Monday, October 26, 2020
Sunday, October 18, 2020
Saturday, October 17, 2020
LOVERS ROCK is another of the five-part series of films that Steve McQueen (TWELVE YEARS A SLAVE) has made to be shown on the BBC as part of its Small Axe series of films exploring British Black history. It couldn't be more different from the courtroom drama, MANGROVE, that opened the festival. Rather, this is a celebration of a certain time and a certain style of home-made West Indian entertainment - the house party! As the movie opens in early 80s Notting Hill, some young boys are clearing out the furniture from a house, and some women are cooking up a storm while singing together. Hours later young West Indian men and women don their finery and pay their fifty pence to come into an absolutely banging house party, with the most amazing music. The atmosphere is hot and sultry with dancing in the queue for the loo and people eating home-made food and making out in the back garden. As with all parties, there are unwelcome attentions from men, but also more happy couplings, and evidently a copious amount of weed being smoked. The best way to approach this film - with little plot or dialogue - is just to be carried along on the positive vibe. To become so absorbed, as the revellers do, that when the song Silly Games stops, you feel the music continue, with perhaps the most tuneful dancers of all time singing a cappella. The sun comes up and so does reality. This safe and warm private space that celebrates West Indian culture is exposed for what it is. An attempted sexual assault is thwarted. And as a new couple leaves to make out in the workplace of the boy, his boss finds them and scolds them. The black man puts on his cockney geezer accent that makes him less Other and threatening to the White man. The compromises of living as an ethnic minority begin again.
FRIENDSHIP'S DEATH was originally released in 1987 but has since been lovingly restored by the BFI and is playing in this year's London Film Festival.
Friday, October 16, 2020
NEW ORDER is a nasty brutal short film about social inequality, envy and corruption. As the film opens, patients are being kicked off hospital beds to accommodate the victims of a brutal social uprising. We cut to naked cadavers splattered with green paint. We then cut as brutally again to a wedding in a spectacular mansion where guests hand envelopes bulging with cash to the bride and her mother locks them in a safe. Their old gardener interrupts the celebrations. His wife is desperately ill but was kicked out of the hospital and now he needs money for a private operation. Mother, father, brother all reject charity but the bride wants to help, and when the social justice rioters reach the wedding house and start shooting and looting, she flees with the gardener. A day later, the house is a scene of carnage and murder. The bride, who had taken shelter with the gardener, is seized by armed militia. She's rounded up with other rich people, brutalised, raped and then offered up for ransom. As the movie ends, whatever this New Order is that has staged the coup has become as bad as the old regime - and may indeed be in cahoots with parts of it. We end the film with extrajudicial killings.
Aaron Sorkin follows up his directorial debut MOLLY'S GAME with a movie whose subject is far more in his wheelhouse, and what an energetic, pointed, anger-making film he has created in THE TRIAL OF THE CHICAGO 7. Its concerns are those that Sorkin has explored throughout his career: the liberal fight against injustice, corruption and political repression. He cast these ideas in a warm-fuzzy light where optimism won in his hit TV show The West Wing. He was angrier and more cynical in The Newsroom. And in the Trump era, the anger is rightly turned up, and the absurdity of a system wherein the rule of law has been bent out of all recognition fully explored.
The film opens with a montage that takes us back to the 1960s and the potent combination of the civil rights movement and anti-Vietnam protests. We see RFK beg for calm after the assassination of MLK before himself being assassinated. We then zoom in to the 1968 Democratic Convention in Chicago. Protestors flooded into the City hoping to protest Vietnam in front of the media outside the convention hotel soon clashed with the police brutally trying to keep them away. Once Nixon is elected his regime decides to prosecute the so-called ringleaders of the riots for Conspiracy to Incite Riots and other charges, even throwing in iconic Black Panther Bobby Seale, who had no part of it, for good measure. The charges were clearly trumped up, the judge (Frank Langella) was clearly biased and bogus, the jury was tampered with to ensure a friendly verdict, and the defendants were clearly there just to be made an example of.
Sacha Baron Cohen is absolutely note perfect as Yippie leader Abbie Hoffman. He gets all the funniest lines because he is most comfortable with showing the absurdity of proceedings. But it's Eddie Redmayne that has the more interesting role as Tom Hayden - the apparently more sensible, less showy leader of a student protest movement who hates Hoffman's grandstanding. Much of the intellectual back and forth of the movie comes between them as they throw barbs about how best to serve the movement. And they are joined in a kind of Sorkin Triumvirate of Repartee by Mark Rylance as progressive attorney William Kunstler. It's so clear that the prosecution is bent (despite an ill-conceived attempt to soften Joseph Gordon-Levitt's prosecution attorney) that all the real intellectual fun is to be had in the arguments WITHIN the defense.
