tag:blogger.com,1999:blog-65545061710970895002024-03-15T20:09:27.800-05:00Brent Marchant's BlogA collection of news flashes, insights, and other cinematic and metaphysical information from Brent Marchant, award-winning author of "Get the Picture?!: Conscious Creation Goes to the Movies," "Consciously Created Cinema: The Movie Lover's Guide to the Law of Attraction" and "Third Real: Conscious Creation Goes Back to the Movies," as well as contributor to numerous blogs, web sites and radio shows.Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.comBlogger1397125tag:blogger.com,1999:blog-6554506171097089500.post-8019017533530067832024-03-05T20:01:00.001-06:002024-03-05T20:01:35.779-06:00‘Tótem’ celebrates life in the face of death<figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Totem_Poster_web_original-600x889.jpg" alt="" class="wp-image-17027" width="300" height="445"/></figure><br/><br/><br/><br/><p>“Tótem” (2023). Cast: Naíma Sentíes, Iazua Amador, Montserrat Marañon, Saori Gurza, <a>Marisol Gasé</a>, <a>Mateo García Elizondo</a>, <a>Teresita Sánchez</a>, Marisela Villarreal, Alberto Amador, Juan Francisco Maldonado. Director: Lila Avilés. Screenplay: Lila Avilés. <a href="https://www.janusfilms.com/films/2148">Web site</a>. <a href="https://youtu.be/muox5gk34-0">Trailer</a>.</p><br/><br/><br/><br/><p><a>It’s never easy to face difficult situations, especially when they’re impending and it seems as though they’re inevitable, circumstances in which there’s nothing we can do about them. Indeed, it’s hard enough for us as adults to process and cope with such conditions, but how are children supposed to handle these kinds of situations? Youngsters seldom possess the experience and wisdom needed to deal with their feelings, leaving them unable to address their emotions and outlooks and to find ways to get by. These events can lead to devastating if not irreparable damage that can scar them for life. But are there ways of handling such scenarios that minimize the impact? Those are the issues beautifully and sensitively examined in the touching new Mexican comedy-drama, “Tótem.”</a></p><br/><br/><br/><br/><p><a>Nine-year-old Sol (Naíma Sentíes) should be spending the carefree days of youth enjoying life and having fun. But that’s not easy, or at times even possible, given that her young father, Tona (Mateo García Elizondo), a gifted painter, is struggling with a debilitating form of cancer, a condition that’s been getting worse and appears to be heading into its final stages. Sol has difficulty understanding how someone so young has become so weak and frail. She believes that someone his age, with so much talent and potential, should be vibrant and vital, so her dad’s illness truly mystifies her. What’s more, she’s having trouble processing the idea that he’s reluctant to see her. She’s confused, convinced that she’s done something wrong or that he doesn’t like her, when, in fact, his reluctance stems from the fact that he’s uncomfortable with his daughter seeing him in such a depleted state. Sol thus struggles to cope with both Tona’s failing health and his ongoing unexplained absence from her life.</a></p><br/><br/><br/><br/><p>Sol is not the only one having difficulty dealing with these circumstances. Tona’s sisters, Nuria (Montserrat Marañon) and Aléjandra (Marisol Gasé), provide for the daily needs of their brother with the aid of a professional caregiver, Cruz (Teresita Sánchez). Together, they make sure Tona has a roof over his head and vigilantly attend to his well-being. But, given that they’re so close to the situation, they witness the heartbreak of Tona’s decline firsthand, making for trying circumstances and prompting them to look for ways to cope. Then there’s Lucia (Iazua Amador), Sol’s mother, who has the dual responsibility of attempting to assist in the management of both Tona’s physical state and their daughter’s emotional health. The four women do their best to meet these challenges, but, after all, they’re only human. They thus each struggle to come up with their own means of addressing this difficult situation, some of which create additional issues of their own.</p><br/><br/><br/><br/><p>Of course, when trying to lift someone’s spirits, it doesn’t help to let one’s own feelings of despair become apparent, in this case for both Tona and Sol. So, to counter the prevailing sense of gloom, the family decides to throw a birthday party for Tona. He’s not particularly keen on the idea, given his worsening health and his dread of loved ones seeing how far he has slid. But his relatives insist on holding the party, whether or not he chooses to make an appearance. The event is intended not only to acknowledge that he has made it to yet another birthday, but also to provide an opportunity for his family and friends to show him how much he means to them, a celebration of life – and, everyone hopes, a meaningful one at that. After all, this could well be the last chance for something like this to take place.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/03/Totem-1-400x302.jpg" alt="" class="wp-image-17145" width="407" height="307"/><figcaption class="wp-element-caption"><strong>Cancer victim Tona (Mateo García Elizondo, left) shares a rare tender moment with his scared young daughter, Sol (Naíma Sentíes, right), in the sensitive, touching new Mexican comedy-drama, “Tótem.” Photo courtesy of Janus Films.</strong></figcaption></figure><br/><br/><br/><br/><p>But efforts aimed at promoting Tona’s well-being involve more than just throwing him a party. For instance, Uncle Napo (Juan Francisco Maldonado) spends considerable time looking into various treatment options. Likewise, Aléjandra is willing to try implementing alternative approaches, including practices based on native Mexican spiritual beliefs, such as having the house smudged with sage by a colorful shamanic practitioner, Lúdica (Marisela Villarreal), and conducting meditative prayer circle sessions with the entire family.</p><br/><br/><br/><br/><p>And, through all this, everyone pitches in to help Sol cope with everything that’s going on around her. She’s experiencing a wide range of emotions, from sorrow to confusion to anger, and she’s having difficulty understanding how to express them under the circumstances. But it often seems that things are so big that they’re more than she can handle.</p><br/><br/><br/><br/><p>In some ways, this would appear to be a no-win situation all the way around. But is giving up a truly viable option? There <em>must </em>be a way to evoke some good out of circumstances like these, but how can it be achieved? The starting point for an undertaking like this begins with our beliefs, for these powerful tools shape what emerges in our existence. This is the product of the conscious creation process, the philosophy that maintains our thoughts, beliefs and intents are responsible for the manifestation of our reality. It’s unclear how many of us are aware of or seek to implement this school of thought. However, given the breadth of possible beliefs, this thinking provides us with the means to materialize a virtually infinite range of options, including finding ways to draw the good out of seemingly otherwise-dire conditions. Or, in this case, helping to provide love, meaning and support to a dying man and a scared little girl at a critical time in the unfolding of their lives.</p><br/><br/><br/><br/><p><a>Using our beliefs to attain these results, however, requires an important first step – thinking outside the box, letting go of limitations to envision possibilities that may not have been conceived of before. And, admittedly, under circumstances like these, that could be challenging, as these kinds of conditions could be extremely distracting, keeping us from letting our consciousness flow freely to devise imaginative and effective solutions. Nevertheless, should we be able to surpass such barriers, we can thus allow ourselves to come up with a host of unimagined options.</a></p><br/><br/><br/><br/><p>As noted above, that’s especially crucial where both Sol and Tona are concerned. They need relief from the oppressive conditions weighing on them. And, in Sol’s case, it’s also essential for providing clarity in her thinking. Her worries have obviously gotten in the way of enabling her to see things clearly, planting errant beliefs in her mind that, unfortunately, have a way of clouding her judgment and putting elements into place in her existence that are both off-base and don’t serve her well-being.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/03/Totem-2-600x450.jpg" alt="" class="wp-image-17146" width="450" height="338"/><figcaption class="wp-element-caption"><strong>It’s difficult for a frightened young girl, Sol (Naíma Sentíes), to enjoy the festivities of a birthday party when faced with the prospect of losing her dad, as seen in the latest offering from writer-director Lila Avilés, “Tótem.” Photo courtesy of Janus Films.</strong></figcaption></figure><br/><br/><br/><br/><p>This is also true, to a certain extent, where other family members are concerned. Consider Nuria’s case, for example. She’s distraught over her brother’s condition, and that distraction is getting in the way of her carrying out seemingly simple tasks, like baking a birthday cake. It doesn’t help that these beliefs have also prompted her to engage in excessive drinking, a behavior that has contributed to the foregoing anxiety and the beliefs that feed into it, as well as creating new problems of their own.</p><br/><br/><br/><br/><p>Similarly, there’s the quiet despair of Roberto (Alberto Amador), Tona’s aging father, who has himself experienced his share of health-related issues. He feels helpless to assist in his son’s care, given his own well-being challenges, and dreads the thought of outliving one of his children. Such beliefs evoke occasional emotional outbursts, his anger at the circumstances getting the better of him.</p><br/><br/><br/><br/><p>This is where the value of inventive solutions comes into play. Not only do they have the potential to make things better, but they have the power to help relieve the stress on those closest to Tona and Sol. Aléjandra’s hiring of the “house cleaner,” for instance, is an attempt at employing something alternative to help create a more soothing (and possibly healing) environment for Tona. And, even if it doesn’t work, it beats doing nothing and letting the prevailing conditions take over unfettered.</p><br/><br/><br/><br/><p>And then, of course, there are the festivities themselves, which are the central focus of the film’s story. The family truly wants to make the celebration fun and special for Tona and Sol, given that there may not be any more after this one. They arrange an extensive, diverse joyful event for the guest of honor, one that’s somewhat challenging to pull off in light of the expense involved. So much of the household income goes to paying for Tona’s medical bills and caregiving that it makes things financially tight for throwing a big party. But the family believes it’s worth it, both as a celebration of Tona’s birthday and as a celebration of his life. It’s hard to imagine a more fitting and more uplifting tribute to someone facing death.</p><br/><br/><br/><br/><p>As hard as it may be to imagine, there’s a great deal of fun going on here, both for the characters and viewers alike (especially during the smudging sequence). It’s somewhat surprising to see how much comic relief has been incorporated into this picture’s narrative. But it serves a useful purpose, showing the characters how it’s possible to stay upbeat under conditions like these. It also gives the audience some much-needed breathing room during the course of what can sometimes be a difficult, tearful watch. To that end, it lends considerable credence to the idea that “laughter is the best medicine.” It may not provide a cure, but it can certainly offer relief at a time when it’s needed most. That’s food for thought for any of us facing situations like this.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/03/Totem-3-600x300.jpg" alt="" class="wp-image-17147" width="450" height="225"/><figcaption class="wp-element-caption"><strong>Nuria (Montserrat Marañon), sister of a dying man, struggles with his impending fate by imbibing in excessive drinking as a coping mechanism, as seen in the touching new Mexican comedy-drama, “Tótem.” Photo courtesy of Limerencia Films.</strong></figcaption></figure><br/><br/><br/><br/><p><a>The everyday lives of average individuals ordinarily might not make for especially engaging storytelling. However, when they’re framed within the context of extraordinary circumstances, they take on an added new dimension, as witnessed in this second offering from Mexican writer-director Lila Avilés</a>. This warm, heartfelt, bittersweet comedy-drama tells a simple yet endearing story of a family preparing a birthday celebration under trying conditions, often involving comparatively mundane tasks with delightfully funny twists and sublimely heartfelt moments as we witness the various means with which the celebrant’s relatives are dealing (or not dealing) with what lies ahead. Yet what might seem destined to be an exercise in forced festivities with an underlying sense of morbidity turns out to be a loving, earnest celebration of life, despite the undeniable presence of an unwanted, intangible “guest” lingering in the background. While the film incorporates a few sequences that are inherently a little too incidental in nature compared to the larger overall narrative, “Tótem” nevertheless serves up a charming, touching, authentically presented tale that reaches out to audiences and surrounds them with sincere, loving feelings and a big, well-earned hug.</p><br/><br/><br/><br/><p>This National Board of Review winner and Independent Spirit Award nominee is a fine, little-known indie gem that will surely move you, even if it leaves you with uncomfortably mixed feelings as its story unfolds. It effectively illustrates that there indeed can be times of boundless, overwhelming joy even in the face of overwhelming lament but that what ultimately matters most is what we make of these circumstances when they play out, especially when it comes to expressing how we feel for those whom we truly care about most. The film has been playing in limited arthouse theater release and is likely to be available for streaming in the near future.</p><br/><br/><br/><br/><p>As much as we might want to try to deny it, death eventually comes to us all (and often seemingly too soon). This is why we need to make the most of our lives while we have the chance, both for ourselves and others. And, even when the end approaches, we still have an opportunity to make our existence fulfilling beyond measure, celebrating our being for all its worth and what it has meant both to ourselves and those we care about. Even if we’re facing the prospect of blowing out our candles for the final time, that doesn’t mean it’s not something to be commemorated with joy, gusto and a hearty salute. May all of our days be so festive and meaningful, right up until the very last one.</p><br/><br/><br/><br/><p>Copyright © 2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-35220711899266235992024-03-04T06:01:00.001-06:002024-03-04T06:01:45.194-06:00Who Will Win the 2024 Oscars?<p>It’s that time of year again – time for my predictions of the winners at the upcoming annual Academy Awards. For me, this is a labor of love, especially since there were some excellent releases in 2023 that are very deserving of the accolades they have received, either as Oscar nominees and/or as nominees or winners in the major competitions leading up to this event. And so, with these contests now in the books, that leaves just the main event for the season’s biggest winners to be announced.</p><br/><br/><br/><br/><p>Many of the prospective victors in the top six categories – actor, actress, supporting actor, supporting actress, director and picture – have come into view, though a few are still potentially up for grabs. So, with that said and for what it’s worth, here are my picks for who will take home statues on Oscar night.</p><br/><br/><br/><br/><p><strong>Best Actor</strong></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/OPR_Tsr1Sht4_RGB_2-600x950.jpg" alt="" class="wp-image-16306" width="300" height="475"/></figure><br/><br/><br/><br/><p><strong>The Field:</strong>  Bradley Cooper, <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro”</a>; Colman Domingo, <a href="https://brentmarchant.com/2023/11/26/rustin-champions-the-power-of-determination/">“Rustin”</a>; Paul Giamatti, <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers”</a>; Cillian Murphy, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a>; Jeffrey Wright, <a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction”</a></p><br/><br/><br/><br/><p><strong>Who Will Likely Win:</strong>  This is essentially a two-horse race between Cillian Murphy for <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a> and Paul Giamatti for <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers,”</a> with Murphy currently holding the edge. I wouldn’t go so far as to call this a lock, but this result comes about as close to that as one can get. Murphy has won many of the major prizes in this year’s awards season contests, including top honors in the Golden Globe, BAFTA and Screen Actors Guild Award competitions. Giamatti, meanwhile, has taken home statues in the National Board of Review, Golden Globe and Critics Choice Award programs. However, Murphy has bested his chief rival in head-to-head contests, and that track record, combined with the overall juggernaut momentum behind “Oppenheimer” with its 13 overall nominations, are likely to sway in Murphy’s favor on awards night. Admittedly, there has been considerable campaigning behind Giamatti’s candidacy, and some prognosticators are expecting an upset. Personally, however, I don’t sense enough support to score him the win. In large part, this seems to be due to the fact that his role as persnickety boarding school instructor Paul Hunham isn’t all that different from many of his previous screen roles and doesn’t represent a project in which he has been able to stretch his capabilities. That sets Murphy apart, who has shown acting chops here that we haven’t seen from him in earlier roles, a quality that often wins over Academy voters in close races. That could well be the deciding factor in bringing home the prize for Murphy’s performance in the film’s title role.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on the Nominees):  </strong>Cillian Murphy, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> Murphy truly is the class of this field, and he’s earned this award, not only for this portrayal, but for years of solid, journeyman work as an actor. Should he win, it will be a well-deserved honor.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on All Eligible Candidates):  </strong>Cillian Murphy, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> Murphy has been front and center in this category even before the film was released. He’s the year’s best lead actor and deserves the win.</p><br/><br/><br/><br/><p><strong>Possible Dark Horses:</strong>  Paul Giamatti, <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers,”</a> and Jeffrey Wright, <a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction.”</a> It’s somewhat misleading to call Giamatti a dark horse, given the place he currently holds in this field, but he nevertheless appears to be the most likely candidate to pull off an upset. Meanwhile, Jeffrey Wright can’t be totally ruled out at this point either, particularly in light of his victory for best lead performance at the Independent Spirit Awards. However, at this point, Wright seems to be an even longer shot than Giamatti, although, to his credit, this nomination has put the actor on the radar for future awards competitions, having finally broken through the barriers that have held him back over the years, despite the many fine performances that he has delivered in a wide range of pictures. Wright should consider his nomination as his award, one that could well represent a significant down payment toward future victories.</p><br/><br/><br/><br/><p><strong>Also-Rans:  </strong>Bradley Cooper, <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro,”</a> and Colman Domingo, <a href="https://brentmarchant.com/2023/11/26/rustin-champions-the-power-of-determination/">“Rustin.”</a> Like Wright and Giamatti, these nominees should consider their nominations their awards. That’s particularly true where Domingo is concerned, who, like Wright, has finally been recognized for his efforts and has likely placed himself on the radar for future awards consideration. As for Cooper, please see below.</p><br/><br/><br/><br/><p><strong>Who Should Have Been Left Out:  </strong>Bradley Cooper, <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro.”</a> To be perfectly honest, Cooper has no business being a nominee in this category. His hammy overacting and mugging for the camera alone should have gotten him ruled out. There were other contenders more deserving of an Oscar nod here (see below).</p><br/><br/><br/><br/><p><strong>Who Else Should Have Been Considered:</strong>   Leonardo DiCaprio, <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon,”</a> and Nicolas Cage, <a href="https://brentmarchant.com/2023/12/10/dream-scenario-wrestles-with-social-fanaticism/">“Dream Scenario.”</a> Both of these performances were worthy candidates for nominations and could have easily replaced the undeserved slot occupied by Cooper. Cage turned in one of his finest portrayals in years in this wickedly funny satirical dark comedy, and DiCaprio was very effective as a dimwitted stooge taken in by slick 20th Century con men. Either of them would have made fine substitutes.</p><br/><br/><br/><br/><p><strong>Snubs:  </strong>Andrew Scott, <a href="https://brentmarchant.com/quick-cuts/all-of-us-strangers/">“All of Us Strangers.”</a> As much as I enjoyed the performances by DiCaprio and Cage, however, I truly would like to have seen Scott earn a nomination for his stellar portrayal in this surreal, deeply affecting romantic drama, a picture that, sadly, was completely shut out for Oscar nods despite having received recognition in virtually all of the season’s other awards competitions. Scott’s exclusion is truly a snub in every sense of the word. He should have been in the running.</p><br/><br/><br/><br/><p><strong>Best Actress</strong></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/poor-things-PT_Payoff_ONLINE_POSTER_1350x2000_FIN_rgb-600x889.jpg" alt="" class="wp-image-16826" width="300" height="445"/></figure><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Apple_TV_Killers_Flower_Moon_key_art_2_3_1-600x900.png" alt="" class="wp-image-16875" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>The Field:</strong>  Annette Bening, <a href="https://brentmarchant.com/2023/11/23/nyad-calls-for-blending-determination-and-flexibility/">“Nyad”</a>; Lily Gladstone, <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon”</a>; Sandra Hüller, <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>; Carey Mulligan, <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro”</a>; Emma Stone, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things”</a></p><br/><br/><br/><br/><p><strong>Who Will Likely Win:</strong>  As with the best actor category, this one is also a two-horse race between Emma Stone for <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things,”</a> and Lily Gladstone for <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon.”</a> But, unlike the actor’s race, this one is tighter, and, at this point, it’s a virtual toss-up, with each nominee’s prospects being just about even. While Stone dominated the early awards season contests with wins at the Golden Globe, Critics Choice and BAFTA Awards, Gladstone appears to have been making up ground with her high-profile win in the Screen Actors Guild competition, often a barometer of what occurs at the Oscars. Gladstone has also received recognition from the National Board of Review and the Golden Globes, a combination of honors that has helped to level the playing field in this category. The actresses each have elements working in their favor (and potentially against them) that could contribute to victories (or losses) on Oscar night. Stone’s performance is easily the best of her career, showing a range we haven’t seen from her, even in some of her previous impressive work. However, Stone received an Oscar not long ago for her performance in “La La Land” (2016), and such a recent win could work against her if voters want to spread around the slate of victors a little more evenly. Gladstone, meanwhile, also delivers a solid performance, and her nomination represents a milestone event as the first Native American woman to receive an Oscar bid, a quality that could work to her advantage in an increasingly politically correct Hollywood. But, as good as her performance is, it faces stiff competition from a chief competitor with a better known track record and wider name recognition. So who will take home the statue? At this point, it’s too close to call, a prediction I’m reluctant to make (and have never done so before in all of the years of writing these blogs). In light of that, my “prediction” for this category comes down to who I believe should win, despite the fact that there’s no guarantee behind that call (see below).</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on the Nominees):  </strong>Emma Stone, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things.”</a> As much as I enjoyed Gladstone’s portrayal, I believe the edge belongs to Stone for her wildly wacky, inventive and wide-ranging portrayal. The role demands more from its performer than that of the character Gladstone portrayed, and it’s on that basis – simplistic though it may sound – that prompts me to give the edge to Stone as the more deserving nominee. Whether that turns into a win, however, remains to be seen.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on All Eligible Candidates):  </strong>Emma Stone, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things.”</a> Bella Baxter is handily one of the most distinctive female characters to have graced the screen in years, requiring much from the actress portraying her, and Emma Stone truly delivers the goods in her performance. To me, she’s the class of the field and of the universe of potential nominees. She deserves to take home the top prize on Oscar night.</p><br/><br/><br/><br/><p><strong>Possible Dark Horse:</strong>  Carey Mulligan, <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro.”</a> As with Jeffrey Wright in the actor category, Mulligan is a very long shot to win the Oscar, though it certainly wouldn’t be unwelcome if it were to come to pass. To be honest, Mulligan’s performance is easily the best thing this film has going for it, and it’s unfortunate that the actress didn’t have better material to work with in carrying out her portrayal. Both the actress and the character she played deserved better from this production, and the deficiencies in the film’s narrative and screenplay may be responsible for diluting Mulligan’s chances of a victory here. This is Mulligan’s third Oscar nomination, and she’s likely to be passed over again, having to wait for yet another future role that will finally bring her that elusive award.