch wife Samantha irresponsibly twitching her nose, Having to buy an electric garage door is only the tip of that iceberg.
A much latter episode of "Jeannie" makes another relevant point. The newly wed sprite is very proud to present her husband with a roomful of items purchased on credit, The lesson here is that you do not pay for such luxuries today but do pay tomorrow.
The DVD bonuses include "Free Lunch Society" hosted by Christian Tod and promo. videos.
Icarus Films shows good timing regarding releasing the 2014 mockudramedy "Hippocratres Diary of a French Doctor" on January 15, 2019. This roughly coinciding with medical students returning to their studies provides a good chance to ease back into the rigors of these programs by watching this generally mockumentary-style story of newbie medical intern/legacy 23 year-old Benjamin Barois. Much of the sense of authenticity relates to director Thomas Lilti having trained to be a doctor.
The following YouTube clip of the "Diary" trailer provides a good sense of the drama and the humor about this look a life in a busy Parisian hospital.
Lilti sets the perfect tone for "Diary" right from the opening scenes. We see a solitary Benjamin dodging large laundry carts as he wanders the halls in the basement of the public hospital on his first day of work. His projecting an image of a lost sheep on his way to be slaughtered extends beyond the unruly mop of black hair that seems required of every male French medical intern.
Limited success in obtaining a lab coat introduces Benjamin to hospital bureaucracy and his status at that institution; this is despite his father being a senior doctor there.
The next rapid succession of wake-up calls begins with Benjamin learning about the number of patients in the ward to which he is assigned; his "its complicated" relationship with more experienced intern Abdel begins with that older man arguably being unduly assertive in how he steps in when Benjamin has difficulty with a medical procedure.
The first real doctor's life lesson comes on Benjamin losing a patient. The circumstances of that death lead to that kid throwing Abdel under le bus and giving viewers a few more reasons to avoid hospitals.
Benjamin survives to fight another day until facing his next major challenge, which also involves Abdel. The general consensus that an elderly cancer patient should be allowed to continue circling the drain becomes a bone of contention when the ICU team is called in to perform arguably heroic measures; Benjamin and Abdel stepping in to pull the plug on those efforts leads to a disciplinary proceeding with negative consequences for both men. Part of this involves Benjamin showing that he does not feel like working and playing well with others. This leads to a confrontation with even more dire consequences.
We additionally get several looks at the daily lives of the interns; this includes enthusiastic meting out of punishment for talking shop during meal times, watching reel doctors, arguing about who should work on holidays, and a New Year's dance party at which hospital staffers rock out with their docs out. A message here is that guilty feet have got no rhythm.
As mentioned above, the camera being an unobtrusive fly on the wall as all the action transpires greatly contributes to the realistic sense of "Diary." This makes this film one from which both medical students and producers of reality TV shows can learn.
Icarus Films marks Oscar season by releasing the aptly hybrid film "Good Manners" on DVD on November 13, 2018. "Manners" is weirdly wonderful with top-notch twists.
"Manners" DESERVEDLY winning 24 awards and having an additional 18 nominations speaks to the quality of the film. These accolades include a "Fantastic Features" honor at the 2017 Austin Fantastic Fest and "Best Picture" at the Buenos Aires International Festival of Latin America Cinema and the 2017 Rio de Janeiro International Film Festival.
The following YouTube clip of a trailer for "Manners" provides a glimpse of the successfully eclectic style of this future cult classic.
"Manners" begins on a tone that reflects one aspect of the titular phrase. Clara is at the home of disgraced party-girl Ana to apply to be the nanny of the baby of this heiress when she delivers that illegitimate bundle of joy.
This portion of the film is laden with social commentary; Ana shamelessly exploiting Clara, who must grin and bear it, and Clara becoming the caregiver of flighty Anna reflects the system in most of the "civilized" world. We also get a strong sense of the feeling of entitlement on the part of Ana.
The first twist comes via Ana and Clara crossing way over employer/employee (and racial) lines. This is not to mention another relatively unusual aspect of their relationship. Ana sleepwalking and having odd dreams is the icing on the cake in this portion of "Manners."
Ana telling Clara the story of her not-so-immaculate conception is a highlight for two reasons; this tale is told via very stylized animation and sets the stage for the rest of the film.
All this leads to Ana giving birth to Joel, who clearly is not like other boys; a complication leads to Clara taking custody of the new-born and moving him to her apartment. The cover story that she subsequently tells him is straight out of Grimm's Fairy Tales.
A montage covers the early years of Joel up to his seventh birthday. With the exception of literally and figuratively having a vegetarian diet, this cute and charming lad mostly is like his peers with the exception of several days a month. The days during this period are just fine, but he must spend the nights shackled in "the little bedroom" for the mutual safety of himself and the general populace. Part of the challenge for Clara is making her son understand why there are times that he cannot play reindeer games with the other kids.
Things come to a head when our excitable boy and his buddy run off to a mall for an overnight mission. This causes Clara even more angst than is typical in such situations; subsequent events show that she has good reason for concern,
This leads to a scene that is well known to horror fans; the resulting confrontation creates terrific ambiguity that ends this perfect movie on an ideal note.