The result is a courtroom drama that is thrilling and rightly anger-making, and a movie where Sorkin's trademark razor-sharp combative dialogue is absolutely right for the job. But he has also come on leaps and bounds as a director of action. The way in which he reconstructs the riot as he interrogates the version of events that Tom Hayden is telling himself is a visual and editorial tour-de-force.
THE TRIAL OF THE CHICAGO 7 has been released on Netflix due to Covid. It has a running time of 127 minutes and is rated R.
David Byrne's American Utopia is the concert film we need right now. It's hard to believe this guy is 68 years old. His voice is still so strong and his creative instincts still so full of energy and innovation. A year ago he took his new album American Utopia to Broadway, mixing it up with classing songs from the Talking Heads canon. But rather than have a flashy stage set-up or costume changes or a conventional band playing static on stage, he decided to strip everything back to 11 people, wirelessly hooked into a sound system, with the same grey suits. The joy and excitement of the stage performance comes - then - simply from their movement, their music and a kick-ass lighting design. I've never seen something so kinetic and organic and authentically brilliant. The music and message speak to a kinder, more inclusive America. And it's sheer joy just to see so much talent on stage. Praise should also go to Spike Lee for knowing just when to show the choreography in full, or when to focus in on the artists, and for matching the energy of the show with his kinetic, flowing camera work.
Four middle-class, middle-aged Danish men are living in the Talking Heads nightmare - is this my beautiful wife? is this my beautiful car? how did I get here?! So on a night out they decide to follow some cockamamie theory that if they just keep their blood alcohol level every so slightly raised at all times, they'll be looser, happier, more confident and more engaged with their lives. And indeed it seems to work! Mads Mikkelsen's high school teacher - previously so disengaged he got hauled up his students - is suddenly like something out DEAD POET'S SOCIETY! But the boys don't stop there, do they. They decide to keep on up'ing the alcohol levels - for science! And naturally, as they start showing up drunk to work and getting bladdered on a Saturday night they might look like they're having the time of their lives, but their families notice and it wreaks havoc on their personal lives. And - of course - alcohol might take the edge off anxiety or boredom and help a transformation, but it can't solve deep underlying pain. And the beauty of this film is that as much as it is a wonderful celebration of male friendship and the joys of getting slightly drunk, it's also not blind to the way in which some people cannot stick to a moderate high and for whom alcoholism will exacerbate their depression The result is a film that is beautifully balanced - showing the negative and the positive. And when it ends with a moment of true physical and emotional catharsis that exploits Mads Mikkelsen's dance training (who knew?!) it doesn't feel cheap or twee but earned and glorious and liberating.
Aleem Khan's AFTER LOVE, is a deeply moving drama that is told with a controlled, spare austerity and visual style that is truly impressive in a debut feature. The film stars the superb Joanna Scanlan as Fahima - a white English woman who converted to Islam when she married her husband many decades ago. As the film opens we see a scene of normal and apparently happy domesticity before the husband quickly dies. Fahima discovers an ID card and mobile phone among her late husband's effects with messages from a woman - Genevieve - in Calais. It soon becomes clear that her husband had another family a mere 20 miles away across The Channel. Fahima takes the decision to go and confront this woman, but in a very telling moment, she is mistaken for a cleaner, and in a state of shock, assumes that role and discovers more about the Calais family.
Wednesday, October 14, 2020
The entirety of his film takes place is a small village which is perhaps Austrian, German or Czech depending on which country is invading the other. As a result, its inhabitants are a rich cultural mix of ethnic Germans, ethnic Czechs and Jews. In such a place, the language one chooses to speak in becomes a political act and an ethnic or nationalist declaration. And with Nazis, Czech patriots and Soviets in power at various times from the 1930s to 1950s, allegiances shift under the exigencies of survival.
Yemi Bamiro's documentary is a kinetic, well-constructed and insightful look at the marketing genius of Nike to find a young Michael Jordan and turn him into a global brand. Rather than marketing an entire basketball team with a sneaker aimed at active athletes, Nike marketed an individual and aimed at the wider urban i.e. black youth market. They were targeting kids with little money and no real stake in the American Dream with a brand that personified achievement and excellence and, indeed, rebellion. For sure, it was useful that the NBA banned its first shoe. But Nike marketing execs had the balls to lean into that and get Spike Lee to direct some cutting edge black and white ads that leant into the Air Jordan's coolness. Is it the shoe? Or is it Mike? And thanks to Spike Lee, being a sneakerhead became a thing.