</p><br/><br/><br/><br/><p><strong>Also-Rans:  </strong>Annette Bening, <a href="https://brentmarchant.com/2023/11/23/nyad-calls-for-blending-determination-and-flexibility/">“Nyad,”</a> and Sandra Hüller, <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>. These actresses should consider their nominations their awards. Despite having earned five Oscar nods and delivering yet another stellar performance as marathon open water swimmer Diana Nyad, it unfortunately looks as though Bening will be passed over yet again for a portrayal that, in almost any other year, might have been strong enough to garner a win. As for <a>Hüller</a>, she has a lot working against her. This previously little-known German actress stars in a French arthouse film, the kind of boutique picture that can be a hard sell to Academy voters, qualities that could well work against her candidacy. What’s more, Hüller likely would have stood a better chance at taking home an award if she had received a nomination for her supporting role in <a href="https://brentmarchant.com/2024/02/09/the-zone-of-interest-weighs-the-cost-of-indifference/">“The Zone of Interest,”</a> a far superior portrayal that earned her a well-deserved BAFTA Award nomination. It’s not unusual for the Oscars to nominate the right actress for the wrong film, as has happened here. However, this bid has put Hüller on the radar for future consideration, a development that could pay dividends down the road.</p><br/><br/><br/><br/><p><strong>Who Should Have Been Left Out:  </strong>Sandra Hüller, <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>. As noted above, given the strength of her supporting performance in <a href="https://brentmarchant.com/2024/02/09/the-zone-of-interest-weighs-the-cost-of-indifference/">“The Zone of Interest,”</a> Hüller and the Oscars would have been better served with a nomination in that category. Such a change would have opened up a slot in the lead actress race for someone more deserving and would have provided Hüller with better prospects for her own chances elsewhere.</p><br/><br/><br/><br/><p><strong>Who Else Should Have Been Considered:</strong>  Jessica Chastain, <a href="https://brentmarchant.com/2024/02/01/memory-examines-what-we-believe-we-recall/">“Memory”</a>; Jennifer Lawrence, <a href="https://brentmarchant.com/quick-cuts/no-hard-feelings/">“No Hard Feelings”</a>; Natalie Portman, <a href="https://brentmarchant.com/quick-cuts/may-december/">“May/December”</a>; Julia Louis-Dreyfus, <a href="https://brentmarchant.com/2023/06/04/you-hurt-my-feelings-weighs-the-value-of-honesty/">“You Hurt My Feelings”</a>; Charlotte Rampling, <a href="https://brentmarchant.com/2023/04/09/juniper-fosters-the-value-of-mutual-understanding/">“Juniper”</a>; and Fantasia Barrino, <a href="https://brentmarchant.com/quick-cuts/the-color-purple/">“The Color Purple.”</a> While none of these actresses delivered portrayals capable of winning in this category, they were all certainly noteworthy enough to earn a nomination should a slot have opened up with Hüller’s reassignment to the supporting competition. It’s regrettable that their chances were passed over.</p><br/><br/><br/><br/><p><strong>Snubs:  </strong>Margot Robbie, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie.”</a> While I have to question the merits of including Robbie as a nominee in this category, I nevertheless recognize that many viewers found her exclusion to be a definite (and inexcusable) snub. Personally, I didn’t think her performance was strong enough for such an honor this time out, but I understand (and can’t rightfully ignore) why so many moviegoers saw this development in this light.</p><br/><br/><br/><br/><p><strong>Best Supporting Actor</strong></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/OPR_Tsr1Sht4_RGB_2-600x950.jpg" alt="" class="wp-image-16306" width="300" height="475"/></figure><br/><br/><br/><br/><p><strong>The Field:</strong>  Sterling K. Brown, <a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction”</a>; Robert De Niro, <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon”</a>; Robert Downey Jr., <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a>; Ryan Gosling, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie”</a>; Mark Ruffalo, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things”</a></p><br/><br/><br/><br/><p><strong>Who Will Likely Win:</strong>  Robert Downey Jr., <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> This is Downey’s award to lose, as he has a virtual lock on it. Except for National Board of Review honors, he has swept everything else throughout this year’s awards season competitions. If anyone else’s name is called on Oscar night, I’ll be shocked.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on the Nominees):  </strong>Robert Downey Jr., <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> The many accolades Downey has earned are certainly well deserved. He demonstrated acting capabilities here that I don’t believe anyone knew he possessed. He truly is the class of this year’s field, especially given the relative strength of the category’s nominees.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on All Eligible Candidates):  </strong>Robert Downey Jr., <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> Again, Downey has proven himself in this performance, and that’s not an easy feat in light of the <em>many</em> fine supporting actor portrayals that appeared in 2023’s releases. This really is a case of the right actor winning for the right role.</p><br/><br/><br/><br/><p><strong>Possible Dark Horses:</strong>  Robert De Niro, <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon,”</a> and Mark Ruffalo, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things.”</a> In any other year, DeNiro and Ruffalo would both make very deserving winners, but, given the strength of Downey’s portrayal, they probably don’t stand a chance, no matter how remote. DeNiro gives one of his best performances in years, and Ruffalo is the only actor to have bested Downey with his receipt of the National Board of Review’s award in this category. But, that aside, these two are still long shots and likely to remain that way.</p><br/><br/><br/><br/><p><strong>Also-Rans:  </strong>Sterling K. Brown, <a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction,”</a> and Ryan Gosling, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie.”</a> Brown and Gosling should be grateful for their nominations, questionable as they are (see below).</p><br/><br/><br/><br/><p><strong>Who Should Have Been Left Out:  </strong>Sterling K. Brown, <a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction,”</a> and Ryan Gosling, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie.”</a> In my opinion, these two nominations were careless throwaways. Brown’s portrayal was adequate, but award-worthy? (I have to wonder what the Academy was thinking.) Likewise, Gosling’s cloying portrayal of an implausible character was annoying (and how he succeeded in capturing a nomination when many of his more qualified peers failed to do so is utterly baffling). In a category where there are only five available slots, the Academy can’t afford to waste them on substandard prospects.</p><br/><br/><br/><br/><p><strong>Who Else Should Have Been Considered:</strong>   Matt Damon, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a>; Jeffrey Wright, <a href="https://brentmarchant.com/2023/11/26/rustin-champions-the-power-of-determination/">“Rustin”</a>; Aml Ameen, <a href="https://brentmarchant.com/2023/11/26/rustin-champions-the-power-of-determination/">“Rustin”</a>; Glynn Turman, <a href="https://brentmarchant.com/2023/11/26/rustin-champions-the-power-of-determination/">“Rustin”</a>; Michael Cera, <a href="https://brentmarchant.com/2023/12/10/dream-scenario-wrestles-with-social-fanaticism/">“Dream Scenario”</a>; Nicolas Cage, <a href="https://brentmarchant.com/quick-cuts/renfield/">“Renfield”</a>; Glenn Howerton, <a href="https://brentmarchant.com/quick-cuts/blackberry/">“BlackBerry”</a>; and Jacob Elordi, <a href="https://brentmarchant.com/quick-cuts/priscilla/">“Priscilla.”</a> Any of these performances would have been acceptable as replacements for the misguided nods granted to Brown and Gosling. It’s too bad they weren’t recognized as such.</p><br/><br/><br/><br/><p><strong>Snubs:  </strong>Willem Dafoe, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things.”</a> Having earned nominations in the Golden Globe and Screen Actors Guild Award contests, Dafoe should have been a shoo-in for an Oscar nod. His exclusion represents a blatant snub. Like Downey, DeNiro and Ruffalo, he should have been in the running.</p><br/><br/><br/><br/><p><strong>Best Supporting Actress</strong></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/03/THE_HOLDOVERS_1080x1350_W06_FIN031696468643-240x300-1.jpg" alt="" class="wp-image-17127" width="291" height="433"/></figure><br/><br/><br/><br/><p><strong>The Field:</strong>  Emily Blunt, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a>; Danielle Brooks, <a href="https://brentmarchant.com/quick-cuts/the-color-purple/">“The Color Purple”</a>; America Ferrera, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie”</a>; Jodie Foster, <a href="https://brentmarchant.com/2023/11/23/nyad-calls-for-blending-determination-and-flexibility/">“Nyad”</a>; Da’Vine Joy Randolph, <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers”</a></p><br/><br/><br/><br/><p><strong>Who Will Likely Win:</strong>  Da’Vine Joy Randolph, <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers.”</a> This is Randolph’s award to lose, as she has a virtual lock on it. If anyone else’s name is called on Oscar night, I’ll be shocked.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on the Nominees):  </strong>Da’Vine Joy Randolph, <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers.”</a> The many accolades Randolph has earned thus far are certainly well deserved. She truly is the class of this year’s field, especially given the strength of the category’s nominees.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on All Eligible Candidates):  </strong>Da’Vine Joy Randolph, <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers.”</a> From the moment I saw this film, I knew that Randolph was someone special. While I was unfamiliar with her and her work, she instantly stood out in this role, clearly the best thing about this picture. It’s been so gratifying to see her capture honor after honor throughout the 2023 awards season, accolades that are richly deserved and stand out above all other potential candidates in this category.</p><br/><br/><br/><br/><p><strong>Possible Dark Horses:</strong>  Jodie Foster, <a href="https://brentmarchant.com/2023/11/23/nyad-calls-for-blending-determination-and-flexibility/">“Nyad,”</a> and America Ferrera, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie.”</a> Having turned in one of her best performances in years, Foster might easily have captured her third Oscar were it not for the frontrunner. And Ferrera, winner of this year’s Critics Choice SeeHer Award, made a huge splash with her now-famous monologue about female empowerment in “Barbie,” significantly raising her profile in the film industry. However, both face an uphill battle to surpass Randolph, so they remain long shots at best, despite the quality of their work. This is another case of their nominations being their awards.</p><br/><br/><br/><br/><p><strong>Also-Rans<a>:  </a></strong>Anyone who isn’t Da’Vine Joy Randolph. The frontrunner’s competitors, unfortunately, won’t be able to overtake her.</p><br/><br/><br/><br/><p><strong>Who Should Have Been Left Out:  </strong>Emily Blunt, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> I’m somewhat surprised about the amount of attention that has been given to Blunt’s performance. She’s a fine actress, and she’s certainly capable here. But award-worthy? I can’t say I see the rationale behind this selection. It could be that she got swept up in the “Oppenheimer” momentum, even if her performance didn’t quite measure up to the same level of quality of the work in the other categories in which the film received nominations. If anything, I would have much rather seen a nomination bestowed on the performance of Florence Pugh from the same film instead (see below).</p><br/><br/><br/><br/><p><strong>Who Else Should Have Been Considered:</strong>  Florence Pugh, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a>; Leslie Uggams, <a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction”</a>; CCH Pounder, <a href="https://brentmarchant.com/2023/11/26/rustin-champions-the-power-of-determination/">“Rustin”</a>; Gloria Münchmeyer, <a href="https://brentmarchant.com/2023/12/15/el-conde-metaphorically-skewers-a-dictators-life/">“<em>El Conde</em>” (“The Count”)</a>; Stella Gonet, <a href="https://brentmarchant.com/2023/12/15/el-conde-metaphorically-skewers-a-dictators-life/">“<em>El Conde</em>” (“The Count”)</a>; Rhea Perlman, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie”</a>; Teyonah Parris, <a href="https://brentmarchant.com/quick-cuts/they-cloned-tyrone/">“They Cloned Tyrone”</a>; Laurie Metcalf, <a href="https://brentmarchant.com/2023/07/12/how-to-walk-ones-talk-somewhere-in-queens/">“Somewhere in Queens”</a>; and Sherry Cola, <a href="https://brentmarchant.com/quick-cuts/shortcomings/">“Shortcomings.”</a> Pugh’s case is made above. As for the others listed here, any of them would have made fine additions to this field in place of Blunt. Granted, some of them may have flown below the radar, but that doesn’t diminish their worthiness, and I would have loved to have seen them recognized.</p><br/><br/><br/><br/><p><strong>Snubs:  </strong>Claire Foy, <a href="https://brentmarchant.com/quick-cuts/all-of-us-strangers/">“All of Us Strangers.”</a> The lack of recognition given to this performance <em>throughout</em> awards season genuinely mystifies me. Except for a BAFTA Award nomination, Foy was completely overlooked for this outstanding supporting performance, and I’m at a loss to understand why. It seems that there’s always one acting portrayal that inexplicably stays below the radar each year, and Foy’s role, regrettably, was the one to do that for 2023.</p><br/><br/><br/><br/><p><strong>Best Director</strong></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/OPR_Tsr1Sht4_RGB_2-600x950.jpg" alt="" class="wp-image-16306" width="300" height="475"/></figure><br/><br/><br/><br/><p><strong>The Field:</strong>  Justine Triet, <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>; Martin Scorsese, <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon”</a>; Christopher Nolan, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a>; Yorgos Lanthimos, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things”</a>; Jonathan Glazer, <a href="https://brentmarchant.com/2024/02/09/the-zone-of-interest-weighs-the-cost-of-indifference/">“The Zone of Interest”</a></p><br/><br/><br/><br/><p><strong>Who Will Likely Win:</strong>  Christopher Nolan, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> While there are many fine directorial efforts in this category, Nolan truly is the class of the field and is long overdue for this recognition. And, given his track record of wins leading up to the Oscars, I don’t see this changing on awards night. This is a virtual lock at this point.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on the Nominees):  </strong>Christopher Nolan, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> See above.</p><br/><br/><br/><br/><p><strong>Who Should Win (Based on All Eligible Candidates):  </strong>Christopher Nolan, <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.” </a>Even though there were some other fine directorial efforts that weren’t nominated, I don’t think there’s anyone who can beat Nolan’s work this year, no matter how commendable their films were. This has been a virtual slam dunk for Nolan ever since this offering was released.</p><br/><br/><br/><br/><p><strong>Possible Dark Horses:</strong>  Martin Scorsese, <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon”</a>; Yorgos Lanthimos, <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things”</a>; and Jonathan Glazer, <a href="https://brentmarchant.com/2024/02/09/the-zone-of-interest-weighs-the-cost-of-indifference/">“The Zone of Interest.”</a> In theory, any of these filmmakers could pull an upset for their fine movies, but I certainly wouldn’t bet on it. If Nolan weren’t in this category, this would be a much tighter race, and, conceivably, any of these three could have been squarely in the running. Not this time, though.</p><br/><br/><br/><br/><p><strong>Also-Rans:  </strong>Justine Triet, <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>. She should consider her nomination her award. Foreign pictures seldom receive much recognition outside of the best international film category, and, among directors in particular, only Bong Joon-Ho comes to mind as a victor for his work on <a href="https://brentmarchant.com/2019/11/08/parasite-exposes-the-fallout-of-false-intentions/">“Parasite” (“<em>Gisaengchung</em>”)</a> (2019). I don’t expect that to change here this year.</p><br/><br/><br/><br/><p><strong>Who Should Have Been Left Out:  </strong>Justine Triet, <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>. In my view, this was one of the most overhyped releases of 2023, and much of its praise is, frankly, undeserved. I find it hard to fathom how the filmmaker ended up as a nominee in this category. There were others more deserving who should have been recognized here.</p><br/><br/><br/><br/><p><strong>Who Else Should Have Been Considered:</strong>  Kore-eda Hirokazu, <a href="https://brentmarchant.com/2023/12/28/monster-seeks-to-arrive-at-the-whole-truth/">“Monster” (“<em>Kaibutsu</em>”)</a>; Nicole Holofcener, <a href="https://brentmarchant.com/2023/06/04/you-hurt-my-feelings-weighs-the-value-of-honesty/">“You Hurt My Feelings”</a>; and Pablo Larraín, <a href="https://brentmarchant.com/2023/12/15/el-conde-metaphorically-skewers-a-dictators-life/">“<em>El Conde</em>” (“The Count”)</a>. All three of these filmmakers could have (and should have) replaced Triet for her ill-considered nomination. The fact that their films didn’t receive much attention probably worked against them, which is unfortunate in light of the quality of each offering. That’s especially true of Kore-eda; how his picture managed to fly so low beneath the awards season radar truly baffles me.</p><br/><br/><br/><br/><p><strong>Snubs:  </strong>Andrew Haigh, <a href="https://brentmarchant.com/2024/01/27/all-of-us-strangers-celebrates-the-enigmatic-power-of-love/">“All of Us Strangers,”</a> and Greta Gerwig, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie.”</a> While Andrew Haigh’s exclusion was a definite snub in my book, I was neither upset (nor surprised) by the same for Greta Gerwig, despite the widespread criticism for being left out. The snubbing of Haigh’s superb film for <em>any</em> Oscar consideration was criminal in my view, but especially in the directors’ category. As for Gerwig, her film and her work on it were vastly overblown, and her exclusion for directorial consideration was a good call. While the picture may have excelled at the box office, it has underperformed during awards season, and that comes as no surprise to me. It helps to restore my faith in the notion that it’s indeed possible to spot the emperor when he’s naked, as is very much the case where “Barbie” and Gerwig are concerned.</p><br/><br/><br/><br/><p><strong>Best Picture</strong></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/03/image-400x633.png" alt="" class="wp-image-17128" width="300" height="475"/></figure><br/><br/><br/><br/><p><strong>The Field:</strong>  <a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction,”</a> <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie,”</a> <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers,”</a> <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon,”</a> <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro,”</a> <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer,”</a> <a href="https://brentmarchant.com/quick-cuts/past-lives/">“Past Lives,”</a> <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things,”</a> <a href="https://brentmarchant.com/2024/02/09/the-zone-of-interest-weighs-the-cost-of-indifference/">“The Zone of Interest”</a></p><br/><br/><br/><br/><p><strong>What Will Likely Win:</strong>  <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> Given the number of projected wins for this film, as well as in other categories not discussed in this blog, it’s hard to see anything stopping the momentum behind this release and preventing it from taking the top prize on Oscar night.</p><br/><br/><br/><br/><p><strong>What Should Win (Based on the Nominees): </strong> <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a><strong> </strong>This was <a href="https://brentmarchant.com/2024/01/30/the-best-of-2023/">the best picture of 2023</a> and deserves to win – hands down.</p><br/><br/><br/><br/><p><strong>What Should Win (Based on All Eligible Candidates):  </strong><a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer.”</a> See above.</p><br/><br/><br/><br/><p><strong>Possible Dark Horses:</strong>  <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon,”</a> <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things,”</a> <a href="https://brentmarchant.com/quick-cuts/the-zone-of-interest/">“The Zone of Interest”</a> and <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers.”</a> Unlikely though the prospects are, these four films could conceivably pull an upset. In the case of the first three, it’s primarily due to the quality of the pictures, all of which are quite commendable, though I don’t believe they have enough gas in the tank to put them over the top. As for “The Holdovers,” there has been an aggressive marketing campaign to secure a win, but I think that’s money being wasted on a lost cause. To begin with, the film just isn’t of the same quality as “Oppenheimer” and the other three contenders. And, second, this offering did not earn a best director nomination, a qualification that’s a virtual prerequisite for any film hoping to be named best picture. While “The Holdovers” was modestly entertaining and featured the superb performance of Da’Vine Joy Randolph, this was not one of director Alexander Payne’s better efforts, and that’s apparent by his exclusion from the directors’ category, both here and in many other competitions. That’s why it’s ironic that this release is simultaneously a dark horse <em>and</em> an also-ran. Either way, don’t expect it (or any of the other three dark horses) to take home any hardware on Oscar night.</p><br/><br/><br/><br/><p><strong>Also-Rans:  </strong>Anything that isn’t <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer,”</a> <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon,”</a> <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/">“Poor Things”</a> or <a href="https://brentmarchant.com/quick-cuts/the-zone-of-interest/">“The Zone of Interest.”</a></p><br/><br/><br/><br/><p><strong>What Should Have Been Left Out:  </strong><a href="https://brentmarchant.com/quick-cuts/american-fiction/">“American Fiction,”</a> <a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/">“Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)</a>, <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie,”</a> <a href="https://brentmarchant.com/quick-cuts/the-holdovers/">“The Holdovers,”</a> <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro”</a> and <a href="https://brentmarchant.com/quick-cuts/past-lives/">“Past Lives.”</a> Since all of these nominees (except “Anatomy of a Fall” (“<em>Anatomie d’ine chute</em>”)) failed to receive nominations in the directors’ category, that alone should explain why they should have been left out, given that nominations in these categories nearly always walk in tandem. More importantly, though, except for “American Fiction” (and, to a certain extent, “The Holdovers”), these other nominees simply left much to be desired as award-worthy contenders. They had to have been riding the crest of a wave of hype to reach this point, especially given how many other more noteworthy candidates were out there.</p><br/><br/><br/><br/><p><strong>What Else Should Have Been Considered:</strong>  <a href="https://brentmarchant.com/2023/12/28/monster-seeks-to-arrive-at-the-whole-truth/">“Monster” (“<em>Kaibutsu</em>”)</a>, <a href="https://brentmarchant.com/2023/11/05/fingernails-charts-the-quest-for-the-perfect-mate/">“Fingernails,”</a> <a href="https://brentmarchant.com/2023/06/04/you-hurt-my-feelings-weighs-the-value-of-honesty/">“You Hurt My Feelings,”</a> <a href="https://brentmarchant.com/2023/12/10/dream-scenario-wrestles-with-social-fanaticism/">“Dream Scenario,”</a> <a href="https://brentmarchant.com/2023/12/15/el-conde-metaphorically-skewers-a-dictators-life/">“<em>El Conde</em>” (“The Count”)</a>, <a href="https://brentmarchant.com/quick-cuts/upon-entry-la-ilegada/">“Upon Entry” (“<em>La Ilegada</em>”)</a>, <a href="https://brentmarchant.com/quick-cuts/when-time-got-louder/">“When Time Got Louder”</a> and <a href="https://brentmarchant.com/quick-cuts/the-teachers-lounge-das-lehrerzimmer/">“The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”)</a>. These contenders were all laudable candidates and should have received consideration ahead of those that should have been left out. It’s unfortunate that they’ve not been accorded that recognition.</p><br/><br/><br/><br/><p><strong>Snubs:  </strong><a href="https://brentmarchant.com/quick-cuts/all-of-us-strangers/">“All of Us Strangers.”</a> I probably sound like a broken record where this offering is concerned, but I’ll say it again: The exclusion of this film from the best picture field is just plain wrong. It deserves to be there.</p><br/><br/><br/><br/><p>The Oscars will be handed out in televised ceremonies on Sunday March 10. I’ll post my report card on these predictions thereafter. Enjoy the show!</p><br/><br/><br/><br/><p>(Oscar® and Academy Award® are registered trademarks of the Academy of Motion Picture Arts & Sciences.)</p><br/><br/><br/><br/><p>Copyright © 2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-67370376275434424162024-02-26T14:59:00.001-06:002024-02-26T14:59:48.926-06:00Biting Satire on The Cinema Scribe<p>Tune in for the latest <em>Cinema Scribe</em> segment on Bring Me 2 Life Radio, beginning Tuesday February 27, available by <a href="https://www.spreaker.com/show/thecinemascribe">clicking here</a>. You can also catch it later on demand on Spreaker, Spotify, Apple Podcasts, iHeartRadio, Podchaser, Audible, Deezer, Podcast Addict and Jiosaavn.