As this posts and many other reviews discuss, the magic of "Manners" relates to the perfect blending of numerous themes and tones. We get the aforementioned social commentary, the drama of a single mother contending with a special-needs child, a fairy tale, and the overall theme of society being hostile toward people who are different. As "Frankenstein" address, the monster is not always the "freak."
The Icarus Films DVD release of the 2015 French drama "In the Shadow of Women" proves that this home-video distributor with a strong history of releasing compelling documentaries looks for "innovative and provocative" titles regarding its fictional titles as well. The strong documentary elements of "Woman" make it a particularly apt addition to the Icarus catalog.
The festival love for this future art-house classic include the Best Film honor at the 2015 Athens Panorama of European Cinema and the Best Actress win at the 2015 Seville European Film Festival.
The most overt documentary element in "Women" is central character Pierre being a documentarian whose spouse Manon fills several roles that include researcher and film editor. Additionally, filmmaker Philippe Garrel regularly provides exposition via voice-over narration. Having the camera largely follow the characters around and simply record their conversations and reactions to events further contributes to the cinema verite vibe of the film.
The film being in black-and-white enhances the French New Wave aspects of "Women."
The following YouTube clip of a trailer for "Women" nicely highlights the artistry and overall Frenchness of the film.
The early scenes establish that Mannon working with Pierre is a holdover sacrifice from his days of struggling to establish his career. One reason that the couple still works together is that Mannon sees this as an opportunity to spend time with her husband.
The proverbial fateful encounter that jeopardizes many reel (and real) couples occurs when Pierre stops to help intern/grad. student Elisabeth carry several film canisters. This leads to an affair that soon leads to indifference and boredom by Pierre, who believes that being a man entitles him to have an affair.
The response of Manon to the changes in Pierre include her starting an affair. The response of Pierre to learning about that extra-marital activity is resentment and rage despite knowing that Manon knows of his relationship with Elisabeth.
The "B Story" in the film revolves around Pierre and Manon interviewing a man about his experiences with the WWII French resistance for a film that Pierre is making on that topic. The drama related to that extends well beyond the subject being particularly personal to Pierre.
All of this leads to a somewhat surprise ending that shows the need for reflection and the related value of deciding what you will sacrifice for something that you think will more than offset that consideration,
The Icarus Films October 23, 2018 DVD release of the 2016 French drama "A Kid" reminds us both that toxic family relationships are not limited to the United States and that the benefits of family being Hell include engrossing movies such as this one. Throwing in the titular 30 year-old man being an illegitimate child whose personality does not reflect the label attached to such individuals further enhances this film with an awesome third-act twist.
The following YouTube clip of a SPOILER-LADEN trailer for "Kid" outlines the premise of the film; this promo. including a reference to "hunting a corpse I do not know with two psychos" reflects the wonderful comic edge that reminds us that this is a French film.
33 year-old Parisian pet-food sales rep. Matthieu gets the shock of his life when a call at wok informs him of the identity of his father; the rest of the story is that he has a gift from his previously unidentified father Jean, who is residing in the fresh water equivalent of Davy Jones' locker. This prompts Matthieu to travel to Montreal to attend the funeral and to meet his two brothers and the other woman whom those siblings call Mom. Those three individuals having no idea of the bundle du joie that is a dividend of a business trip to France.
Long-time Jean friend Pierre is the one who tracked down the not-so-prodigal son. He also provides Uber service from the airport and lodging during the stay. Matthieu defying a request to not upset the descendants during the weekend before the funeral transforms Pierre into his shadow.
Pierre next accompanies a determined Matthiieu on his mission to accompany his unsuspecting brother Ben the motorcycle shop owner and Sam the successful corporate attorney on a trip to the aforementioned body of water. It soon becomes known that the reasons for wanting to find the drowned body extend beyond a desire for a proper burial.
The impact of this section of "Kid" extends beyond Sam and Ben being unaware that their guest is their baby brother. Their relative (no pun intended) status in life reflects that the oldest sibling typically gets the most attention growing up and consequently just as frequently achieves the most career success among his siblings. The "Who's Afraid of Virginia Woolf"caliber drinking, sniping, and dredging up past resentments and sins validate the theory that death brings out the worst in families.
Things become particularly incestuous on Pierre and Matthieu returning to Montreal after an overnight corpse hunt. The latter increasingly bonds with Pierre's daughter Bettina to the extent of representing the other gender of fowl at her hen party at a rowdy bar with friends, A run-in with Sam prompts speculation regarding his past with Bettina and a prediction regarding future conflict between the newly connected brothers.
An innocent off-hand comment provides the aforementioned twist that results in the rest of the film changing course. Anyone who has ever attended a family gathering knows that these remarks inevitably occur and just as definitely ruin the already tense mood.
This leads to the unpacking of copious emotional baggage before the family brings Matthieu to the airport for his flight home. This resolution equally satisfies the characters and the viewers. The rest of the story is that what some people do not know does not hurt them.