Monday, October 12, 2020
Sunday, October 11, 2020
INDUSTRY is a new HBO/BBC TV series that has been written by two people who apparently interned in the City in this millennium and no doubt did some research beyond watching WALL STREET and reading Liar's Poker. They seem to ignore the fact that most jobs in the City are just rather banal, mundane, desk jobs in an environment of heavy regulation of relationships, drug use and harassment. Rather, they create a show that depicts a contemporary trading floor that feels circa 1987 rather than in a world shaped by the fallout from 2008. So our brave interns are all sex obsessed, take copious quantities of prescription and illegal drugs, and have a tenuous grasp of ethics. I suppose it is at least refreshing that they aren't babes in the wood to be corrupted by their evil bosses. In fact our lead protagonist, Harper (Myha’la Herrold) is as dodgy as they come, faking her college credentials and trying desperately to cover up a fat finger error. It's as though the interns themselves are living in some post WALL STREET era where they assume this is how interns behave and ethics work in investment banking.
Saturday, October 10, 2020
SHIRLEY is rated R and has a running time of 107 minutes. It played Sundance, Berlin and London 2020. It opened in the US this summer, and will open in the UK on October 30th.
Friday, October 09, 2020
FAREWELL AMOR is a quiet but brutal emotional drama about an immigrant family reunited after decades of separation. It resonated powerfully with me because it mirrors the story of my own grandparents and asked questions I have longed to ask. As the film opens we meet Walter, an Angolan refugee who has established a life for himself in Brooklyn over the last 17 years, including a relationship with a woman. He has to end that relationship when his wife Esther, and now fully grown daughter Sylvia, finally get their immigration status approved and arrive in New York to live with him. What follows is a painful observation of an estranged couple. Walter is utterly alienated from a newly religious Esther who seems to want to cling more to her old life and its values than embrace the new. Sylvia is struggling with the weight of her mother's expectations and resentment that her father left her behind. Dance is used as a motif. Walter remembers when his wife was young and carefree and danced. In one of the most finely observed exchanges in the movie he tells his daughter that as a black man he spends his life holding himself in and presenting himself in a way that won't scare white people. He encourages Sylvia to dance freely and true to her own style because dance is one of the very places that one can be oneself. I'm not sure if I bought into the final act of the film - and its resolution - but I very much enjoyed the journey and getting to know these three characters.
In the early 2000s, a severely autistic Japanese boy call Naoki Higashida wrote a book about what it was like to live with his condition. It achieved success in Japan but found widespread global acclaim roughly a decade later when the author David Mitchell and his wife, parents to an autistic son, translated it into English. The book was hailed as that thing most desired by parents of autistic children - a chance to understand what their kids were going through without the barrier of miscommunication. Indeed, the very format of the book fed a hunger to understand - answering discreet questions often posed to kids with autism - one of which is "why I jump".
180 DEGREE RULE has a running time of 83 minutes and played Toronto and London 2020. It does not yet have a commercial release date.
TIME has a running time of 81 minutes and is rated PG-13. It played Sundance 2020 where Bradley won Best Director. It goes on limited release in the USA today and will be on Amazon on October 16th.
HERSELF has a running time of 98 minutes. The film played Sundance, San Sebastian and London 2020.
Thursday, October 08, 2020
THE PAINTER AND THE THIEF has a running time of 102 minutes. The film played Sundance and London 2020. It was released earlier this year in the USA and will be released on October 30th.
I loved the whimsical detours through the night - the mockery of their mutual friend - a film student - with his never-ending film that they have to sit through - or the amusement of the armed guards outside the Prime Minister's house at seeing yet another runaway bride - or the fact that the poor groom can't escape his overbearing parents even when he pops into a local cafe for a bit of peace and quiet and a falafel. I also love how the idea that a groom can give a Mitzvah - a bit of good fortune to others - leads to such absurdist prevarications on the part of the bride.
There's so much to love here - a lightness of touch even when dealing with some pretty profound emotional issues. And it all hangs on a pair of great performances, not least from Avigail Harari as the bride.
HONEYMOOD has a running time of 90 minutes. The film played Tribeca and London 2020 and was released in Israel earlier this year.
I found the slowly building relationship between the two women utterly beautiful and the emotional catharsis as Woods' Old Dolio believes she has endured The Big One to be a thing of real joy. How can the simple passing of a toothpick across a table break your heart? This is what Miranda July does. And it's a strange kind of emotional genius.
KAJILLIONAIRE is rated R and has a running time of 104 minutes. The film played Sundance and London 2020.