</p><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/The-Teachers-Lounge-Promo-600x600.png" alt="" class="wp-image-17099" width="450" height="450"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-16288446589763461692024-02-18T17:58:00.001-06:002024-02-18T17:58:28.509-06:00‘Upon Entry’ tests our resolve to live up to our contentions<figure class="wp-block-image alignright size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/Upon-Entry-400x540.png" alt="" class="wp-image-16915" width="300" height="405"/></figure><br/><br/><br/><br/><p>“Upon Entry” (“<em>La Ilegada</em>”) (2022 production, 2023 release). Cast: Alberto Ammann, Bruna Cusí, Ben Temple, Laura Gómez. Director: Alejandro Rojas and Juan Sebastián Vasquez. Screenplay: Alejandro Rojas and Juan Sebastián Vasquez. <a href="https://tubitv.com/movies/100011434/upon-entry">Web site</a>. <a href="https://www.youtube.com/watch?v=B9dFvX8_1eo">Trailer</a>.</p><br/><br/><br/><br/><p>Questions related to immigration have been asked with increasing frequency in recent years. This has been particularly true where illegal entry has been concerned, providing considerable fodder for widespread public debate. But what of legal immigration – is that a benign subject, one worthy of little attention or recognition? Indeed, if would-be immigrants are doing everything by the book, there shouldn’t be any concerns, right? The answer to that might not be as simple as it seems, as illustrated in the gripping Spanish drama, “Upon Entry” (“<em>La Ilegada</em>”).</p><br/><br/><br/><br/><p>Diego (Alberto Ammann), an urban planner, and Elena (Bruna Cusí), a contemporary dancer, have gone to great lengths to change their lives. The couple lives in Barcelona, Spain, but they have meticulously made extensive arrangements to relocate to the US to begin again, primarily to advance their careers and join family members who have already made the move. They look forward to this new opportunity, confident that they have done everything necessary to ensure a smooth transition. And, as they head off to New York for a connecting flight to Miami, their eventual destination, they’re optimistic about what lies ahead.</p><br/><br/><br/><br/><p>Upon arrival in New York, however, they’re in for a rude awakening. While they sincerely believe that all of their immigration papers are in order, they’re nevertheless pulled aside as they’re processed through customs. Diego and Elena are escorted to a secondary screening room, where they’re told to have a seat and await further instructions. They ask questions that go unanswered and are often met with gruff, terse responses as authorities bark out commands to them. Needless to say, they’re perplexed by what’s unfolding and concerned about what it might mean.</p><br/><br/><br/><br/><p>Before long, Diego and Elena are taken to a private interrogation room, where they’re met by Agent Vásquez (Laura Gómez), a no-nonsense inquisitor who asks hard-edged questions, often giving them little time to provide answers and virtually no time to offer explanations or elaboration. There’s also little indication of where this questioning is heading or what’s behind it, leaving Diego and Elena even more confused. And, when they note that they’re running out of time to make their connecting flight, they’re summarily told that they should forget all about that.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Upon-Entry-1-600x338.jpeg" alt="" class="wp-image-17072" width="450" height="254"/><figcaption class="wp-element-caption"><strong>Would-be immigrants Diego (Alberto Ammann, left) and Elena (Bruna Cusí, right) face harsh and unexpected scrutiny from authorities after landing in New York, as seen in the edgy Spanish drama, “Upon Entry” (“<em>La Ilegada</em>”), now available for streaming on Tubi TV. Photo courtesy of Zabriskie Films.</strong></figcaption></figure><br/><br/><br/><br/><p>Not long thereafter, Agent Vásquez is joined by a colleague, Agent Barrett (Ben Temple), another tough-as-nails official who tag-teams his partner in asking additional questions, either individually or collectively with Diego and Elena. The inquiries grow progressively more intrusive, as if the agents are prying into the duo’s private life to validate the truthfulness of their responses. For example, Diego is grilled about the sincerity of his feelings for Elena, a line of questioning aimed at determining whether his relationship with her is as genuine as he contends or a matter of convenience for preferential treatment regarding their immigration status. Authorities are especially interested in this because of how quickly the couple became romantically involved after he broke off relations with an old flame, a relationship that Diego never discussed with Elena, an eye-opening revelation for her. And, thanks to these interrogation tactics, it’s not long before the trust between Diego and Elena appears to begin eroding.</p><br/><br/><br/><br/><p>There’s also the question of Diego’s Venezuelan heritage, having left his troubled homeland before relocating to Barcelona. Diego’s desire to now come to the US through Spain raises skepticism among the agents in light of the strained relations that currently exist between America and Venezuela. Is Diego legitimately pursuing a lawful course to immigrate to the US, or has he concocted a questionably clandestine scheme to accomplish his goal by way of a trumped-up romantic relationship with a Spanish woman (someone who, on her own, would come under less scrutiny than someone partnered to an individual of his background)? Indeed, should Diego be discovered to be pulling off a fast one, he could be deported directly back to Venezuela (not Spain) and denied any future chance at filing an immigration claim to come to the US. This naturally raises further suspicions in the minds of the agents, not to mention additional doubts in the heart of Elena.</p><br/><br/><br/><br/><p>To make matters worse, as the interrogation wears on, the couple grows increasingly reluctant to cooperate, particularly when the agents aren’t forthcoming about their intents or any clear basis for their line of questioning. Diego and Elena are pushed to the brink, refusing to cave in to the pressure but reaching the point where they can’t help but wonder whether their dream is going to be fulfilled. They’re clearly drained by this ordeal, but they’re in doubt about what’s going to transpire with their plan – and with each other.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Upon-Entry-2-600x338.jpeg" alt="" class="wp-image-17073" width="450" height="254"/><figcaption class="wp-element-caption"><strong>Immigration Agents Vásquez (Laura Gómez, left) and Barrett (Ben Temple, right) subject a pair of new arrivals to unduly harsh questioning, trying to identify the intents behind their immigration plans, as seen in the edgy Spanish drama, “Upon Entry” (“<em>La Ilegada</em>”), now available for streaming on Tubi TV. Photo courtesy of Zabriskie Films.</strong></figcaption></figure><br/><br/><br/><br/><p>So what exactly is going on here? Do the agents have concrete evidence to question the sincerity of the couple’s intentions? After all, when it comes to their immigration preparations, they appear to have nearly everything solidly nailed down; except for the failure to dot a few i’s and cross a few t’s, all seems in order, and they’ve substantially proved that it in their completed paperwork. So does that mean authorities have other means of confirming their suspicions, or are they on some kind of fishing expedition? Indeed, what’s prompting them to believe that something is truly amiss? No matter what underlies their actions, it hasn’t stopped their brutal interrogation, with their leading questions, accusatory tone and inferences that plant nagging seeds of doubt in the minds of Diego and Elena.</p><br/><br/><br/><br/><p>The key to understanding this, of course, rests with the beliefs of those asking and answering the questions, for those notions play a central role in how events play out, the outcomes that emerge from the conscious creation process, the philosophy that maintains these intangible resources are responsible for the manifestation of our existence. It’s unclear if any of the principals in this drama are aware of this school of thought, but the means driving it clearly have a pivotal role to play as evidenced by how matters unfold here.</p><br/><br/><br/><br/><p>So what beliefs are at work here? That’s hard to say, because the intents aren’t completely clear. Are the agents asking questions based on their beliefs in some kind of concealed evidence? Or are they following some kind of standardized interrogation protocol used in situations where they have suspicions about what could be transpiring without hard evidence to back up such speculation, a tactic designed to draw out potentially hidden truths? If it’s the former, the responses would likely validate whatever evidence they have. And, if it’s the latter, the answers would either confirm or dismiss their suspicions, but the questions will have helped them arrive at such conclusions either way.</p><br/><br/><br/><br/><p>As for those being interrogated, the questions would either enable them to remain resolute in their truth or expose any attempted hidden deception, the results, of course, reflecting what they believe in their hearts. In addition, the questioning could also be seen as a sort of litmus test for the veracity of the partners’ relationship, specifically the faith and trust they place in one another. For instance, is Diego being square with Elena about the sincerity of his intentions, both as a romantic partner and as someone who’s sincerely seeking to make a new life with her (as opposed to using her as a means to an end)? Scenarios like this can be difficult to endure, but sometimes they can help to reveal strengths – and weaknesses – in relationships, even if the subject matter of the interrogation bears no direct connection to the partnership itself.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Upon-Entry-3-600x338.jpeg" alt="" class="wp-image-17074" width="450" height="254"/><figcaption class="wp-element-caption"><strong>Would-be immigrant Diego (Alberto Ammann) faces tough questions from authorities about his Venezuelan heritage and his romantic relationships after landing in New York, as seen in the gripping Spanish drama, “Upon Entry” (“<em>La Ilegada</em>”), recipient of three Independent Spirit Award nominations. Photo courtesy of Zabriskie Films.</strong></figcaption></figure><br/><br/><br/><br/><p>However, the foregoing considerations aside, there are some additional concerns to bear in mind here, specifically with regard to policies regarding the process of immigration. As noted above, illegal immigration is a subject of great debate these days, and good arguments exist on each side of the issue as to what we should believe about it and, hence, how we should proceed in handling it. But, also as noted earlier, what about <em>legal</em> immigration, the subject at the heart of this story? Is it really necessary for would-be immigrants to be subjected to such intense and intimidating scrutiny, especially if they appear to have done everything correctly? Indeed, if there were red flags that needed to be investigated, shouldn’t they have been looked into <em>before</em> the couple arrived in New York? In light of that, then, these practices raise the question, <em>what exactly do we believe about the nature of immigration in the first place?</em> Are we truly walking our talk on this matter, or are we being hypocrites? Do we genuinely believe what we claim, or are these contentions some kind of window dressing, smoke screen or camouflage?</p><br/><br/><br/><br/><p>Let’s consider the facts. As a nation, the US generally has a history of welcoming immigrants who follow the proper legal protocols. They have played a vital role in the growth and development of this country, providing us with rich cultural, artistic and technological contributions. The diversity this practice has afforded American society has made the US a model for other countries to follow. It’s been a win-win situation all around.</p><br/><br/><br/><br/><p>However, when we see incidents like this play out, all of those ideals and aspirations get thrown into doubt. Do we mean what we say? If so, however, then why are individuals who are acting in good faith subjected to unsavory practices like this (which, by the way, aren’t necessarily recent developments, either)? And, if that’s how we really feel, then why are we sending out mixed messages to those wishing to come here? Given the track record of immigrant contributions, as well as current issues related to labor shortages in a wide array of employment sectors, why would we make these circumstances so needlessly difficult, especially when they appear to fly in the face of everything we supposedly claim?</p><br/><br/><br/><br/><p>This is not to suggest throwing caution to the wind. It’s certainly reasonable to diligently employ prudent security precautions in immigration and customs practices. But, as events unfold here, we can’t help but observe that the US might be a nation moving from a standpoint of legitimate suspicion to one of rampant paranoia. If we’ve truly reached a point where we have inherent doubts about not only illegal but also <em>legal</em> immigration, we need to step back and assess our beliefs about this practice. Do we want it to continue? Do we recognize the benefits it can afford us? And, if we don’t believe that the advantages outweigh the risks, then what are we going to do about it? Can we be honest with others – <em>and ourselves</em> – about what we truly believe about this subject? And, if so, can we make the appropriate adjustments in our policies and protocols with regard to it? Implementing such changes may not be easy if we decide to adopt them, but the toughest part may come up front where the core of this issue rests – in our beliefs.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Upon-Entry-4-600x338.jpeg" alt="" class="wp-image-17075"/><figcaption class="wp-element-caption"><strong>Would-be immigrant Elena (Bruna Cusí) learns previously undisclosed secrets about her partner during questioning from government authorities in “Upon Entry” (“<em>La Ilegada</em>”), the gripping debut feature from the writing-directing duo of Alejandro Rojas and Juan Sebastián Vasquez. Photo courtesy of Zabriskie Films.</strong></figcaption></figure><br/><br/><br/><br/><p>Welcome to America, land of the free and home of the brave, a sanctuary for the world’s poor, tired and huddled masses. Or is it? That’s the question uncomfortably raised in this gripping, edgy debut feature from the writing-directing duo of Alejandro Rojas and Juan Sebastián Vasquez. It begs the question, is this the America we want? And, if so, then why would anyone want to come here in the first place, even when making a diligently concerted effort to follow all of the legally sanctioned protocols? This film sends a powerful message, spotlighting issues disturbingly brought to light by the film’s meticulously scripted writing, which keeps characters and viewers alike guessing about what’s playing out. Although crafted very much like a stage play, the film never comes across as stilted or stagey, thanks in large part to the superb performances of the four principals, who effectively convey the anguish and fright being wrought on screen. This Tubi TV offering is highly deserving of its three Independent Spirit Award nominations for best first feature, best first screenplay and best editing, even if it’s also the kind of picture that makes audiences uneasy – but, then, maybe that’s the point behind it, too, a goal at which it succeeds brilliantly.</p><br/><br/><br/><br/><p>What we believe, either individually or collectively, can have wide-ranging implications, sometimes extending far beyond our immediate surroundings, even affecting individuals we don’t know or have never met. For what they’re worth, though, those beliefs may have impact – and may even potentially inflict harm – on others. We may not be aware of this, but, as members of a society to whose policies we may tacitly consent, we could be just as responsible for them as those who devise and enforce them in the first place. This behooves us to stay informed of what’s going on and providing our feedback when these policies and practices don’t jibe with our beliefs, as may be the case with incidents like those depicted in this film. Looking the other way won’t make these issues go away, something we must never lose sight of if we profess to be citizens of a society that holds itself out as everything it claims to be.</p><br/><br/><br/><br/><p>Copyright © 2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-9407801972498773792024-02-18T12:06:00.001-06:002024-02-18T12:06:15.713-06:00This Week in Movies with Meaning<p>Reviews of "The Zone of Interest," "The Teachers' Lounge" and "When Time Got Louder" are all in the latest <em>Movies with Meaning</em> post on the web site of The Good Media Network, available by <a href="https://www.thegoodradionetwork.com/2024/02/17/movies-with-meaning-by-brent-marchant-tgmn-movie-correspondent-134/">clicking here</a>.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/01_ZONE_COMP_420B-600x900.jpg" alt="" class="wp-image-16950" width="300" height="450"/></figure><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/theteacherslounge_poster-600x889.jpg" alt="" class="wp-image-16928" width="300" height="445"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/When-Time-Got-Louder-400x592.jpg" alt="" class="wp-image-16758" width="300" height="444"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/414986233_10232027199611968_3079855191855927938_n.jpg" alt="" class="wp-image-16885"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-2553779355126850072024-02-17T19:42:00.001-06:002024-02-17T19:42:27.525-06:00‘The Teachers’ Lounge’ charts a molehill’s evolution<figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/theteacherslounge_poster-600x889.jpg" alt="" class="wp-image-16928" width="300" height="445"/></figure><br/><br/><br/><br/><p>“The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”) (2023). Cast: Leonie Benesch, Leonard Stettnisch, Eva Löbau, Michael Klammer, Anne-Kathrin Gummich, Kathrin Wehlisch, Sarah Bauerett, Rafael Stachowiak, Uygar Tamer, Özgür Karadeniz, Can Rodenbostel, Vincent Stachowiak, Elsa Krieger, Padmé Hamdemir, Oskar Zickur, Lewe Wagner, Lisa Marie Trense. Director: Ilker Çatak. Screenplay: Johannes Duncker and Ilker Çatak. <a href="https://www.sonyclassics.com/film/theteacherslounge/">Web site</a>. <a href="https://youtu.be/UZyfhp5IPZk">Trailer</a>.</p><br/><br/><br/><br/><p><a>We’ve all no doubt heard about the proverbial molehill unwittingly being made into a mountain. The inconsequential somehow manages to become overly (and unnecessarily) inflated, taking on undeserved significance. This usually comes about as a result of undue attention paid to it by those who have self-serving agendas that they want to see escalated and addressed to resolve petty or trumped-up grievances. And the result is a chaotic maelstrom characterized by overhyped shrieking and misplaced ridicule, often directed at the wrong parties or the wrong issues. Such scenarios, unfortunately, have become far too commonplace these days, frequently blowing matters all out of reasonable proportion. If you doubt that, it’s possible to see an example of such lunacy at work in the satirical new German comedy-drama, “The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”)</a>.</p><br/><br/><br/><br/><p><a>Middle school is one of those few remaining environments thought to be safe, secure and free of troubling incidents, but such is not the case at a facility in the German city of Hamburg. A rash of petty thefts involving student possessions has been occurring, and administrators like Principal Bettina Böhm (Anne-Kathrin Gummich) want to get to the bottom of the issue. Several teachers have also become involved in the investigation, such as recently hired Carla Nowak (Leonie Benesch), one of the school’s most liked instructors, to help make possible student witnesses feel at ease during questioning. While officials are eager to find out what’s going on, they also want to create a comfortable environment for those who may be apprehensive but have important information to share.</a></p><br/><br/><br/><br/><p>But, even when a suspect is supposedly identified, the situation is still unresolved, only this time it involves the theft of teacher property, specifically items that go missing from the faculty lounge, to which no students have access. One of those affected is Ms. Nowak, who has money pilfered from her jacket pocket when she leaves it unattended on the back of a chair. She catches a break, however, when an image of the perpetrator’s distinctively patterned clothing is caught on her laptop camera, which was placed opposite the aforementioned chair and had been left on at the time of the theft. And, even though the thief’s face was not captured in the recording, it was easy to identify the individual in question given the outfit she was wearing – the culprit being one of the front office administrative aides, Frederike Kuhn (Eva Löbau).</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Teachers-Lounge-1-600x450.jpg" alt="" class="wp-image-17063" width="450" height="338"/><figcaption class="wp-element-caption"><strong>Recently hired teacher Carla Nowak (Leonie Benesch) reaches the end of her rope when a minor incident gets blown all out of proportion and lands an unexpected motherlode of fallout squarely on her, as seen in the new German satire, “The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”). Photo by Judith Kaufmann, courtesy of Sony Pictures Classics.</strong></figcaption></figure><br/><br/><br/><br/><p>When Carla identifies Frederike as the offender, she confronts her but is immediately met with outrage and indignation. Frederike is insulted and incensed, throwing a fit. The mild-mannered Carla, meanwhile, calmly tries to defuse the situation, even going so far as to say that she would be willing to overlook the matter as long as Frederike returns the stolen money. But that solution falls flat when Frederike escalates the situation, necessitating Bettina’s involvement. And, when that doesn’t work, the principal mentions that this may become a matter for the police.</p><br/><br/><br/><br/><p>But this is far from the end of things. Frederike’s son, Oskar <a>(Leonard Stettnisch)</a>, is one of Carla’s students, and he quickly gets drawn into the fray. It causes a strain in his relationship with his teacher, with whom he had previously gotten along well given the attention and recognition she gave him as one of her class’s best students. He goes through a change in attitude, becoming noticeably more belligerent and subsequently winning over the support of his classmates, who grow progressively more untrustworthy of and confrontational toward their teacher and even amongst themselves. <a>There’s also a growing sense of racial, ethnic and social prejudice emerging in the classroom and at the school overall, a reflection of issues arising in contemporary German culture with the increasing arrival of immigrants and refugees from places like Eastern Europe and the Middle East.</a> And word of all this, of course, eventually makes its way home to the parents of the pupils, who also grow skeptical about who’s teaching their kids, especially when physical harm surfaces.</p><br/><br/><br/><br/><p>Carla then learns that she may be in hot water with the faculty for having left her laptop camera running and recording them without their consent, an invasion of privacy issue. Needless to say, the staff becomes infuriated when word of this surfaces, even though nothing of consequence was filmed, making Carla a pariah among her peers. Suddenly the victim of a crime may be guilty of committing one herself. And the police – who were supposed to be investigating what happened to her – remain out of sight throughout all of this. So much for justice.</p><br/><br/><br/><br/><p>If all of that weren’t enough, Carla comes under further attack in the student newspaper. When interviewed for a previously scheduled article profiling the newly arrived instructor, she’s ambushed by the student journalists, who ask leading questions and make unsubstantiated accusations that end up in print as misleading reporting with quotes taken out of context. Like so many others in the public eye these days, Carla is charged, tried and convicted in the court of public opinion based on biased journalism, a victim of brutal character assassination. This development, coupled with everything that preceded it, leads to frenzied circumstances in which an individual who tried to quietly bring about an equitable, discreet solution to a containable incident is pushed to the edge. The molehill is now long since gone, with the mountain on view for all to see.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Teachers-Lounge-2-600x450.jpg" alt="" class="wp-image-17064" width="450" height="338"/><figcaption class="wp-element-caption"><strong>Gifted student Oskar Kuhn (Leonard Stettnisch) has a change in attitude toward the teacher he once liked when she levels damning accusations against his mother, one of the school’s administrative aides, as seen in the Oscar-nominated German comedy-drama, “The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”). Photo by Judith Kaufmann, courtesy of Sony Pictures Classics.</strong></figcaption></figure><br/><br/><br/><br/><p><a>However, some viewers might look at this story and wonder why a film was built around it. In the greater scheme of things, the narrative here could be viewed as somewhat inherently … unimportant, insignificant or negligible, and good arguments could be made in favor of that perspective. At the same time, though, also in the greater scheme of things, such an outlook might be viewed as selling this tale short in terms of its metaphorical nature, particularly when, sadly, it comes to depicting conditions found to be present all too often in the wider world these days. In that sense, it’s a cautionary fable for our times, illustrating just what we’ve come to, and where we’re at, nowadays. And that’s especially true when showcasing the state of our individual and collective beliefs, an important consideration in light of the role they play in shaping the nature of our existence, a product of the conscious creation process, the philosophy that accounts for how these intangible resources influence the emergence of the reality we experience.</a></p><br/><br/><br/><br/><p>As I’ve noted many times before, it’s unclear how many of us are aware of this school of thought. However, even if we’ve never heard of it or made use of it, we may well sense its presence in our lives on a subconscious level. And, if we don’t like what we see in our existence, we might find the notion unsettling. To a certain extent, this may likely be the case where this story and this film are concerned, a possible explanation for why this picture has not been warmly received in many circles. Nevertheless, that may also account for the impact of this offering: It makes viewers uncomfortable because it hits a little too close to home. The result is that some audience members might find themselves squirming in their seats, making them feel as though this release is cutting through a lot of carefully layered camouflage and exposing us for who and what we believe – <em>and are</em> – in many respects, a response that reinforces the view that we don’t like what we see, particularly since <em>it’s coming from us</em>.</p><br/><br/><br/><br/><p>The exposure of underlying beliefs that yield the kinds of outcomes depicted here is a theme that has been – thankfully – gaining momentum in recent years, as evidenced in movies like this, as well as such other productions as <a href="https://brentmarchant.com/2022/01/03/dont-look-up-skewers-willful-ignorance-complacency/">“Don’t Look Up”</a> (2021) and <a href="https://brentmarchant.com/2023/12/10/dream-scenario-wrestles-with-social-fanaticism/">“Dream Scenario”</a> (2023). They shine a bright light on us, serving as a mirror of ourselves, reflecting what’s <em>really</em> going on deep down inside us at the core of our beings. “The Teachers’ Lounge” shows how pervasive the impact of this can be, too, both on the grand stage of our world and in the little, everyday events that characterize our respective lives. Whether themes like those explored here are incorporated into big picture events or the small-scale happenings of daily existence, their effects are the same in each case, and we should be cognizant of that when it comes to the reality we manifest and subsequently experience.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Teachers-Lounge-4-600x450.jpg" alt="" class="wp-image-17065" width="450" height="338"/><figcaption class="wp-element-caption"><strong>The relationship of recently hired teacher Carla Nowak (Leonie Benesch, left) and one of her once-favorite students, Oskar Kuhn (Leonard Stettnisch, right), turns sour when extenuating circumstances put undue pressure on them, as seen in the satirical new German comedy-drama, “The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”), Oscar nominee for best international feature. Photo by Judith Kaufmann, courtesy of Sony Pictures Classics.</strong></figcaption></figure><br/><br/><br/><br/><p>It may be tempting for some of us to dismiss this notion, especially when we see things about our existence that we don’t like – particularly about ourselves and what we materialize. However, given that these initiatives originate with us, we can’t realistically abrogate our <em>responsibility</em> for them and what unfolds from them as a result. There are many areas in which this is true in this story, many of them disturbing, especially when it comes to revealing aspects of ourselves and our beliefs that we find unflattering or intrinsically troubling. Hence the viewer discomfort with this title.</p><br/><br/><br/><br/><p>This film provides us with a look at how this all plays out both individually and collectively. In many regards, there are individual agendas at work that unfold over the course of the narrative. At the same time, these individual belief threads combine to form the essence of the larger, collectively generated scenario. And, considering the often-inflammatory nature of the various agendas, it becomes easy to see how and why they jointly grow into something larger and more troubling, with consequences that appear in myriad ways. Put another way, it’s easy to see how the molehill becomes a mountain.</p><br/><br/><br/><br/><p>We see scenarios like this popping up more often than ever before these days, again, whether on either grand or minor scales. Situations that start out small take on lives of their own, often with multiple components that each carry potentially significant implications and that, collectively, combine to make for unwarranted high drama. Circumstances that seem like they should be able to be handled with relative ease and simplicity swell into major confrontations, with emotions that run hot, heavy and adversarial over matters that are far from deserving of such attention and treatment. In this film, we see that occur with respect to not only the original criminal accusations, but also with a host of ancillary concerns that aren’t part of the initial conditions and somehow become wrapped up in the course of the overall story.</p><br/><br/><br/><br/><p>For example, what do elements like racial and national prejudice, the incendiary role of the media, the impact of unsubstantiated innuendo, the protection of personal privacy, the indulgence of contemporary youth, and the sway of fake news in shaping public opinion have to do with the petty theft of cash from someone’s jacket pocket? As all of this comes to light, the individual at the center of this scenario – Carla – is judged by those around her, including by some who have no direct bearing on the outcome of the seminal event, generally with distorted views and without all the pertinent facts, a situation similar to what unfolds in the recently released Japanese offering, <a href="https://brentmarchant.com/2023/12/28/monster-seeks-to-arrive-at-the-whole-truth/">“Monster” (“<em>Kaibutsu</em>”)</a>. And, as all these sideshow matters come front and center, the person whose needs are most crucial of bring met – the aggrieved teacher – go unattended by those one might think would help her: her peers and the officials responsible for resolving this situation. Is that fair? What’s more – and perhaps more troubling – doesn’t this sound like something we hear about on an almost-daily basis these days? And to think it all begins with our individual and collective beliefs. Is that the way we truly want things to be?</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Teachers-Lounge-3-600x450.jpg" alt="" class="wp-image-17066" width="450" height="338"/><figcaption class="wp-element-caption"><strong>Recently hired teacher Carla Nowak (Leonie Benesch) gets beaten up – literally and figuratively – by multiple parties when she gets caught up in an exaggerated school conflict, as seen in writer-director Ilker Çatak’s latest offering, <a>“The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”), </a>now playing in theaters. Photo by Judith Kaufmann, courtesy of Sony Pictures Classics.</strong></figcaption></figure><br/><br/><br/><br/><p>Our beliefs are powerful tools for shaping the world we experience. They can be employed to manifest virtually anything we can envision, for better or worse. Consequently, though, it’s incumbent upon us to use that power carefully, because, as this film illustrates, it can quickly get out of hand, becoming inflated in ways with wide-ranging and potentially damaging ramifications. After all, those mountains can be difficult – if not impossible – to dispense with once they emerge. Remember that the next time you’re quick to unduly raise a fuss or erroneously point fingers at someone else.</p><br/><br/><br/><br/><p>In recent years, we’ve all seen examples of incidents that start out comparatively small but that rapidly get blown all out of proportion – and perversely so at that. As developments emerge and explode under these conditions, they often lose all sense of reason, expanding into tangential and seemingly unrelated areas that have virtually nothing to do with the event that spawned them. And, in the end, we’re left with outcomes that seem inappropriate and ill-suited to what launched these insane scenarios in the first place. That’s what writer-director Ilker Çatak explores in his latest offering, a microcosmic metaphor for what’s happening on a wider scale in society at large today. While some may fervently contend that the outcomes depicted here are somewhat exaggerated in nature, they nevertheless collectively draw attention to undeniably troubling issues desperately in need of attention in our increasingly out-of-control world, global concerns that obviously transcend national borders, all punctuated here with more than a few hefty infusions of wickedly absurdist humor. “The Teachers’ Lounge” might not appeal to everyone, but, for those who enjoy films that aren’t afraid to present biting social commentary, this should be added to your watch list. As the picture so regrettably shows, even supposedly civil environments aren’t immune from the kind of social nonsense depicted here, a troubling teaching for all of us who are looking for a return to sanity in an increasingly crazy existence.</p><br/><br/><br/><br/><p>“The Teachers’ Lounge” has played widely on the film festival circuit, but it is now available in limited general release. As one of the National Board of Review’s Top 5 International Films for 2023, it’s a worthwhile watch that will make viewers think and, even more importantly, laugh. It’s such qualities that have also earned this release a well-deserved Oscar nomination for best international film. But, as you’re watching it, try to keep your composure and not let emotions take over if it starts to make you feel uncomfortable. That’s the lesson we should all strive to take away from this insightful offering – and apply it when called for.</p><br/><br/><br/><br/><p><a>Molehills can indeed be annoying nuisances, but, when kept in check, they’re generally manageable, seldom assuming mountain form. However, like a nagging hangnail, sometimes we can’t resist the temptation to relentlessly pick at it, needlessly making it worse until it blows up into a full-fledged infection. Is that really called for? That’s a question we should ask ourselves more often when we see minor quibbles pointlessly become transformed into full-fledged conflicts that ultimately leave us decidedly worse off. If this film teaches us nothing else, it should be that. Let’s hope we take the lesson to heart.</a></p><br/><br/><br/><br/><p>Copyright © 2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-19480440616157368812024-02-13T15:39:00.001-06:002024-02-13T15:39:33.829-06:00‘When Time Got Louder’ asks, ‘Who cares for the caregiver?’<figure class="wp-block-image alignright size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/When-Time-Got-Louder-400x592.jpg" alt="" class="wp-image-16758" width="300" height="444"/></figure><br/><br/><br/><br/><p>“When Time Got Louder” (2023). Cast: Willow Shields, Lochlyn Munro, Elizabeth Mitchell, Jonathan Simao, Sharon Taylor, Ava Capri, Piper Curda, Aias Dalman, Ava Grace Cooper, Matthew Kevin Anderson, Bronwen Smith, Milo Shandel, Wyatt Cameron, Sindy Lau, Benita Ha, Barry W. Levy, Sean Robert Muik. Director: Connie Cocchia. Screenplay: Connie Cocchia. <a href="https://whentimegotlouder.com/aboutthefilm">Web site</a>. <a href="https://www.youtube.com/watch?v=gFOCxSzFDfA">Trailer</a>.</p><br/><br/><br/><br/><p><a>Caring for those with special needs is certainly a noble, commendable pursuit. The patience, diligence, compassion and dedication required in attending to these individuals is often substantial, and providing the necessary care in line with those qualities is indeed laudable. But, given the commitment called for in such undertakings, one can’t help but wonder, how far should such conscientiousness extend? Is there a limit to the expectations, or is the obligation open-ended? Such persistent efforts can take a toll either way, at which point the question naturally arises, “Who cares for the caregiver?” That’s a central theme of the moving new domestic drama, “When Time Got Louder.”</a></p><br/><br/><br/><br/><p><a>Mark and Tish Peterson (Lochlyn Munro, Elizabeth Mitchell) are the proud parents of two teenage children, Abbie (Willow Shields) and Kayden (Jonathan Simao), both of whom are very close to one another. Abbie is a high school senior who has been accepted into a prestigious out-of-town art school, a program in which she looks forward to enrolling. Her younger brother is also a talented illustrator, but he suffers from autism, requiring a great deal of care from both his parents and older sister. Kayden is reasonably high functioning, but he’s prone to uncontrolled emotional outbursts and communicates mostly nonverbally, sometimes making his needs quite challenging to understand and fulfill. And, despite the genuine love and affection that Mark, Tish and Abbie feel for Kayden, they’re also well aware of how difficult it can be to tend to his needs.</a></p><br/><br/><br/><br/><p>The family has sacrificed much in caring for Kayden. Tish gave up her successful career as an interior designer to become a stay-at-home mom for her son. Mark, a construction contractor, has taken on extra work to earn enough money to pay for all of the care Kayden requires, as well as Abbie’s impending schooling. But it’s a decision that has led to Mark being absent more often than many typical husbands and fathers, placing greater strain on the emotional well-being of the household. Meanwhile, Abbie has also made her share of sacrifices, having foregone many of the activities that her high school peers readily enjoy just so that she can dutifully spend time with her brother.</p><br/><br/><br/><br/><p>Considering the pressure and anxiety that all of this has placed on the family, one can’t help but wonder how long they can keep this up. Their efforts in caring for Kayden are certainly praiseworthy, but what about <em>their</em> needs? The relationship between Mark and Tish is obviously becoming frayed. And, out of a sense of guilt, Abbie is even considering abandoning her plans to go off to school to stay home with her brother. But are these workable solutions? Are Tish, Mark and Abbie realistically to be expected to put their lives on hold? Are they supposed to willingly sacrifice their hopes, wishes and dreams for Kayden’s sake? Is that fair to them?</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/When-Time-Got-Louder-1-600x251.jpg" alt="" class="wp-image-17039" width="450" height="188"/><figcaption class="wp-element-caption"><strong>Abbie Peterson (Willow Shields, left) cares deeply for her autistic brother, Kayden (Jonathan Simao, right), as a committed caregiver, as seen in the new domestic drama, “When Time Got Louder.” Photo courtesy of Lucky Lab Photos Inc.</strong></figcaption></figure><br/><br/><br/><br/><p>There are no easy answers to questions like that. Kayden obviously has a great many needs that must be addressed. But so do Tish, Mark and Abbie. What could they be missing out on in an effort to be dutiful to their son and brother? Even if they were to move forward in meeting their own needs, what kind of an impact would that have on Kayden and his continued well-being? And how would they be looked upon if they did this? Would they be perceived as providing themselves much-needed self-care, or would they be summarily judged as being selfish and “unconcerned”?</p><br/><br/><br/><br/><p>Situations like this obviously call for getting creative, particularly when it comes to considering the full range of solution options on the table. But can all of those options truly be envisioned and/or implemented? And, even if so, can those drumming up such possibilities <em>believe</em> in their viability? That’s especially important given the role that our beliefs play in the manifestation of what we experience, the outcome of the conscious creation process, the philosophy that governs the employment of these intangible resources in shaping our existence. It’s not even clear how many of us have heard of or bought into this school of thought, but, if we hope to come up with inventive means for addressing tricky circumstances like those depicted in this film, we had better give them some serious consideration if we hope to find feasible ways to move forward.</p><br/><br/><br/><br/><p><a>Obviously the caregiver’s needs must be addressed if he or she wants to remain effective in that role. After all, if the caregiver becomes frustrated or worn out, what kind of impact will that have on the <em>care recipient</em>? For everything to work out all around, there must be a goal of striking a proper balance, where the needs of both provider and receiver are both adequately met. But, again, how is an equilibrium to be struck when the seemingly available means for achieving it are limited, vanishing or missing?</a></p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/When-Time-Got-Louder-2-600x337.png" alt="" class="wp-image-17040" width="450" height="253"/><figcaption class="wp-element-caption"><strong>Mark and Tish Peterson (Lochlyn Munro, left, and Elizabeth Mitchell, right) wrestle with finding suitable caregiving solutions for their teenage autistic son, as depicted in writer-director Connie Cocchia’s debut feature, “When Time Got Louder,” available for streaming. Photo courtesy of Lucky Lab Photos Inc.</strong></figcaption></figure><br/><br/><br/><br/><p>This is where the aforementioned envisioning capabilities come into play. Under the conditions present here, it’s apparent that the tried-and-true, readily available solutions have become insufficient, and hopes for them improving significantly and expediently are slim. This is not to suggest that those practices weren’t sufficient at one time, but, as circumstances have changed, new solutions are now called for. Some of these possibilities might not be obvious, or they may have us riddled with doubt about their viability. But that doesn’t mean we shouldn’t look for them or summarily rule them out.</p><br/><br/><br/><br/><p>By freeing ourselves of self-imposed limitations, we can expand the range of possibilities open to us. Allowing our imagination to flow without restriction opens up our minds to visualize options never before considered. And, when we infuse those conceptualized ideas with the power of our beliefs, they take on a life of their own, as evidenced by their manifestation right before our eyes. This is what the Petersons must now put to work to come up with the solutions required to fill everybody’s needs.</p><br/><br/><br/><br/><p>While it would be ideal if such brainstorms could come to us directly, some of us might need a little help with the envisioning process. In these cases, the wisest course may be to seek out the guidance and insights of specialists with the required expertise. Their experience can prove valuable in devising suggested solutions, providing us with a sense of possibilities we hadn’t considered and can now start focusing on to bring into being. This becomes particularly apparent in the family’s meetings with Claire (Sharon Taylor), a social worker well versed in long-term caregiving options for autistic patients. Some of her suggestions are well met while others are summarily dismissed, but seeking out the possibilities, no matter what they may be, must be done if resolution is ever to be achieved.</p><br/><br/><br/><br/><p>In Kayden’s case, Tish, Mark and Abbie need to examine those long-term approaches for reasons other than just what they’re experiencing at the moment. To put it simply, they’re all getting older. Kayden is nearly fully grown, a young man who has the bulk of his life ahead of him. Abbie wants to attend school to develop her talents and career, ventures that are going to require increased time, effort and commitment from her, leaving her with less of each when it comes to caring for her brother. And Tish and Mark are already middle-aged, making it likely that they’ll become less able to carry on with Kayden’s care as they have as they age. While Kayden’s needs can’t be ignored, neither can those of his other family members, as these collective circumstances make clear. The caregivers must be attended to as well.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/When-Time-Got-Louder-3-400x400.jpg" alt="" class="wp-image-17041" width="300" height="300"/><figcaption class="wp-element-caption"><strong>Autistic teen Kayden Peterson (Jonathan Simao) attempts to learn how to become more independent for himself in the sensitive and engaging new domestic drama, “When Time Got Louder.” Photo courtesy of Lucky Lab Photos Inc.</strong></figcaption></figure><br/><br/><br/><br/><p>As this film illustrates, there are myriad benefits to come out of expanding our consciousness through creative exercises like this. For starters, devising unexpected, unconventional solutions can be the best approach for handling challenging situations, like those examined here. Beyond that, though, this practice can also help us build up our “manifestation muscles,” strengthening our capabilities for envisioning favorable outcomes <em>overall</em>, making us more adept at coming up with answers for an array of materialization challenges.</p><br/><br/><br/><br/><p>Abbie seems particularly proficient in this regard, especially once she leaves for school. In addition to placing herself in an immersive creative environment that’s ideally suited to her talents, it provides her with the freedom to explore aspects of herself that she couldn’t do as readily when still living at home. Most notably, she begins examining her personal life more than she had, especially when it comes to taking part in same-sex dating with a new love interest, Karly (Ava Capri). Giving herself some breathing room, while still being about to regularly communicate with Kayden by video phone, she’s found a balance that comfortably suits everyone’s needs.</p><br/><br/><br/><br/><p>While some of the foregoing might seem patently obvious, it’s important to remember that it’s easy to see that as an outside onlooker. For those ensconced in the midst of such scenarios, the solutions – and how to arrive at them – may not be as apparent. We may be too close to the circumstances, which could cloud our judgment and keep us from seeing a way out. But, by taking a step back and assessing these situations from an enhanced perspective, employing the notions discussed here, and leaving ourselves open to the options, there’s no telling how creative and effective we might become in our problem-solving skills.</p><br/><br/><br/><br/><p>Told largely through flashbacks, including during the childhoods of younger versions of Kayden (Aias Dalman) and Abbie (Ava Grace Cooper), this little-known gem sensitively but candidly presents viewers with an up-close look at what families like the Petersons go through to keep life in their households functioning and balanced. Writer-director Connie Cocchia’s heartfelt debut feature examines the loving but hard choices that must be made to take care of <em>everyone’s</em> needs under stressful conditions. Beautifully filmed, skillfully edited and backed by a deftly compiled soundtrack, this tale is effectively brought to life by its superb ensemble cast. The film evokes genuine emotions and does so with an organic authenticity, never becoming schmaltzy, clichéd or manipulative, quite a coup for a first-time feature filmmaker. “When Time Got Louder” is one of those releases that has largely flown beneath the radar, primarily playing the film festival circuit, but, thankfully, this Canadian production is now available for streaming – and a well-worthwhile viewing choice at that.</p><br/><br/><br/><br/><p>When close to circumstances like these, it can be difficult to know where to place our boundaries without allowing guilt or emotions to get in the way. How much hands-on involvement is too much? When does a sincere, compassionate sense of obligation become an unhealthy involuntary fixation? And how do we break a cycle that threatens to break <em>us</em>? Keeping our minds open and our intentions balanced is the key, even if learning how to attain it seems overwhelming. But, by letting our consciousness lead us to the answers, we have the opportunity to let everyone win – and what better outcome is there than that?</p><br/><br/><br/><br/><p>Copyright © 2023-2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-11038035346542317372024-02-12T18:52:00.001-06:002024-02-12T18:52:07.832-06:00The Power of Love on The Cinema Scribe<p>Tune in for the latest <em>Cinema Scribe</em> segment on Bring Me 2 Life Radio, beginning Tuesday February 13, available by <a href="https://www.spreaker.com/show/thecinemascribe">clicking here</a>. You can also catch it later on demand on Spreaker, Spotify, Apple Podcasts, iHeartRadio, Podchaser, Audible, Deezer, Podcast Addict and Jiosaavn.</p><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/All-of-Us-Strangers-Promo-600x600.png" alt="" class="wp-image-17036" width="450" height="450"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-3256811099834004202024-02-09T06:44:00.001-06:002024-02-09T06:44:01.562-06:00‘The Zone of Interest’ weighs the cost of indifference<figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/01_ZONE_COMP_420B-600x900.jpg" alt="" class="wp-image-16950" width="300" height="450"/></figure><br/><br/><br/><br/><p>“The Zone of Interest” (2023). Cast: Christian Friedel, Sandra Hüller, Johann Karthaus, Luis Noah Witte, Nele Ahrensmeier, Lilli Falk, Anastazja Drobniak, Cecylia Pękala, Kalman Wilson, Imogen Kogge, Stephanie Petrowitz. Director: Jonathan Glazer. Screenplay: Jonathan Glazer. Book: Martin Amis, <em>The Zone of Interest</em> (2014). <a href="https://a24films.com/films/the-zone-of-interest">Web site</a>. <a href="https://youtu.be/r-vfg3KkV54">Trailer</a>.</p><br/><br/><br/><br/><p><a>Given humanity’s tremendous capacity for compassion and benevolence, it’s somewhat hard to believe that we’re also capable of qualities at the opposite end of the spectrum. When we consider the magnanimity we often exhibit in times of crisis, it’s difficult to fathom how we can also demonstrate troubling degrees of callous, uncaring indifference toward our fellow man. Yet, if we examine the scope of human history, we can’t willfully ignore the many instances of cruel disregard and unspeakable atrocities we’ve inflicted on others during such times as the reign of the Third Reich. And, despite what progress we may have made, we even see it today in places like the North Korean regime. It makes one wonder whether we’ve learned anything along the way. That’s why we need to pay attention to our history and ourselves, as depicted in the unnerving but affecting new historical drama, “The Zone of Interest.”</a></p><br/><br/><br/><br/><p><a>Without a doubt, Nazi Germany was one of the most horrendous times in human history. Under the authoritarian rule of sadistic dictator Adolf Hitler, this maniacal autocratic state inflicted unrelenting terror across Europe, particularly in the implementation of its “final solution” to systematically eliminate what it considered to be the region’s undesirables, most notably the continent’s Jewish population. Through its network of nefarious death camps, the regime executed 6 million Jews, as well as a nearly equal number of individuals from other religious, cultural and ethnic persuasions. And this was accomplished through a highly orchestrated program of rounding up the targeted victims and sending them to their deaths at these notorious facilities.</a></p><br/><br/><br/><br/><p>The most infamous of these concentration camps was located at Auschwitz in occupied Poland. With no offense intended here, the facility was run like a factory, where “efficiency” was considered an exalted objective. This was a goal overseen by the camp’s commandant, Rudolf Höss (Christian Friedel), who resided with his family in a compound immediately adjacent to the facility, separated by a dividing wall. There was a tremendously ironic dichotomy in this setup; while unrelenting death and revolting inhumanity characterized life in the camp, the residential compound was the seeming epitome of normality. In fact, the commandant’s wife, Hedwig (Sandra Hüller), saw the residence as the ideal place for the family, including the couple’s five children. Hedwig looked on it as the home she always wanted, her own version of paradise. She took pride in the garden she established, complete with flower beds, vegetable plantings and a greenhouse, along with a wading pool and play sets for the children.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Zone-of-Interest-1-600x338.jpeg" alt="" class="wp-image-17018" width="450" height="254"/><figcaption class="wp-element-caption"><strong>How ironic it is for such an idyllic setting as this residential family compound to be located directly next to the Auschwitz concentration camp facility, as seen in director Jonathan Glazer’s latest offering, the unsettling historical drama, “The Zone of Interest.” Photo courtesy of A24.</strong></figcaption></figure><br/><br/><br/><br/><p>In adopting this attitude, however, Rudolf and Hedwig were oblivious to what was transpiring just beyond the compound’s wall, despite the recurring sounds of gunshots and the incessant billowing smoke coming from the camp’s mass crematoriums. What’s more, they intentionally ignored smoking gun evidence of the camp’s atrocities that they encountered during their daily routines. In fact, Hedwig and the children matter-of-factly took pleasure in whatever valuable possessions they were able to acquire as a result of confiscations from camp victims, such as a full-length fur for mother and extracted gold teeth for the youngsters to play with.</p><br/><br/><br/><br/><p>Indeed, it’s astounding how the members of the Höss family could be so deliberately indifferent about what was going on around them. It’s truly mind boggling how they could so thoroughly compartmentalize their thinking and place their own needs, wants and desires before all else. Yet there they were, living their lives as if nothing untoward was unfolding in their midst.</p><br/><br/><br/><br/><p>In telling this story, the film is not focused so much on its narrative as it is on conveying the prevailing attitudes of its characters. In that sense, then, “The Zone of Interest” relies more on presenting a series of events reflective of those individuals’ perspectives, an approach that could be seen as somewhat episodic. Nevertheless, that tactic works, as those individual events collectively combine to paint a picture of the outlooks of its principals, one that’s quite chilling for viewers to witness. On top of that, the film never incorporates imagery that’s graphic or gratuitous of what’s unfolding in the camp; instead, the audience is shown preludes to, or evidence of the aftermath, of those events, a technique designed to further enhance the disturbing impact of what’s transpiring over the dividing wall.</p><br/><br/><br/><br/><p>Because of this, much of this release presents depictions of everyday events in the lives of the family. While some might see this as rather mundane, it’s nevertheless quite telling and keeps in line with the film’s central message. Certain incidents are particularly compelling, such as the reaction of Hedwig’s mother (Imogen Kogge) to what she witnesses when she comes for a visit, especially when the truth of what’s happening sinks in. Then there’s the indignance of Hedwig when she learns that her husband is about to be transferred to another Nazi facility in Oranienberg near Berlin, a move she strongly protests because she doesn’t want to leave the home she so dearly loves, even prompting her to defiantly stay behind despite her husband’s relocation. Again, one can’t help but wonder how people could behave in such an unfeeling manner.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Zone-of-Interest-2-600x413.jpeg" alt="" class="wp-image-17019" width="450" height="310"/><figcaption class="wp-element-caption"><strong>Hedwig Höss (Sandra Hüller), wife of Auschwitz commandant Rudolf Höss, shows her youngest the residential compound flower garden of which she’s so proud in director Jonathan Glazer’s latest offering, the unsettling historical drama, “The Zone of Interest,” now playing theatrically. Photo courtesy of A24.</strong></figcaption></figure><br/><br/><br/><br/><p>Yet, the film’s unconventional approach notwithstanding, that’s precisely the point behind this picture. With so much brutality and barbarism taking place, it’s unfathomable that people could so easily look the other way and place their own interests ahead of those of the victims. That’s a powerful message that we should all take to heart, no matter what the circumstances and regardless of how great or small the consequences might be.</p><br/><br/><br/><br/><p>Of course, how we react to conditions like these depends greatly on what we think about them, specifically when it comes to our beliefs. And that’s crucial considering that our beliefs play a pivotal role in the manifestation of our existence, a result of the conscious creation process, the philosophy that governs how such materializations come into being. It’s not apparent how many of us are aware of this school of thought, but its impact can be substantial, for better or worse, particularly when viewed in light of the deliberately disregarded beliefs exhibited by the characters in this story.</p><br/><br/><br/><br/><p><a>The themes examined in this film naturally raise the question, “Why do the characters adhere to these beliefs in the first place?” Indeed, how can they be so intentionally cruel and indifferent? That’s hard to say, and only they can definitively answer a query like that. However, their thoughts and the actions that follow from them are tied to some significant life lessons. For example, it’s obvious they’re placing themselves first, regardless of whatever consequences may befall others, and that attitude is driven by some pronounced beliefs in self-centeredness. When Hedwig fawns over her new fur cost, for instance, she shows no concern for the fact that it was stolen or for the welfare of the individual from whom it was taken. Likewise, her preoccupation for preserving the state of her compound, when compared to her willful ignorance of what was happening right next door, illustrates the intensive self-absorption that defines her nature, one that’s a direct product of the beliefs she holds about herself, a mindset of which she might not even be aware. Moreover, that outlook doesn’t even end where the camp’s proximity and residents are concerned: When Rudolf phones her from Berlin late one night to impart some “good” news about the future of his career, she’s bothered that he called her at such an inconvenient hour – a totally dismissive attitude coldly directed <em>at her own husband</em>. What a vile person she is – and she’s only one of many in this scenario.</a></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Zone-of-Interest-5-600x338.jpeg" alt="" class="wp-image-17020" width="450" height="254"/><figcaption class="wp-element-caption"><strong>As “congratulations” for his performance at Auschwitz, camp commandant Rudolf Höss (Christian Friedel) is celebrated at a grand reception in Berlin as seen in director Jonathan Glazer’s “The Zone of Interest,” now playing theatrically. Photo courtesy of A24.</strong></figcaption></figure><br/><br/><br/><br/><p>Such shocking behavior and the beliefs that drive it reflect another significant consideration – an unwillingness to accept responsibility for what’s transpiring. In essence, by employing our thoughts, beliefs and intents in manifesting the reality we experience, we’re also inherently <em>responsible</em> for what emerges. However, given what unfolds here, it’s apparent that the characters have completely abrogated any accountability they might have in connection with such developments. In fact, there’s evidence of the exact opposite, such as when Rudolf meets with contractors on ways to make the functioning of Auschwitz more “efficient.” That speaks not only to an innate lack of responsibility, but also to a deliberate attempt at bringing about the despicable outcome that arises. How positively horrific. And that’s something we all need to bear in mind when we seek to create what our beliefs are aimed at manifesting.</p><br/><br/><br/><br/><p>One might wonder how individuals like Rudolf and Hedwig can simultaneously be so cruel and indifferent, on the one hand, and yet so lovingly and caringly devoted, as seen in their interaction with their family, on the other. It’s as if the various beliefs they hold are somehow deliberately walled off from one another in their consciousness, a means to bring about such incredibly divergent thoughts and manifestations at the same time. This kind of compartmentalization takes work to put into place, but they’ve managed to find ways to bring about such an outcome. It’s also difficult to imagine how they can manage to maintain such intentional separation of their various thoughts and beliefs. That takes tremendous energy and effort to pull off, sustaining a façade that even they must find difficult to support, especially in dealings with others, as evidenced by Hedwig’s interaction with her mother when she realizes the truth about what’s occurring next door. This is clearly a case of trying to play both sides of the fence – literally and metaphorically – and, in the end, it’s cowardly, ghastly and unconscionable.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Zone-of-Interest-3-600x414.jpeg" alt="" class="wp-image-17021" width="450" height="311"/><figcaption class="wp-element-caption"><strong><a>Auschwitz commandant Rudolf Höss (Christian Friedel) </a>tries to create as “normal” a life as possible for himself and his family in their residential compound adjacent to the infamous Polish concentration camp in the unsettling new historical drama, “The Zone of Interest,” nominated for five Oscars, including best picture. Photo courtesy of A24.</strong></figcaption></figure><br/><br/><br/><br/><p>Again, one can’t help but wonder how anyone could rationalize such thinking. The answer to that lies with the attitudes of many Nazi operatives during the war, who, after the conflict, attributed their behavior to the notion that “I was just doing my job,” as if that could somehow justify their actions. This concept perhaps became best known with the 1963 publication of the book <em>Eichmann in Jerusalem: A Report on the Banality of Evil</em> by philosopher and political observer Hannah Arendt. The author drew upon and subsequently popularized the expression “banality of evil” to describe how Third Reich authorities like Adolf Eichmann – one of the architects of the Holocaust – explained their role in this atrocity. When Eichmann was put on trial for war crimes in Jerusalem in 1961, his defense was primarily based on the foregoing assertion, the same kind that many of his colleagues – like the characters in the film – would use to justify their actions, a contention that prompted Arendt to use her now-famous phrase for encapsulating its nature.</p><br/><br/><br/><br/><p>In her book, Arendt observed that Eichmann (and individuals with his mindset) weren’t fanatics or sociopaths. Rather, they were average individuals who fell back on this “banal” reasoning to describe the nature of their intrinsically evil actions. Incredibly, that’s what viewers witness in this film when it comes to the perspectives of individuals like the commandant and his wife, among others. And “The Zone of Interest” provides a poignant and chilling illustration of the beliefs and thinking behind the banality of evil at work, an observation that has been widely noted in many discussions about this film. Most of us would undoubtedly consider this attitude a feeble excuse for rationalizing such despicable behavior, yet these actions nevertheless arose out of the beliefs that these characters held – beliefs that ultimately became all too real for all concerned, especially the victims.</p><br/><br/><br/><br/><p>Despite the horrendous nature of what was manifested here, these unspeakable materializations nevertheless illustrate the sheer power of our beliefs and what they can be employed to do. One would hope that we would put such power to use in far more benevolent endeavors, such as the acts of compassion described earlier. But, for whatever reason, there may still be some among us who must see for themselves just how horrifically our beliefs can be employed just to see how powerful they truly are. It’s heartbreaking that such incidents have – and, in some cases, continue to be – brought into being for such unaware individuals to witness that notion in practice. We can only hope that we collectively learn that lesson sooner rather than later so that we can finally and genuinely proclaim “Never again.”</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Zone-of-Interest-4-600x338.jpeg" alt="" class="wp-image-17022" width="450" height="254"/><figcaption class="wp-element-caption"><strong>Auschwitz commandant Rudolf Höss (Christian Friedel, center, back to camera) hosts a birthday party for one of his children in his residential compound located adjacent to the infamous concentration camp in director Jonathan Glazer’s latest, the unsettling historical drama, “The Zone of Interest.” Photo courtesy of A24.</strong></figcaption></figure><br/><br/><br/><br/><p>Some movies just <em>have</em> to be seen, even if they make for a difficult watch, and writer-director Jonathan Glazer’s latest is one of those pictures. While this offering is at times a bit uneven, when it’s on, <em>it’s on</em>, leaving a powerfully indelible mark on viewers, one that you feel in your gut and your heart and can’t get out of your mind. Mercifully, Glazer doesn’t resort to unwarranted grotesque imagery to make his point here, yet the subtly depicted outcomes of such savagery are just as quietly disturbing, a profound implementation of “Hitchcock’s rule” in which the filmmaker allows the audience’s imagination to take over and leave an impression more haunting than anything that can be captured on celluloid, a tactic widely employed in the films of the famed auteur. As troubling as this is, however, it’s the kind of imagery that <em>has</em> to be seen for its full impact to sink in. “The Zone of Interest” richly deserves the attention it has garnered, even if it’s an inherently disturbing watch (sensitive viewers take note), in many ways eerily on par with other films about the Holocaust, such as “Sophie’s Choice” (1982) and “Schindler’s List” (1993). To be sure, there are some pacing issues that could stand to be rectified, and a few story threads could use better clarity, but the picture’s superb cinematography, production design, original score and performances by its excellent ensemble cast (especially Hüller, who deserves greater awards season recognition for her portrayal in this film than in her more widely nominated role in “Anatomy of a Fall” (“<em>Anatomie d’une chute</em>”)) are undeniably noteworthy. This might be a film that no one wants to screen – but that everybody nevertheless should.</p><br/><br/><br/><br/><p>As unsettling as this film may be, though, its cinematic achievements are extensive and have been lavished with praise during the current awards season. For starters, it’s the recipient of five Oscar nominations for best picture, international feature, sound, director and adapted screenplay. Likewise, it has garnered nine BAFTA Award nods for best British film, international film, director, adapted screenplay, supporting actress (Hüller), cinematography, editing, production design and sound. This release also captured accolades from the National Board of Review (Top 5 International Films), the Critics Choice Awards (best international film nominee), the Independent Spirit Awards (best international film nominee) and the Golden Globe Awards (nominations for best dramatic picture, international film and original score). Perhaps its greatest recognition, however, came at the 2023 Cannes Film Festival, where it earned a nomination for the <em>Palme d’Or </em>(the event’s highest honor) and won four awards (Grand Prize of the Festival, the FIPRESCI Prize, the CST Artist – Technician Prize and honors for best soundtrack). That’s quite an impressive resume for a film with such a difficult but affecting message. “The Zone of Interest” is currently playing theatrically.</p><br/><br/><br/><br/><p>It may be impossible to undo the past, but that doesn’t mean it should dismissed, either, and events like the Holocaust are among those that we must not forget. Films like this make that possible, but, perhaps most importantly, they shed valuable light on how and why they may have occurred, particularly when it comes to the attitudes that helped sanction them. And, when we examine the outlooks depicted here, it reminds us of our need to remain cognizant of what they were and how they arose. Diligence in the face of indifference is critical to prevent such horrors from recurring and sparing mankind from what should never have happened in the first place – and that certainly should never happen again.</p><br/><br/><br/><br/><p>Copyright © 2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-39618728965689441462024-02-01T05:50:00.001-06:002024-02-01T05:50:13.204-06:00New Movies in Review<p>Join yours truly and show host Frankie Picasso for looks at six new films, as well as a few surprises, on the latest movie review edition of the <em>Frankiesense & More</em> video podcast, beginning Thursday February 1 at 1 pm ET. Tune in on <a href="https://www.facebook.com/thegoodradionetwork">Facebook</a> or <a href="https://www.youtube.com/c/TheGoodMediaNetwork">YouTube</a> for all the fun and lively discussion!</p><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/424773802_10232162986486555_2523292080630210888_n-600x314.jpg" alt="" class="wp-image-16991"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-56416810649581593462024-02-01T04:23:00.001-06:002024-02-01T04:23:38.002-06:00This Week in Movies with Meaning<p>Reviews of "All of Us Strangers" and "Memory," along with a podcast preview, year-end movie lists and a note of thanks, are all in the latest <em>Movies with Meaning</em> post on the web site of The Good Media Network, available by <a href="https://www.thegoodradionetwork.com/2024/02/01/movies-with-meaning-by-brent-marchant-tgmn-movie-correspondent-133/">clicking here</a>.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/AOUS_ONLINE_POSTER_1334x2000_PAYOFF_FIN-600x900.jpg" alt="" class="wp-image-16918" width="300" height="450"/></figure><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/Memory-600x886.jpg" alt="" class="wp-image-16898" width="300" height="443"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/424773802_10232162986486555_2523292080630210888_n-600x314.jpg" alt="" class="wp-image-16991"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/424780273_10232162987526581_4182511069833648037_n.jpg" alt="" class="wp-image-16992" width="604" height="161"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/416333023_10232060933055283_6706514926396650697_n.jpg" alt="" class="wp-image-16906" width="588" height="320"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/424774063_10232162989526631_8062356130506847587_n.jpg" alt="" class="wp-image-16993"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/414986233_10232027199611968_3079855191855927938_n.jpg" alt="" class="wp-image-16885"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-53023084026998969602024-02-01T02:26:00.001-06:002024-02-01T02:26:55.049-06:00‘Memory’ examines what we believe we recall<figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/Memory-600x886.jpg" alt="" class="wp-image-16898" width="300" height="443"/></figure><br/><br/><br/><br/><p>“Memory” (2023). Cast: Jessica Chastain, Peter Sarsgaard, Josh Charles, Jessica Harper, Brooke Timber, Merritt Wever, Tom Hammond, Elsie Fisher, Blake Baumgartner, Jackson Dorfmann, Alexis Rae Forlenza. Director: Michel Franco. Screenplay: Michel Franco. <a href="https://www.memory-film.com/">Web site</a>. <a href="https://youtu.be/KeLbykMmLho">Trailer</a>.</p><br/><br/><br/><br/><p><a>How we remember our past is something we can all bank on, right? Or is it? For instance, what happens when mitigating influences impact our memory, potentially causing it to become fallible and untrustworthy? Can we truly rely on our recall then? Those are among the questions raised in the new unconventional romantic thriller, “Memory.”</a></p><br/><br/><br/><br/><p><a>Life hasn’t been easy for Sylvia (Jessica Chastain). She has had to struggle to put her life back together after an apparently very troubled past, something she quietly keeps to herself but that is always with her. The recovering alcoholic diligently keeps it all in balance, though, working as a staff member at a New York City adult day care center. As a single mother, she also attentively tends to the needs of her teenage daughter, Anna (Brooke Timber), and regularly attends AA meetings, a tremendous source of comfort and support. She doesn’t have much of a social life, but that helps to keep her focused on what matters most, particularly those aspects of her routine that draw her attention away from what she’s left behind.</a></p><br/><br/><br/><br/><p>Things change one evening, however, when Sylvia goes to her high school reunion, an event she has obvious mixed feelings about attending. Once there, she feels somewhat out of place, especially when she witnesses her onetime peers celebrating their successes with various forms of imbibing that she can’t partake of for fear of undoing all the progress she’s made. Being in their company also reminds her of the difficulties she dealt with in her youth, prompting her to largely keep to herself. The stress eventually reaches a point where she feels she has to leave. But that’s not the end of the discomfort.</p><br/><br/><br/><br/><p>Upon heading home from the reunion, she finds herself being followed by one of her former classmates. Her uneasiness grows as he continues to pursue her, first on the streets, then on the subway platform and eventually to her destination. He makes no threatening moves, but his pursuit is persistent, following her right up to the front door of her apartment building. Sylvia hurriedly heads inside, slamming the door shut to prevent his entry. But, despite the safety provided her by being indoors, the stranger remains outside, eventually falling asleep and spending the night on the sidewalk. Sylvia’s creeped out by the experience, but at least he couldn’t get to her inside. Nevertheless, when morning comes, she still has to deal with the aftermath of the incident when she heads out for the day.</p><br/><br/><br/><br/><p>Once outside, Sylvia confronts the middle-aged man, whose name is Saul (Peter Sarsgard). She asks him if there’s someone she should contact on his behalf, which she soon discovers is his brother, Isaac (Josh Charles), an apparent caretaker for the troubled man. When Sylvia reaches Isaac, she learns that Saul suffers from early onset dementia, a condition that seriously affects his memory and actions. It’s so severe, in fact, that he can’t even explain why he chose to follow Sylvia home from the reunion. But, with no apparent ulterior motive, he doesn’t seem to be threatening, a development that helps put Sylvia’s mind at ease – that is, until they begin talking further about their past.</p><br/><br/><br/><br/><p>While discussing their high school days, Sylvia has an apparent epiphany about their onetime involvement. The growing comfort she had begun developing with Saul quickly evaporates when memories begin flooding back to her about the sexual abuse she believes he inflicted upon her as a teen, a revelation that awakens tremendous ire in her. The cordial arm’s-length relationship that was beginning to emerge between them vanishes in an instant when she chastises him for what she’s convinced he did to her.</p><br/><br/><br/><br/><p>However, that’s not the end of it. While discussing the situation with her sister, Olivia (Merritt Wever), Sylvia learns that the incidents she “remembers” couldn’t have happened, given that she and Saul didn’t attend their alma mater at the same time. And, when confronted with proof that their tenure didn’t overlap, Sylvia is shocked and mystified, not only at this revelation, but also that her memory is faulty on this point. Does this mean she’s suffering from dementia, too? Or is her flawed recall the result of blocked memories from her own past that she’s not ready to address?</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Memory-1-600x315.jpg" alt="" class="wp-image-16985" width="450" height="236"/><figcaption class="wp-element-caption"><strong>While returning home from her high school reunion, Sylvia (Jessica Chastain, left) is followed by a former classmate, including onto a New York City subway platform, leading to an uncomfortable experience, as seen in the latest from writer-director Michel Franco, “Memory,” now playing theatrically. Photo courtesy of Ketchup Entertainment.</strong></figcaption></figure><br/><br/><br/><br/><p>Sylvia seeks to make amends for her erroneous accusations with Saul, a difficult but noble effort at rectifying the charges she mistakenly leveled against him. And, somewhat to her surprise, she finds him to be graciously forgiving, probably because he understands all too well what can arise from issues related to faulty memory. Consequently, they grow unexpectedly closer given the unusual commonality they share. And, at the behest of Saul’s niece, Sara (Elsie Fisher), Sylvia even takes a job as his daytime caretaker, given that she’s ostensibly the one person to whom he responds favorably. Thus begins an increasingly intimate relationship among two individuals who share a connection, one based on mutual compassion and, apparently, the ability to help heal each other where their respective conditions are concerned. Who would have thought that a bond like this could emerge in light of how things started out?</p><br/><br/><br/><br/><p>This naturally begs the question, how could a relationship like this have arisen? As their story shows, they have qualities in common, namely, those related to memory. And they prove to be crucial to the development of their connection, because they allow them to interact on a level that only they can understand. The fact that memory is involved is particularly relevant, given that memories are rooted in beliefs and that beliefs form the basis of our respective realities, a product of the conscious creation process, the philosophy that enables the manifestation of our existence. It’s unclear whether the protagonists are aware of this school of thought, but it’s also apparent that they both need to draw upon it if they ever hope for circumstances to change in their lives.</p><br/><br/><br/><br/><p>Specifically, both Sylvia and Saul have issues related to memory that need to be resolved, and what better way to make that happen than to have a loving, caring partner to help guide one another through the process, a kindred spirit who truly grasps what the other is going through and needs to reconcile in order to begin moving forward in life once again. In their own unique way, they’ve made that happen by drawing each other together to enable such an outcome. The manner in which they’ve made this happen may seem more than a little unconventional to most of us, but, considering the unconventional circumstances they have to deal with, it’s not all that surprising for this to occur in light of the specific issues they’re up against. Unique conditions call for the materialization of unique solutions, including those related to the means to make this happen.</p><br/><br/><br/><br/><p>Then there’s the question of mistaken recall. Saul is well acquainted with this, given the onset of his dementia. But that perspective, in its own singular way, is helpful to Sylvia, who suffers from a similar condition, regardless of whether or not dementia is involved. She firmly believes in a memory that doesn’t hold water, but coming to terms with that erroneous recollection is key to unlocking the truth – the actual memory that she’s willfully chosen to disbelieve and not act upon. Saul’s condition and his insights related to it are thus essential to helping Sylvia understand this for herself, something she needs to do if she wants to clear this blockage.</p><br/><br/><br/><br/><p>That concealed memory also helps to explain why Sylvia’s life has unfolded as it has to this point. Something about that hidden truth and her unwillingness to believe in its nature could very well have been too painful for her to live with, a circumstance that, in turn, led to the alcoholism and other troubling behaviors she engaged in during her youth. These conditions were so devastating to her, in fact, that they apparently kept her locked in place for a long time, necessitating a slow and arduous process to recover from them. The progress that she made through her involvement with AA certainly helped her a great deal, but, even though this enabled her to get her life back on track from a practical standpoint, it wasn’t enough to get over the beliefs that were ultimately unnerving her most.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/02/Memory-2-600x315.jpg" alt="" class="wp-image-16986" width="450" height="236"/><figcaption class="wp-element-caption"><strong>After an uncomfortable start, high school classmates Sylvia (Jessica Chastain, right) and Saul (Peter Sarsgaard, left) reminisce about their youth, a conversation that leads to unusual revelations, as seen in “Memory,” now playing theatrically. Photo courtesy of Ketchup Entertainment.</strong></figcaption></figure><br/><br/><br/><br/><p>That’s where Saul comes in. He provides “a customized solution” to help her address her own particular challenges, something that could only come about as a result of the specific beliefs she put forth to make it happen. It’s clear proof that, if we want results tailored to what we need, we must tap into beliefs that are equally tailored to what we hope to achieve.</p><br/><br/><br/><br/><p>The relationship between Sylvia and Saul is also an excellent example of <em>co-creation</em> at work, a collaboration between the two of them to achieve outcomes that serve them both. This pooling of energies and efforts illustrates what can arise when we work together for the betterment of one another, an initiative that can benefit each other in so many ways (and simultaneously at that). It truly is a case of slaying multiple birds with one stone – and setting us on a vastly improved course for the future, all at the same time, no matter how unusually such an endeavor might begin.</p><br/><br/><br/><br/><p>“Memory” is one of those films that takes viewers to unexpected destinations while simultaneously enlightening us to surprise insights that we can draw upon in our own lives if we choose to believe in and embrace them. Writer-director Michel Franco has created an engaging, subtle but impactful story here, one that sheds light on the power of belief behind our memories and how those recollections can shape the existence we experience as a result, for better or worse. All of this is brought to life through a skillfully crafted narrative, effectively fleshed out through the superb performances of Sarsgaard and Independent Spirit Award nominee Chastain. Admittedly, the picture’s first half could benefit from some stepped-up pacing, most notably the elimination of some sequences that are occasionally redundant and moderately tiresome. However, the intrigue and engagement ramp up significantly in the picture’s back end, some of which is ironically accomplished through deftly handled nuance rather than the overly subdued understatement more prevalent in the opening half. Clearly, this is one of those releases that requires viewers to give it some time to develop, but the payoff for doing so is worth it in the end. If nothing else, “Memory” provides us with a fresh perspective on its central theme while showing us how “like can cure like” in a psychological therapeutic process, an approach that can yield rewards beyond measure.</p><br/><br/><br/><br/><p>As this film illustrates, memory can be a funny thing. However, its underrecognized pliability can prove useful in helping us understand ourselves and our circumstances more fully and clearly. That can also work wonders in helping us clear the clutter in our consciousness that’s holding us down, holding us back and keeping us from enjoying what life genuinely has to offer us. A little effort in this area can pay big dividends – and even bigger and happier memories that we can carry forward with us into our futures.</p><br/><br/><br/><br/><p>Copyright © 2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-27012901431993598492024-01-30T05:22:00.003-06:002024-01-30T05:22:37.669-06:00The Year in Documentaries<p>With 2023 now in the books, it’s time to look back on the year in movies. In this third of three blogs, I spotlight my Top 10 Documentary releases of 2023 (some of which were produced in prior years), followed by a list of Honorable Mentions. In each case, I’ve included web site and trailer links, as well as links to my own reviews, either those that have been published as full blogs or as summary write-ups in this site’s Quick Cuts section. In addition, I’ve included a short list of disappointments, in descending order, again with links comparable to those that I approved of. In separate blog posts, I examined my Best <strong>[LINK] </strong>and Worst Films of 2023, <strong>[LINK]</strong> which have already been posted.</p><br/><br/><br/><br/><p>So, with that said, check out what I thought about 2023’s crop of documentaries. You may not agree with me, and I respect your opinions, regardless of whether our views align. I hope you’ll respectfully grant me the same. And your feedback, as always, is welcome. Here goes!</p><br/><br/><br/><br/><p><strong>The Top 10 Countdown</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/02/Framing-Agnes-600x889.jpg" alt="" class="wp-image-15689" width="300" height="432"/></figure><br/><br/><br/><br/><p><strong>10.  <a href="https://brentmarchant.com/2023/04/14/framing-agnes-recounts-an-alternative-communitys-history/">“Framing Agnes”</a> (Canada/USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.framingagnes.com/">Web site</a> <a href="https://www.youtube.com/watch?v=_q7qLz7o9jw">Trailer</a></strong></p><br/><br/><br/><br/><p>Those who believes that they have a good handle on understanding transgender culture and sensibilities are bound to have their eyes thrust wide open by this thoughtful, inventive documentary from writer-director Chase Joynt. In creating this offering, the filmmaker seeks to enliven the little-known life experiences of mid-20th Century transgender pioneers like the title character and how they blazed trails for those who followed. This is particularly true in terms of challenges related to acceptance and often having to trade one set of unfulfilling circumstances for another, in both cases as a result of society’s rigid gender role expectations. The film also addresses how these questions were often compounded by other significant considerations, especially for minorities, such as the pervasive and persistent existence of racial inequities in the days before the Civil Rights Movement, conditions that rendered these transgender individuals virtually invisible. And the picture also shows how many of those issues have lingered to this day, with change only now beginning to emerge in some regards. This is all accomplished through an intriguing juxtaposition of the observations of contemporary transgender historians and re-created actor-portrayed interviews of community pioneers by a fictional TV talk show host who’s based on UCLA sociologist Harold Garfinkel, an early researcher of this subject. Both of the foregoing elements are further intercut with interviews of the transgender performers who portray these community trailblazers, dialogues in which they provide their insights into the characters they play, as well as descriptions of events from their own contemporary life experiences. This mix of narrative components makes for an intriguing, enlightening watch, one that moves along at a refreshingly brisk pace thanks to its astute observations and economical 1:15.00 runtime. To be honest, though, as informative as the talk show sequences are (presented in a 1950-ish black-and-white format a la <em>The Mike Wallace Interview</em>), the use of this storytelling device feels somewhat contrived (if not more than a little precious), despite the depth of the revelations to come out of them. Still, there’s ample food for thought packed into this 2022 Sundance Film Festival award winner, much of it illuminating about both this diverse community and the notion of gender itself, regardless of one’s leanings.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/05/key-art_4-600x889.jpg" alt="" class="wp-image-16126" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>9.  <a href="https://brentmarchant.com/2023/06/18/being-mary-tyler-moore-surveys-an-icons-life-and-work/">“Being Mary Tyler Moore”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.hbo.com/movies/being-mary-tyler-moore">Web site</a> <a href="https://www.youtube.com/watch?v=zU5p79a7IgU">Trailer</a></strong></p><br/><br/><br/><br/><p>To say that iconic actress/dancer/comedienne Mary Tyler Moore was a gifted, complicated, reserved, often-misunderstood individual is indeed an understatement. However, director James Adolphus’s Primetime Emmy Award-nominated HBO documentary about her life presents a reverent, insightful and respectfully candid biography of the famed star of TV, stage and screen, showing Moore in all of her magnificent multidimensionality. As the winner of seven Emmys, three Golden Globes, a special Tony Award and the Screen Actors Guild Lifetime Achievement Award, as well as an Oscar nomination for her tremendous lead performance in “Ordinary People” (1980), she significantly changed the face of television comedy and demonstrated a degree of acting versatility rarely seen. In her TV roles as Laura Petrie on <em>The Dick Van Dyke Show</em> and Mary Richards on <em>The Mary Tyler Moore Show</em>, she opened doors for actresses by portraying characters who hadn’t been seen on the little screen before. And, in a wider sense, in her role as Mary Richards, she significantly bolstered the growth of the women’s movement in the world at large, a role she championed despite her own somewhat conventional off-screen lifestyle, a way of life for which she was often criticized by feminists. However, Moore’s personal life often ran counter to the perky, cheerful on-screen persona she routinely projected, and she rarely spoke openly about the many challenges she faced – a sometimes-troubled relationship with her parents, two divorces, the loss of her only son in a gunshot accident, the untimely deaths of her two younger siblings, alcohol abuse and coping with complications from type 1 diabetes. As she aged, however, the fighter within her found ways to work through the anguish, such as choosing projects that enabled her to purge her pain, receiving treatment at the Betty Ford Clinic, becoming an advocate for her favorite causes and finding true love in a third marriage. The filmmaker tells Moore’s complex, moving and inspiring story with an array of clips from her work, archive interview footage with renowned journalists and celebrities, and ample voiceover observations from those who knew her and admired her work. The narrative is admittedly somewhat straightforward and formulaic, but it presents an excellent composite of images and insights into the life and work of a legend, one that’s bound to cause her to be seen in a new light and could well introduce her to a new generation of fans who may not have previously been aware of her many accomplishments. Take a bow, Mary.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/Kenyatta-600x900.jpeg" alt="" class="wp-image-16554" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>8.  <a href="https://brentmarchant.com/2023/10/26/kenyatta-gives-us-hope-for-the-future/">“Kenyatta: Do Not Wait Your Turn”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://kenyattafilm.com/">Web site</a> <a href="https://www.youtube.com/watch?v=Pk_iYO_BW2k">Trailer</a></strong></p><br/><br/><br/><br/><p>In an age when politicians on both sides of the aisle are increasingly being seen as incompetent, self-serving and inauthentic, it’s refreshing to learn about one who apparently defies all of those traits. And viewers can now learn more about this inspiring individual in director Timothy Harris’s excellent debut documentary feature, a profile of Pennsylvania State Representative Malcolm Kenyatta (D), the first openly gay person of color to serve in the Commonwealth’s statehouse. The film focuses on Kenyatta’s 2022 run for the US Senate, a campaign fraught with financial difficulties, exaggerated questions of electability, biased punditry and media coverage, and a lack of support from his own party’s officials, including in his home district of Philadelphia. Nevertheless, these obstacles did not stop Kenyatta from soldiering on with his own style of out-and-proud, shoot-from-the-hip style of politicking, especially against his two better-known, better-financed Caucasian opponents. But, the election aside, one of the great strengths of this film is its examination of his upbringing and his life outside of politics, most notably his loving relationship with husband Matthew Jordan-Miller Kenyatta. By doing this, the filmmaker shows how Kenyatta’s personal life has shaped his policies and the apparent authenticity of his message, one driven by compassion, heartfelt sincerity and a growing intolerance of a system that seems hellbent on preserving a status quo that’s ever more exclusionary than not. This well-balanced, superbly integrated approach makes for excellent documentary filmmaking, giving audiences a comprehensive view of its subject and reason to see why he could easily be looked on as a rising star in American politics, one who speaks for many who don’t feel that their voices are being heard by the current establishment. Executive Producer Al Roker and his colleagues have created an insightful, uplifting watch, one that may actually give us some bona fide hope for the future of the nation’s politics – not to mention the nation itself.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/05/still-a-michael-j-fox-story-MJF_Pensive_CVR_2x3_RGB_ENG-600x900.png" alt="" class="wp-image-16067" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>7.  <a href="https://brentmarchant.com/2023/05/19/still-profiles-an-icons-journey-of-celebrity-and-challenge/">“Still: A Michael J. Fox Movie”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.apple.com/tv-pr/originals/still-a-michael-j-fox-movie/">Web site</a> <a href="https://tv.apple.com/us/movie/still-a-michael-j-fox-movie/umc.cmc.njewt06q05vqbgp6w42pqb0l">Trailer</a></strong></p><br/><br/><br/><br/><p>In the 1980s, actor Michael J. Fox burst onto the entertainment scene as one of the decade’s mega-stars with the success of his hit TV show <em>Family Ties</em> and a string of popular movies, most notably the iconic sci-fi comedy, “Back to the Future” (1985). Before long, he was seemingly everywhere all at once, a fitting development for someone who had lived his life like that from the time he was a child. This frenetic pace of living had followed him for so long, in fact, that he never learned how to be, as this film’s title suggests, still. In 1990, however, he received a medical diagnosis that nearly stopped him in his tracks – he was discovered to be suffering from Parkinson’s Disease, an illness that usually strikes in old age, not someone in his late 20s. It forced him to take stock of himself and his life, though he tried desperately (and surprisingly successfully) to conceal it for years thereafter. His unwillingness to confront the truth about his condition continued a practice that he had been carrying out in other areas of his life for years, his hectic, distracted way of living keeping him in denial and, sadly, giving him a reason to drown himself in alcohol. But he couldn’t continue living that way forever as the disease began to take its course, his illness serving as a much-needed wake-up call to get real. Based on the title character’s writings, director Davis Guggenheim’s latest documentary feature tells the protagonist’s story using an inventive combination of archive footage, interviews with Fox, actor-based re-creations of incidents from his life and footage from his treatment sessions that candidly depict how far his condition has progressed. There are also a number of sequences in which his story is told through fittingly poignant clips from his movie and TV projects, ironically reminding us that art can indeed imitate life. All of these elements combine to present a compelling and touching story, although the film admittedly has some initial difficulty finding traction to tell it. Otherwise, though, “Still” offers an honest, insightful look into the life of a very public figure who has been fighting a very private battle and the effects that effort has had on shaping and evolving his professional, personal and philanthropic pursuits. Most of all, however, this BAFTA Award-nominated offering and winner of four Primetime Emmys shows us how we can identify what’s been missing from our lives and take steps to implement it, no matter how unusual the means may be for showing us the way.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/05/FilmtheLivingRecord_Poster_KL_2025x3000-600x889.jpg" alt="" class="wp-image-16092" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>6.  <a href="https://brentmarchant.com/2023/05/24/the-living-record-of-our-memory-validates-an-art-forms-innate-value/">“Film, the Living Record of Our Memory”</a> (Spain/Canada)</strong></p><br/><br/><br/><br/><p><strong><a href="https://filmthelivingrecordofourmemory.com/">Web site</a> <a href="https://www.youtube.com/watch?v=g7mjM_X8cm4">Trailer</a></strong></p><br/><br/><br/><br/><p>Film has become so pervasive in our society that we tend to take it for granted. From big screen blockbusters to intimate arthouse dramas and documentaries to home movies, we see these cinematic records of us and our world virtually everywhere we look. It’s a phenomenon that’s present globally, too, one that spans all seven continents. And, because these images have been committed to a fixed medium, we tend to assume that these records will be with us permanently. But will they? As writer-director Inés Toharia Terán’s compelling documentary reveals, that’s not an assumption we should make – indeed, far from it. This excellent examination of film preservation efforts is an eye-opening revelation, showing us just how much of film history has already been lost through deterioration, censorship, careless management and even willful destruction – an estimated 80% of all silent films ever made and roughly 50% of those created since the invention of talkies. The documentary explores the reasons behind these tragedies, as well as the efforts that have been made to save and/or restore pictures that could have easily – or still might possibly – become lost without concerted initiatives to protect them. Terán’s work is particularly impressive from the standpoint of comprehensiveness, showing the impact that this effort has had on film collections from around the globe, from all ages past and from all genres, including not only entertainment offerings, but also documentary footage and even those designed to capture cherished personal memories. Through interviews with leading directors, archivists, restoration professionals and photographic industry experts, viewers gain an insightful new appreciation for why these celluloid records matter to us and why it’s important to make the effort to save them from neglect before they’re gone forever. Admittedly, some may find this offering a little overlong, but, in my view, better more than less when it comes to a showcase aimed at purposely illustrating the need to preserve these precious and otherwise-irretrievable materials. And, to its credit, the film does a fine job of keeping its narrative from becoming too technical, a noteworthy accomplishment for a subject that could easily become overly burdened by indecipherable jargon. “Film” is must-see viewing for anyone who loves movies and passionately desires to see as many of them curated as possible, making their continued existence available to posterity as a genuine living record of our memory.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Little-Richard-I-Am-Everything-600x889.png" alt="" class="wp-image-16777" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>5.  <a href="https://brentmarchant.com/quick-cuts/little-richard-i-am-everything/">“Little Richard: I Am Everything”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.littlericharddocumentary.com/">Web site</a> <a href="https://youtu.be/4YC8WUrWtZY">Trailer</a></strong></p><br/><br/><br/><br/><p>Sometimes it takes a movie to help set the record straight. And, when it comes to designating who truly is the king of rock ’n roll, this documentary from director Lisa Cortes does just that. Richard Wayne Penniman – professionally known as Little Richard (1932-2020) – burst onto the pop music scene in the mid-1950s with a singular, unrestrained, high-energy style that set him apart from other aspiring performers at the time, achieving tremendous success with hits like “Tutti Fruitti” and “Long Tall Sally,” among others. However, even though he developed a strong following and a reputation for chart-busting releases, he never quite attained the widespread notoriety of others, like Elvis Presley and Pat Boone, particularly when they covered his hits. He also didn’t achieve the financial success that he deserved, thanks to record labels that gave him raw deals. What’s more, as a flamboyant, openly gay Black musician at a time when those qualities were far from well tolerated, he became a target for ostracism and scorn from conservative circles, whose leaders spouted inflammatory claims that he was undermining the moral fabric of traditional American culture with his “decadent” music and “perverted” lifestyle. Yet his blend of colorful performances, mixed with outlandish costumes, thickly applied pancake makeup and frenetic stage antics, backed by tunes that fused boogie woogie, rhythm & blues and gospel, made him a standout, a style that countless artists drew from – and openly acknowledged his influence – when they emerged in their own right, many of whom are interviewed in the film in archive footage or recent conversations. The result here is a revelatory examination of someone who set a standard but who never received the degree of recognition he merited until many years after his debut on the music scene. “Little Richard: I Am Everything” features a wealth of historical footage, including many interviews with the artist himself, along with observations from the likes of Mick Jagger, Billy Porter, Paul McCartney, Tom Jones, Nona Hendryx and superfan filmmaker John Watters, as well as an array of music industry, African-American and gay community historians. Viewers are likely to come away from this Critics Choice Documentary Award nominee knowing a lot about Little Richard that they hadn’t known previously, enabling them to gain a new appreciation for the rock icon and learning much about the many triumphs and challenges he faced during his colorfully enigmatic life. Audiences are sure to come away from this one proclaiming “Long live rock – and the king who finally gets to wear his much-deserved crown.”</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/5707_1_themission_1sheet_27x40_f13_72dpi_dacba741-600x889.jpeg" alt="" class="wp-image-16808" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>4.  <a href="https://brentmarchant.com/quick-cuts/the-mission/">“The Mission”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://films.nationalgeographic.com/the-mission">Web site</a> <a href="https://films.nationalgeographic.com/the-mission#watch-the-trailer">Trailer</a></strong></p><br/><br/><br/><br/><p>Is religious missionary work an act of altruism or arrogance? Does it represent a quest for the fulfillment of one’s spiritual potential or a euphemistic cover for an inflated sociopathic ego? And, in either case, is it even possible to distinguish the two? Those are legitimate questions in the case of 26-year-old fundamentalist Christian missionary John Chau, who disappeared and was presumed dead in 2018 while attempting to spread the word of Jesus to the reclusive indigenous residents of North Sentinel Island, an Indian protectorate in the Bay of Bengal. The locale, one of the world’s most difficult destinations to reach and one that’s strictly off limits to outsiders, is home to an obscure, little-known tribe with a reputation for being mistrusting of and unwelcoming to strangers. Yet Chau was convinced that it was his duty (and destiny) to convert them to Christianity no matter what, even at the cost of his life, a concern that worried his family, friends and seasoned missionaries who had attempted comparable initiatives with native people in other parts of the world. It was an effort that raised questions about Chau’s motivations: Was he a committed religious zealot who truly wanted to spread the word of Christ, or was he suffering from a maniacal Messiah Complex hellbent on testing the limits of his courage, hubris and personal capabilities? Directors Amanda McBaine and Jesse Moss seek to answer these and other thorny questions about this enigmatic individual whose real intents may never really be known, leaving lingering doubts and pain about his mission in the minds of those who knew him. Thanks to unprecedented access to Chau’s kindreds, as well as his recovered diaries, the filmmakers tell a captivating tale about his experience, along with thought-provoking ethical examinations about the nature and propriety of missionary work in connection with indigenous societies. Should it continue? Is it appropriate for Westerners and devout Christians to interfere in the spiritual lives of those who adhere to alternate viewpoints? Indeed, are these people genuinely in need of being “fixed,” regardless of the alleged nobility behind the intentions of those seeking to carry out these transformations? As the nominee of four Critics Choice Documentary Awards, “The Mission” offers audiences a delicately balanced view of these notions, prompting even the most dedicated disciples of this work to step back and take a new look at what they and their peers are carrying out. It also presents an eye-opening discussion of this subject, encouraging us to ask ourselves, how much is too much when it comes to missionary work, regardless of the religion involved? And when is it appropriate to leave things as they are for those who already appear to be happy and contented in their lives and beliefs? There’s a lot on the line here, and, in light of the nature of this story, that’s something we must never lose sight of.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/large_R_BEYOND_UTOPIA_FINAL_ART_SM_c419127f83-600x889.jpg" alt="" class="wp-image-16935" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>3.  <a href="https://brentmarchant.com/quick-cuts/beyond-utopia/">“Beyond Utopia”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.pbs.org/independentlens/documentaries/beyond-utopia/">Web site</a> <a href="https://youtu.be/FSDl5GbR5j4">Trailer</a></strong></p><br/><br/><br/><br/><p>In today’s world, it’s almost unfathomable to think that there are places that exist on this planet that operate on the principles of unbridled cruelty, deliberate deception and mass brainwashing, with even the slightest of infractions capable of leading to banishment to remote gulags, brutal beatings and even savage public executions. However, such are the conditions of everyday life in North Korea, a paranoid, ruthless regime that doesn’t hesitate to inflict such indignities on its population and deprive residents of knowledge of anything beyond its borders. In a United Nations human rights report, the unthinkable tactics employed here have been described as being on par with those that were used in Nazi Germany. So it’s no wonder there are many who want to escape this harsh reality – that is, at least among those who are able to see beyond the artifice of the false utopian picture that officials have painted of their sorrowful nation. Getting out is far from easy, however, a harrowing venture that often requires defectors to flee northward to China and then maneuver through the challenging terrain of several neighboring Asian countries rather than simply crossing into nearby democratic South Korea, a sanctuary walled off by a de facto combat zone boobytrapped with countless land mines. Witnessing what refugees must endure is the aim of documentarian Madeleine Gavin’s latest offering, a compilation of defector stories, including those who have succeeded in escaping and those who are in the process of attempting to do so. The latter are compellingly filmed with firsthand, on-the-ground footage, with no reenactments, showing in detail the ordeals they must go through to make their flights to freedom, sometimes successfully, sometimes not. In the process, the film also provides audiences with a concise yet comprehensive history of how North Korea reached the point it’s at while simultaneously revealing some little-known troubling secrets about everyday life in this mysterious land, many of which most outsiders have probably never heard of, let alone seen. Because of this, some of the picture’s imagery may be considered quite disturbing, especially for sensitive viewers, so those who are easily upset by such troubling visuals should take note. Nevertheless, this BAFTA Award-nominated release and Sundance Film Festival Audience Award winner is an important piece of filmmaking that those outside this inscrutable enclave should know about – and hope that the world can help to overcome.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/American-Symphony-600x750.jpg" alt="" class="wp-image-16771" width="300" height="426"/></figure><br/><br/><br/><br/><p><strong>2. <a href="https://brentmarchant.com/2023/12/31/for-better-or-worse-addressed-in-american-symphony/"> “American Symphony”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/81728930/">Web site</a> <a href="https://www.youtube.com/watch?v=wKSMsdq8ONs">Trailer</a></strong></p><br/><br/><br/><br/><p>Creating a great work of art is very much like creating a heartfelt, loving relationship. Both take work and commitment, both in good times and bad. The challenges can be difficult, but the rewards can be incalculable. Learning how to successfully maneuver through them, as well as how to strike a harmonious balance that keeps both ventures moving forward, is a skill that takes an array of abilities and aptitudes to master, but, as documentary filmmaker Matthew Heineman’s latest so deftly illustrates, it’s an attainable goal, the prevailing highs and lows notwithstanding. The film follows the extraordinary year experienced by musician/composer Jon Batiste and his wife, best-selling author Suleika Jaouad. In 2022, they came face to face with both ends of the spectrum of life. Batiste, an artist with an impressive musical range and repertoire, was reaching new heights in his career, winning five Grammy Awards while serving as band leader on <em>The Late Show with Stephen Colbert</em> and seeking to complete work on an ambitious composition aimed at reflecting the breadth of our national music, diversity and culture, “American Symphony.” At the same time, though, Jaouad suffered a recurrence of the cancer she battled a decade earlier, an illness she chronicled in writings that would come to launch a career; now, after a 10-year remission, she was facing a second, potentially risky bone marrow transplant to treat her condition, not to mention an uncertain future. With such seemingly polar opposite fates befalling them, Batiste and Jaouad struggled to get through their respective challenges while keeping their love and art alive, putting their successes into perspective in light of what they were up against otherwise. This intimate, heartstring-tugging Oscar and BAFTA Award nominee gives viewers a candid, up-close look at what a truly loving couple can experience under such diverse, trying and bittersweet circumstances, but without becoming manipulative or melodramatic. This beautifully photographed story provides an unfiltered depiction of the range of emotions that each partner goes through, particularly when it comes to the philosophical musings observed by each of the spouses. It also showcases Batiste’s wide-ranging musical styles, both in his performances and in his composition process. Admittedly, a few of this offering’s sequences meander a bit, but the overall production is skillfully edited and sensitively portrayed. “American Symphony” is a beautifully moving film, one that reinforces what matters most in life and what makes it worth living, during both good times and bad, as long as we have each other to make our way through it, bringing new meaning to what our marriage vows are ultimately all about.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/20-Days-in-Mariupol-400x560.png" alt="" class="wp-image-16892" width="290" height="420"/></figure><br/><br/><br/><br/><p><strong>1.  <a href="https://brentmarchant.com/quick-cuts/20-days-in-mariupol/">“20 Days in Mariupol”</a> (Ukraine)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.mstyslav.com/20-days-in-mariupol">Web site</a> <a href="https://youtu.be/9H_Fg_5x4ME">Trailer</a></strong></p><br/><br/><br/><br/><p>Considering the searing nature of this troubling documentary, I feel somewhat uneasy in recommending it as must-see viewing. Nevertheless, this is one of those films that <em>has</em> to be seen in order for the truth behind its story to be fully realized. When Ukrainian journalist-writer-director Mstyslav Chernov and two colleagues chronicled the first days of the nation’s brutal conflict with Russia, they probably had no idea what they were in for. Working from the Black Sea port city of Mariupol, they captured devastating footage of the relentless Russian attacks, particularly the enemy’s ruthless assaults on civilian targets, including a maternity hospital, despite assurances to the contrary. The Russians were simultaneously determined to destroy the Ukrainian communications infrastructure to prevent word of the atrocities from getting out to the wider world, seriously hindering the work of Chernov and company as the only international journalists still in the wartorn country at the time. As the city was systematically being destroyed, the international community had little knowledge of what was transpiring in Mariupol beyond Russian President Vladimir Putin’s skewed propaganda claims. But, when images of the warfront finally made their way out of Ukraine, the world got an entirely new perspective on the carnage unfolding there, despite the Russians’ astoundingly incredulous claims that everything that had been photographed was staged, not unlike what one would find on a movie set. Such reporting opened the eyes of the world, first in media coverage at the time and now in this film, a joint production of the Associated Press and the PBS documentary series <em>Frontline</em>. This gripping release holds nothing back, making it an exceedingly difficult watch for virtually everyone, including those with thick skins who ordinarily might not be affected by such graphic imagery. However, it honestly reveals what the Ukrainians were up against in this horrific siege, putting the war crimes of the aggressors on display for all to see. In addition, this offering reinforces the importance of the work of intrepid journalists under the most trying of conditions, particularly where those wreaking havoc are desperate to keep the facts from reaching the light of day. This highly acclaimed film – a recipient of ample awards season buzz and honors, including an Oscar nod for best documentary feature – may be difficult to sit through, but discovering the truth is often a challenging process, and both Ukraine and the world should be grateful that there are those out there who are willing to put themselves on the line to see that through, no matter how treacherous or daunting the circumstances may be.</p><br/><br/><br/><br/><p><strong>Honorable Mentions</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/lifeswork_dvd-600x848.jpg" alt="" class="wp-image-15909" width="300" height="424"/></figure><br/><br/><br/><br/><p><strong>11.  <a href="https://brentmarchant.com/2023/04/05/a-lifes-work-celebrates-the-power-of-belief/">“A Life’s Work”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://alifesworkmovie.com/">Web site</a> <a href="https://www.youtube.com/watch?v=N0VgzccvJxQ">Trailer</a></strong></p><br/><br/><br/><br/><p>How inspiring it is to see individuals take on Herculean tasks that they know up front will require considerable time – perhaps even extending beyond their own lifetimes – just for the sheer passion of what they’re doing and what they believe it can ultimately contribute to the well-being of mankind. Such are the cases examined in this debut documentary feature from filmmaker David Licata, who spent 15 years following the undertakings of four remarkably dedicated individuals pursuing an array of diverse projects whose efforts carry long-term implications. The film, available for streaming and on home media, looks at the endeavors of Jill Tarter, former head of the Search for Extra Terrestrial Intelligence (SETI) project; Robert Darden, founder of the Black Gospel Music Restoration Project; David Milarch, founder of the Champion Tree Project; and the late innovative architect Paolo Soleri, a former protégé of Frank Lloyd Wright who launched the “arcology” movement and the construction of Arizona’s ambitious Arcosanti community project. In telling these stories, the director examines not only the particulars behind these ventures, but also the motivations and commitments driving their creators, as well as the challenges associated with carrying out these ambitious undertakings. The film presents a balanced view of each of these projects, told economically and on point, without extraneous padding or irrelevant material, a refreshingly welcome relief considering how many recent documentaries have been put together. What’s most significant about this offering, though, is the inspiration that it engenders among viewers. Audience members are treated to a variety of projects that truly depict what constitutes “a life’s work” in every sense of the expression. It’s quite uplifting to see what our visions and beliefs can yield, and this film brings that notion front and center for all to see.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/HO-OM_Rock-Hudson_AllThatHeavenAllowed_KA_27x40_PUBLICITY_1-600x889.jpg" alt="" class="wp-image-16227" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>12.  <a href="https://brentmarchant.com/2023/07/19/rock-hudson-explores-life-in-two-worlds/">“Rock Hudson: All That Heaven Allowed”</a> (UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.hbo.com/movies/rock-hudson-all-that-heaven-allowed">Web site</a> <a href="https://www.youtube.com/watch?v=zzWm5kIfE8c">Trailer</a></strong></p><br/><br/><br/><br/><p>Clean-cut All-American Boy Roy Scherer Jr. probably never envisioned the life he would eventually lead when he was growing up in Winnetka, IL. But, once he transformed into rugged, handsome matinee idol Rock Hudson, it all came together, even if it was not how and what he had imagined. As one of Hollywood’s most sought-after actors in the 1950s, ’60s and ’70s, Hudson emerged as one of Tinsel Town’s biggest stars in the movies and on television. He was also someone who throngs of women lusted after as a romantic interest, an image that his handlers carefully crafted to bolster his career. There was just one snag in this plan: Hudson was a closeted gay man whose private life had to be discreetly managed to preserve his reputation and future viability as a screen idol. It was as if he were leading two lives – a public life as an allegedly straight regular guy and a private, judiciously guarded one in which he could be himself as a gay man. And, even though almost everyone in Hollywood’s inner circle knew the truth about him, Hudson’s public persona was successfully preserved, despite occasional (and widely discredited) tabloid rumors. However, when the movie icon was diagnosed with AIDS in 1984, the secret could no longer be contained, despite official denials to the contrary. Yet, with this revelation, Hudson became the face of this frightening new illness, a condition no one wanted to talk about. It was thus ironic how this once-heavily sequestered gay man would become an unwitting activist for patients suffering with this debilitating disease, helping to generate attention and funding at a time when the homophobic Reagan Administration refused to do anything meaningful about it. Director Stephen Kijak’s HBO documentary presents a comprehensive look at Hudson’s professional and personal life, with ample contemporary and archive clips and interviews with those who worked with him, such as actresses Elizabeth Taylor, Linda Evans, Piper Laurie and Carole Cook, and with those who knew him privately, such as author Armistead Maupin, actor Peter Kevoian and biographer Mark Griffin. While much is known about Hudson’s entertainment career, little has been publicly circulated about his personal life, a development that marks a significant change with the release of this film. Interestingly, there’s a fair degree of irony in the choice of movie and TV clips included here in that many of them are quietly telling about the actor’s personal life when viewed in this new light, almost as if they represented muted, inside revelations at the time these works were made. Some of the content (particularly in the interviews about Hudson’s private life) could be seen as sexually explicit, so sensitive viewers should take heed. In all, though, this insightful, respectful look at the actor’s life as both a gifted entertainer and an unlikely hero delivers a well-rounded biography of a man who toiled to strike a balance in his two worlds, both for his fans and for those who shared his secret, an effort that yielded a lot of good in both areas.</p><br/><br/><br/><br/><figure class="wp-block-image size-full"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/Radical_Wolfe.jpg" alt="" class="wp-image-16677"/></figure><br/><br/><br/><br/><p><strong>13.  <a href="https://brentmarchant.com/quick-cuts/radical-wolfe/">“Radical Wolfe”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://kinolorber.com/film/radical-wolfe">Web site</a> <a href="https://youtu.be/QT77gogBIpY">Trailer</a></strong></p><br/><br/><br/><br/><p>The impact that words carry can be tremendous, sometimes powerful enough to change everyday speech, the nature of literature and even an entire culture. And, in many cases, those shifts can be traced back to the musings of gifted, insightful individuals. That’s where author Tom Wolfe (1930-2018) enters, stage left, as seen in this documentary from director Richard Dewey, based on a <em>Vanity Fair</em> article by author Michael Lewis. Wolfe, a onetime newspaper reporter, made his mark beginning in the 1960s with an <em>Esquire</em> magazine article about southern California’s hot rod and custom car culture that turned conventional journalism on its ear. Almost overnight, he became a New York and national media sensation, introducing what he called “the new journalism,” a practice of writing and reporting that called for drawing upon all of the literary tools available to authors of all stripes in the penning of nonfiction works, a move aimed at eliminating much of what he saw as the tiresome tedium that had come to characterize most of such pieces. Before long, over the next several decades, he established a reputation for cutting-edge writing through various magazine articles and such books as <em>The Electric Kool-Aid Acid Test</em>, <em>Radical Chic & Mau-Mauing the Flak Catchers</em>, <em>The Right Stuff</em> and <em>From Bauhaus to Our House</em>. He subsequently went on to release novels like <em>The Bonfire of the Vanities</em> and <em>Man in Full</em>. And several of these titles were even adapted as motion pictures, clips from which are liberally featured in this film biography. In addition to his prolific bibliography, Wolfe also distinguished himself as a character unto himself, a transplanted polite Southern gentleman and flamboyant sartorial dandy who could cut people to the quick with the stroke of his pen and wasn’t afraid of tackling controversial subjects that many of his contemporaries would never touch. His story is told in an admittedly somewhat conventional but exceedingly well-defined, economical, briskly paced manner, featuring interviews with those who knew him and admirers who savor his work, as well as archive footage of the author himself from many well-known media vehicles of his time. “Radical Wolfe” is an insightful and entertaining celebration of the writer’s life and work without ever gushing and never shying away from portraying him warts and all. Wolfe took New York literary society and the country by storm with his singular way with words, the kind of unabashed, articulate, inventive scribe we could use more of these days.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/379407010_1206092253653772_6805955812469432135_n-600x750.jpg" alt="" class="wp-image-16642" width="294" height="431"/></figure><br/><br/><br/><br/><p><strong>14.  <a href="https://brentmarchant.com/2023/11/15/after-death-sheds-light-on-what-comes-next/">“After Death”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.angel.com/movies/after-death">Web site</a> <a href="https://www.youtube.com/watch?v=HOSmGMHs7ps">Trailer</a></strong></p><br/><br/><br/><br/><p>Talking about the subject of Near Death Experiences (NDEs) was once about as taboo as speaking about UFOs or seeing a psychiatrist – sure signs that someone was probably psychologically unstable, even if he or she merely believed in these things, let alone having had actual experiences with them. Thankfully, however, those days are largely behind us now, and speaking about them openly and honestly has become much more rational, commonplace and accepted. Such is the case in this offering from directors Stephen Gray and Chris Radtke, who provide a comprehensive look at a subject that was once considered suspect – even laughable – but is now taken quite seriously, including by those who were once among its greatest detractors. The film presents a detailed look at the phenomenon, featuring interviews with such researchers as Raymond Moody, often credited as being primarily responsible for bringing NDEs into the mainstream dialogue, and experiencers of these events. It also presents a series of NDE re-enactments, including depictions of what led up to them and what happened as the experiences unfolded, all backed by stunningly gorgeous CGI effects of an admittedly indescribable reality and a beautifully emotive original score. This combination of elements thus provides an excellent overview of what make up NDEs while simultaneously conveying the obviously heartfelt emotions associated with them, bringing the experiences home to viewers in a way that other documentaries on the subject haven’t previously been able to accomplish. It sheds profound light on what can happen when one goes through these existential gateways and how returnees are often fundamentally changed by the experiences, giving them new outlooks on life and their purpose in it. While it’s true that this offering doesn’t present much that’s especially new about NDEs and that its pacing can be a little slow (and redundant) at times, it nevertheless does a superb job of immersing audiences in the material, again, a big improvement over previous attempts at addressing this subject. And pay no heed to the cynics who have erroneously called this little more than religious propaganda; while it’s true there are a handful of Christian-oriented references scattered throughout the film, the overall take here is more spiritual in nature, an ecumenical approach at examining the afterlife than one that’s exclusively rooted in any particular theological tradition. Viewers who may have been skeptical, unfamiliar with or skittish about this subject may find themselves surprisingly enlightened by what this release has to say. And the fact that it played widely in mainstream theaters to astonishingly well-attended audiences also speaks volumes about the appeal and apparent universality of this title. As this film so astutely shows, death isn’t the end – and it’s high time we stopped looking at it that way.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/05/SlavaUkraini_Poster_Web-400x592.jpg" alt="" class="wp-image-16053" width="300" height="444"/></figure><br/><br/><br/><br/><p><strong>15.  <a href="https://brentmarchant.com/2023/05/14/slava-ukraini-praises-hope-and-unity/">“<em>Slava Ukraini</em>” (“Glory to Ukraine”)</a> (France/Ukraine)</strong></p><br/><br/><br/><br/><p><strong><a href="https://cohenmedia.net/product/slava-ukraini">Web site</a> <a href="https://www.youtube.com/watch?v=6IH7MpmiA5c">Trailer</a></strong></p><br/><br/><br/><br/><p>Most media coverage about the war in Ukraine – where most of us get our news about the conflict – comes down to a recitation of facts and figures, with the biggest and most dramatic stories receiving virtually all of the attention. But how does the war impact the nation’s citizens at the personal level? What’s more, we hear so much about the unity of Ukraine’s residents in combatting their Russian foes, but in what ways does that commitment materialize? Those are the questions that French writer-director-philosopher Bernard-Henri Lévy has sought to address in his thoughtful first-person documentary about how the hostilities have affected the country’s civilians, soldiers, laborers and spiritual leaders. Through these individual stories, viewers learn of their triumphs, tragedies, hopes and dreams, not to mention their unwavering faith that Ukraine will emerge victorious, especially in the wake of a growing number of battlefield successes. Told as a sort of travelogue through the nation’s various hot spots, including many on the front lines of the conflict, Lévy chronicles what has happened across Ukraine since the war’s onset in February 2022, oftentimes brought down to a touching, intimately personal level. This is enhanced by the filmmaker’s poetic narration, which, despite an occasional tendency to get a little too flowery and obscure in nature, puts these events into meaningful perspective, both in terms of what they mean for individuals and in larger terms morally and geopolitically. These observations draw significantly from history, showing parallels between the events in Ukraine and those that have unfolded on other conflict stages over the years, reminding us once again of the importance of learning from the past. When taken together, these elements combine to create a documentary that doesn’t fit the standard mold but that enlightens us to a far greater degree than many other films addressing the subject of warfare. “<em>Slava Ukraini</em>” provides valuable insight into an event that has the potential to leave a significant and long-lasting impact not just on the residents of Ukraine and its neighbors but on the totality of humanity as well.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/No-Accident-600x750.jpg" alt="" class="wp-image-16605" width="293" height="425"/></figure><br/><br/><br/><br/><p><strong>16.  <a href="https://brentmarchant.com/quick-cuts/no-accident/">“No Accident”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.hbo.com/movies/no-accident">Web site</a> <a href="https://youtu.be/HcGc3Pk1OqU">Trailer</a></strong></p><br/><br/><br/><br/><p>Seeking justice in high-profile court cases is a common theme in films about the judicial system, one that’s frequently characterized by a hefty dose of inherent nobility and the presentation of high-minded arguments aimed at attaining rulings that many would see as foregone conclusions. But what happens when a case involves opponents who each zealously believe that their view is the “correct” one? Such is the case in director Kristi Jacobson’s HBO documentary about the legal team that prosecuted a group of ultra-right-wing white supremacist protestors on conspiracy charges to incite violence against counter-protestors in Charlottesville, VA, in August 2017, an incident that resulted in one death, multiple injuries and civil unrest. Convinced that the Trump Administration’s Justice Department would do little to investigate this conflict, the prosecuting attorneys decided to file a civil suit to seek liability damages against the apparently well-organized, intricately connected group of 24 defendants. The film unflinchingly exposes the often-raw racist, anti-Semitic and homophobic ugliness of those behind this event through shockingly offensive audio and video clips (sensitive viewers beware), as well as their deftly polished efforts at spinning their stories as mere exercises of their First Amendment rights to free speech. By contrast, the picture also skillfully shows how the prosecution meticulously built its case against these defendants, all the while seeking to contend with their strident denials of their actions and intents, their attempts at bullying plaintiffs’ witnesses during cross-examination, their less-than-subtle efforts at using the judicial forum as a soap box for their social and political views, and the distracting restrictions of trying to conduct a case during the middle of a pandemic. And, in the midst of all this, the filmmaker capably and sensitively shows the personal impact this case had on its nine defendants, thereby attempting to make this offering about more than just the courtroom proceedings. However, despite the picture’s definite strengths in these areas, the overall project nevertheless feels like it’s missing something, at times coming across as somewhat “clinical,” even rote, in its approach. At the same time, though, it also sends a loud and clear message about the potential dangers of organized events like this, given that right-wing individuals and groups have cited the Charlottesville incident in their communications as a template that might be (and already has been) used elsewhere. Indeed, electronic media like the internet, social media and cell phones have undoubtedly provided us with many benefits, but they have also made it easier for widely separated insurgents to talk to one another and plan comparable initiatives that are anything but random coincidences – events that are far from “accidents.”</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/JoyceCarol-Oates-600x886.jpeg" alt="" class="wp-image-16479" width="300" height="443"/></figure><br/><br/><br/><br/><p><strong>17. <a href="https://brentmarchant.com/quick-cuts/joyce-carol-oates-a-body-in-the-service-of-mind/"> “Joyce Carol Oates: A Body in the Service of Mind”</a> (Sweden)</strong></p><br/><br/><br/><br/><p><strong><a href="https://greenwichentertainment.com/film/joyce-carol-oates-a-body-in-the-service-of-mind/">Web site</a> <a href="https://www.youtube.com/watch?v=pe7yY7Ny0qE">Trailer</a></strong></p><br/><br/><br/><br/><p>Telling the story of a talented and prolific artist can be quite a challenge: What should be included? What should be excluded? And how should the narrative effectively fuse the personal and professional sides of the artist’s life? It’s a task that’s easy to get wrong (and, unfortunately, it happens far too often in many contemporary film biographies). So it’s indeed comforting to see one that gets things right, as is the case with this well-crafted documentary about writer Joyce Carol Oates, author of more than 100 books (many of them award winners) in multiple genres, both under her own name and several pseudonyms. On top of that, though, she has also developed a renowned reputation as a professor and as an outspoken and eloquent liberal social and political critic, both through her writings and social media posts. Writer-director Stig Björkman’s latest presents a comprehensive, articulate and skillfully organized profile of Oates, showing how her meager beginnings played a role in her love of writing and the views she embraced upon coming of age, themes repeatedly reflected in her prose. The film accomplishes all this in a clear, concise, balanced, economically packaged offering, making its points about her public and personal lives without unduly belaboring them and backing them up with voice-over readings from her books by Laura Dern. If I had any complaint about this release, it would be that its ending seems a bit abrupt and truncated, almost as if the filmmaker didn’t quite know how to suitably wrap up the project. There’s really no need for this, either, given that the picture’s efficient 1:34:00 runtime is far from excessive. That aside, however, this is an otherwise-excellent overview of a writer whose works truly deserve all the gracious attention and praise that they receive, providing Oates’s fans with a fitting tribute of the author and viewers unfamiliar with her books plenty of good reason to give them a serious look.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/A-Big-Gay-Hairy-Hit-600x928.webp" alt="" class="wp-image-16537" width="300" height="464"/></figure><br/><br/><br/><br/><p><strong>18.  <a href="https://brentmarchant.com/quick-cuts/a-big-gay-hairy-hit-where-the-bears-are-the-documentary/">“A Big Gay Hairy Hit! Where the Bears Are: The Documentary”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://abiggayhairyhit.com/">Web site</a> <a href="https://youtu.be/x-Yn5bu2bxk">Trailer</a></strong></p><br/><br/><br/><br/><p>So you think all of the world’s bears are in zoos or in the wild, right? Well, if you visit any venues or neighborhoods frequented by gay men, you just might find yourself in the company of another pack of ursine creatures – Bears – one of the largest and least-known constituencies of the LGBTQ+ community. Consisting of predominantly big, burly, bearded, hirsute males (many of whom are best compared to modern-day lumberjacks), the Bear community’s numbers have swollen since their emergence in the late 1980s/early 1990s. But they’ve often gone unnoticed, both by society at large and even in LGBTQ+ circles – that is, until the premiere of an internet TV series known as <em>Where the Bears Are</em>. As an impromptu project dreamed up by a trio of seasoned entertainment industry professionals who were between gigs, the long-running series, which launched in 2011, is best described by its creators as a cross between <em>The Golden Girls</em> and <em>Murder, She Wrote</em> with a cast of big, fat, bearded gay guys. This bawdy, campy, outrageous internet TV show quickly became an unexpected sensation, partly for the quality of its product but also because it filled a niche for an otherwise-largely unserved audience, success that enabled this surprise hit to air for seven seasons. Director Eduardo Aquino’s excellent documentary tells how the show came into being, including a look at its creators’ impressive movie and TV background. But the film also examines what it’s like to produce a seat-of-one’s-pants video project on a shoestring budget with a ragtag crew of artists who are in it primarily for the sheer enjoyment that they get out of their work. It also shines a bright light on the uplifting impact the show has had on body and attitude positivity for gay men who don’t exactly fit the commonly held twink, leatherman and gym bunny stereotypes often associated with them. And it accomplishes all this with a briskly paced, no-nonsense, economical, insightful and highly entertaining approach, truly a fine example of what a good documentary should do. This one is a lot of fun and highly informative, particularly for those who’ve never been introduced to the show or to the raucous, sensual, fun-loving segment of gay society that it so fittingly represents. Two paws up!</p><br/><br/><br/><br/><p><strong>Disappointments (In Descending Order)</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/Bye-Bye-Tiberias-600x809.jpg" alt="" class="wp-image-16602" width="300" height="405"/></figure><br/><br/><br/><br/><p><strong>5.  <a href="https://brentmarchant.com/quick-cuts/bye-bye-tiberias-bye-bye-tiberiade/">“Bye Bye Tiberias” (“<em>Bye Bye Tibériade</em>”)</a> (France/Palestine/Belgium/Qatar)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.unifrance.org/film/56618/bye-bye-tiberiade">Web site</a> <a href="https://youtu.be/iQYo2pk1iAk">Trailer</a></strong></p><br/><br/><br/><br/><p>Memorializing one’s family history is an exercise that can provide a valuable record of our relatives’ past and establish the legacy that has carried through the years to the present day. It can also teach us much about what distinguishes one’s kindreds in terms of their characteristics, accomplishments and values. The impact of that can be quite revelatory, too, producing a chronicle of inspiring insights and profound achievements of one’s relations, especially those that emerged in the face of challenge, adversity and cultural limitations. In her second documentary feature, director Lina Soualem has sought to capture a loving record of those qualities in this highly personal film that charts the lives of four generations of her family’s women, including herself, her mother (Emmy-nominated actress Hiam Abbass), her grandmother and her great-grandmother. This Independent Spirit Award nominee for best documentary feature primarily follows the experiences of the filmmaker’s three ancestral generations during their lives in their Palestinian homeland from the days of the creation of Israel in 1948 to the time of Abbass’s emigration to France, where she began her acting career and gave birth to her daughter. In doing so, the film juxtaposes the family’s individual history with that of the larger cultural backdrop against which their story is set. It also provides viewers with a look at the actress’s return to Palestine with her daughter after a prolonged absence, a time of remembrance and reflection. As touching and uplifting as this story can be, however, there are times when it starts to play more like a highly polished home movie than a theatrical documentary. It also would have benefitted from a deeper look at the historical back story and how its events helped shape the lives of these courageously determined women. That’s particularly true in the wake of recent developments (even though this film was made before them), given that the inclusion of such background material would have leant a more profound understanding to the longstanding prevailing circumstances in Palestine and the role that they played in the unfolding of this family’s story. Moreover, the film seems to puzzlingly downplay Abbass’s career accomplishments, achievements that marked a key turning point in the family’s history, one specifically inspired by her yearning to leave the “suffocating” conditions of life in her homeland. Soualem certainly deserves kudos for her attempt to deftly mesh personal and cultural considerations in this film, her heart clearly in the right place. However, the overall mix doesn’t quite gel as well as it could have, leaving viewers with a story that may be moving and poetic but that somehow feels somewhat incomplete. Perhaps that comes from being too close to the material, no matter how sincere one’s intents might be – and how earnestly one wants to see those goals fulfilled.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/Albert-Brooks-Defending-My-Life-600x889.jpg" alt="" class="wp-image-16695" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>4.  <a href="https://brentmarchant.com/quick-cuts/albert-brooks-defending-my-life/">“Albert Brooks: Defending My Life”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.hbo.com/movies/albert-brooks-defending-my-life">Web site</a> <a href="https://youtu.be/L5pRaWnClyo">Trailer</a></strong></p><br/><br/><br/><br/><p>When someone helps to shift the direction of something, regardless of the milieu involved, there’s a natural inclination to want to celebrate that individual’s contributions. In the area of stand-up comedy, one of the names that frequently comes to mind is Albert Brooks (born Albert Einstein – really). In the 1970s, his inventiveness took comedy in a new direction, inspiring others to follow suit and forever changing the art form, and this HBO documentary from Brooks’s lifelong friend, director Rob Reiner, is an apparently sincere attempt at paying tribute to the writer-actor-comedian-director. Unfortunately, this effort misses the mark in many respects (though it admittedly improves markedly in the picture’s back half). Perhaps the biggest issue here is Reiner himself; as someone who has known Brooks since high school, he’s probably too close to the material to present a balanced, objective view of his subject. Many of his interview sequences with Brooks come across as two old friends reminiscing about the past without providing sufficient back story information for the viewers, the result being a vehicle that’s a little too “inside” for audiences to fully appreciate the point of their conversations. What’s more, the film has an annoying tendency to gush, especially when it comes to the comedian’s early routines, work that may have been cutting-edge when first introduced but that, frankly, hasn’t withstood the test of time. Toning down the hype here would help immeasurably, particularly in the film’s interview segments with peers and admirers (including such entertainment industry heavy hitters as Chris Rock, Wanda Sykes, Ben Stiller, Sarah Silverman, Larry David, David Letterman, Conan O’Brien, Jon Stewart, Stephen Spielberg, James L. Brooks and Judd Apatow, among others), who often treat Brooks as the sole progenitor of innovative stand-up comedy, something of an overstatement considering the work of some of his contemporaries like the Not Ready for Prime Time Players, Andy Kaufman and others. The picture’s opening sequence, largely devoted to the foregoing, rambles on far too long, too, delaying its treatment of what works best in this documentary – an examination of Brooks’s achievements as the director of such movies as “Real Life” (1979), “Lost in America” (1985), “Defending Your Life” (1991) (his best work) and “Mother” (1996), as well as his performances in films like “Taxi Driver” (1976), “Broadcast News” (1987), “Drive” (2011) and “Concussion” (2015) and his animation voiceover work in “Finding Nemo” (2003), “Finding Dory” (2016) and his multiple appearances on the long-running TV series <em>The Simpsons</em>. These are the endeavors in which Brooks’s brilliance truly shines, and they generally deserve better, more complete treatment than what they receive here. Don’t get me wrong – I’m a big fan of Brooks; however, I wish his talents and achievements had been showcased in a better film than what’s on offer here. If you really want to get to know Brooks better, watch one of his films – they’ll show you more about him than anything featured in this documentary, a somewhat haphazard effort in need of spit and polish.</p><br/><br/><br/><br/><figure class="wp-block-image size-full"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/FourDaughters_DVD.jpg" alt="" class="wp-image-16870"/></figure><br/><br/><br/><br/><p><strong>3.  <a href="https://brentmarchant.com/quick-cuts/four-daughters-les-filles-dolfa/">“Four Daughters” (“<em>Les filles d’Olfa</em>”)</a> (France/Saudi Arabia/Germany/Tunisia/Cyprus)</strong></p><br/><br/><br/><br/><p><strong><a href="https://kinolorber.com/film/four-daughters">Web site</a> <a href="https://youtu.be/OUsu78a5phM">Trailer</a></strong></p><br/><br/><br/><br/><p>Fusing fact and fiction is a precarious undertaking for a filmmaker, especially when it comes to matters of clarity and credibility. And that’s where this latest offering from writer-director Kaouther Bin Hania misses the mark. This fact-based story about Olfa Hamrouni, a Tunisian single mother who loses her two eldest daughters, Ghofrane and Rahma, to the radical recruitment efforts of ISIL while trying to protect her two youngest daughters, Eya and Tayssir, from befalling a comparable fate struggles mightily to tell a coherent tale. The film clumsily mixes interviews with family members and dramatic reenactments of significant events featuring actors portraying the principals (some of whom inexplicably play several roles). To complicate matters, this release features an inordinate amount of superfluous material, as well as seemingly important gaps in the story, often leaving viewers scratching their heads about how the narrative gets from one unrelated (and sometimes seemingly contradictory) development to the next. Add to that a relevant revelation that doesn’t appear until late in the film (with virtually no prior back story to support it), and you’ve got a patchwork accounting of what otherwise appears to be a moving and heartfelt tale that deserves greater intelligibility and a better overall delivery. What’s more, this offering includes a considerable amount of material about how this production is being put together, a modestly interesting sidebar that might make for an informative bonus feature, but the inclusion of these largely incidental segments within the primary narrative adds little and serves more to needlessly bog down the flow of this release. Given the foregoing, I’m at a loss to understand why this “documentary” (a term I use loosely) has received the amount of attention and adulation that it has garnered, especially in film festival and awards season competitions, including the Oscars, the Independent Spirit Awards and the Cannes Film Festival. Bin Hania has indeed established herself as a talented filmmaker in other priductions (especially those of a purely fictional nature), such as the outstanding Oscar-nominated offering, “The Man Who Sold His Skin” (2020), but she seems out of her league here. That’s unfortunate since Olfa’s saga is one that appears to be well worth telling but, sadly, doesn’t receive the treatment it truly deserves.<br/></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/Apple_TV_The_Pigeon_Tunnel_key_art_2_3-400x600.png" alt="" class="wp-image-16652" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>2.  <a href="https://brentmarchant.com/quick-cuts/the-pigeon-tunnel/">“The Pigeon Tunnel”</a> (USA/UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://tv.apple.com/us/movie/the-pigeon-tunnel/umc.cmc.633pbtki99m7e8lc9ybbyab3">Web site</a> <a href="https://youtu.be/9gWnuhjwNrw">Trailer</a></strong></p><br/><br/><br/><br/><p>Getting inside the head of a spy is undoubtedly challenging; getting inside the head of a novelist who was once a spy who now writes about that enigmatic profession is nearly impossible. And that’s one of the hurdles that hampers this profile of former MI5 and MI6 operative David Cornwell, better known to the world by his pen name, John le Carré (1931-2020). Based on the author’s memoir of the same name, the latest from documentarian Errol Morris puts the best-selling espionage novelist under the microscope, seeking to discover who le Carré is, what factors impacted his life and writings, and how his novels mirror those influences in terms of content and themes. Through discussions of books like <em>The Spy Who Came in from the Cold</em>, <em>Tinker, Tailor, Soldier, Spy</em>, <em>Smiley’s People</em>, <em>A Perfect Spy</em> and <em>The Looking Glass War</em>, backed by clips of film and television adaptations of these works, le Carré and Morris ruminate on the writer’s objectives in bringing them to life, some of them personal in nature and some of them expressions of his feelings about the murky underworld he left behind and brought to life on the printed page. Much of what the author consequently discusses comes across as dark, cryptic, and characterized by rampant intrigue and betrayal, not unlike the life he left behind (as well as the dismal upbringing he underwent at the knee of his untrustworthy father, a professional swindler adept at plying his craft). The insights, to say the least, are rather depressing and disquieting. But that unsettling material is further compounded by a string of often-perplexing observations about le Carré’s existential outlooks and literary intentions, some of which seemingly amount to little more than oh so much navel gazing and intellectual masturbation, overstated attempts at encapsulating his perspectives on human nature and human relations as reflected through his works. I can imagine that there’s probably a market for a film like this among Anglophiles captivated by the writer’s works, the spy novel genre in general and PBS/BBC television dramas, but this National Board of Review award winner really didn’t do much for me, especially since this offering pales in comparison to many of Morris’s other better productions. Thankfully, the film’s merciful 1:32:00 runtime proved to be its saving grace (even though the picture admittedly improves once it gets past an overly long, excessively detailed prologue). Ironically, le Carré observes in the film that he sees his novels as an antidote to the implausible James Bond books and movies, but, from where I stand, I’ll take 007 over this any day.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/DesperateSouls_poster_2025x3000-600x889.jpg" alt="" class="wp-image-16431" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>1.  <a href="https://brentmarchant.com/quick-cuts/desperate-souls-dark-city-and-the-legend-of-midnight-cowboy/">“Desperate Souls, Dark City and the Legend of Midnight Cowboy”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://zeitgeistfilms.com/film/desperate-souls-dark-city-and-the-legend-of-midnight-cowboy">Web site</a> <a href="https://youtu.be/UZyfhp5IPZk">Trailer</a></strong></p><br/><br/><br/><br/><p>It’s unfortunate when a filmmaker sets out to pay tribute to a cinematic classic yet somehow manages to mangle the effort. Regrettably, however, that’s precisely what happens in writer-director Nancy Buirski’s attempted homage to John Schlesinger’s “Midnight Cowboy” (1969), the only X-rated film ever to win the Oscar for best picture. The scattered narrative of this poorly constructed documentary seems to focus on virtually everything except the movie itself, drawing upon an everything-but-the-kitchen-sink approach to explaining what influenced this screen epic rather than what actually went into the making of the picture itself. While it’s certainly enlightening and helpful to provide viewers with sufficient background about the timing of a movie’s production and the filmmaking influences that helped shape it, these practices nevertheless become a burdensome distraction when they dominate the documentary’s content and overshadow what made its supposed subject matter so noteworthy in the first place. As a consequence, the flow of this offering is about as unwieldy as its title, jumping around from ancillary subject to ancillary subject and often puzzlingly providing only the most tangential connections to its alleged core material. Granted, there are a few moderately interesting anecdotes here and there, as well as a few insightful references to how “Midnight Cowboy” went on to influence a number of subsequent film productions. But even the contemporary and archive interviews with director John Schlesinger, screenwriters Waldo Salt and James Leo Herlihy, and cast members Jon Voight, Dustin Hoffman, Brenda Vaccaro, Jennifer Salt and Bob Balaban shed little meaningful new light on this highly regarded offering. Perhaps the biggest problem here is that the underlying story of this documentary turned out to be inherently thinner than the filmmaker thought it was and that she chose to pad the material to artificially extend its length (although coming up with an entirely different narrative or editing the current one down to a film short would have made better options). It’s too bad this one fared as it has, as it’s a release that I truly looked forward to screening. It’s indeed one thing to establish a story in the context of its times and influences and to do it correctly (as was very much the case, for example, with the David Bowie documentary “Moonage Daydream” (2022)), [<a href="https://brentmarchant.com/2022/10/09/moonage-daydream-brilliantly-profiles-a-consummate-artist/">https://brentmarchant.com/2022/10/09/moonage-daydream-brilliantly-profiles-a-consummate-artist/</a>] but this offering, sadly, is a prime example of how not to do it. “Midnight Cowboy” certainly deserved better than this, and one’s time would definitely be better spent watching the original than this failed attempt at honoring it.</p><br/><br/><br/><br/><p>Copyright © 2023-2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-61756266181806520602024-01-30T05:22:00.001-06:002024-01-30T05:22:06.168-06:00The Worst of 2023<p>With 2023 now in the books, it’s time to look back on the year in movies. In this second of three blogs, I spotlight my Bottom 10 Films of 2023, followed by 10 Dishonorable Mentions and an open-ended list (in alphabetical order) of other releases that I found disappointing. In each case, I’ve included web site and trailer links, as well as links to my own reviews from this site’s Quick Cuts section.</p><br/><br/><br/><br/><p>In addition, due to the special circumstances caused by the writers’ and actors’ strikes, as well as the carryover effect from the COVID pandemic – both of which caused some havoc with distribution schedules – I have included a new category this year: a list of my least favorite films that were produced in previous years but whose release was impacted by these delays and weren’t released until 2023. This is also an open-ended list with pictures listed in alphabetical order and no particular ranking.</p><br/><br/><br/><br/><p>In separate blog posts, I examined my Best Films of 2023, as well as a review of my picks for the Best and Worst in 2023 Documentaries, to be posted shortly.</p><br/><br/><br/><br/><p>So, with that said, check out what I thought about 2023’s crop of movies. You may not agree with me, and I respect your opinions, regardless of whether our views align. I hope you’ll respectfully grant me the same. And your feedback, as always, is welcome. Here goes!</p><br/><br/><br/><br/><p><strong>The Bottom 10 Countdown</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/maestro-600x886.jpg" alt="" class="wp-image-16851" width="300" height="443"/></figure><br/><br/><br/><br/><p><strong>10.  <a href="https://brentmarchant.com/quick-cuts/maestro/">“Maestro”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/81171868/">Web site</a> <a href="https://youtu.be/gJP2QblqLA0">Trailer</a></strong></p><br/><br/><br/><br/><p>A great talent deserves a great biopic. Regrettably, in the case of the late conductor/composer/musician Leonard Bernstein, he doesn’t get it. Writer-actor-director Bradley Cooper has made a film that I’m sure he thinks of as his cinematic masterpiece when, in fact, it comes across more like a tribute to the filmmaker’s own ego than as an homage to his subject. Perhaps the biggest problem here is the Oscar-nominated screenplay (how did that happen?), which can never really decide if it wants to be a litany of the accomplishments of the artist (Oscar nominee Cooper) or a love story between him and his adoring wife, Felicia (Oscar nominee Carey Mulligan). The constant switching back and forth between the two leaves viewers wondering which will be the focus that the director settles on. Then there’s Cooper’s increasingly hammy overacting, which grows progressively annoying as the film plays out, a performance riddled with knowing looks of “I know I’m going to get awards nominations for this portrayal.” Add to that a somewhat inexplicable shift from monochrome to color cinematography, and audiences are left further pondering the filmmaker’s cinematic motivations while simultaneously having to contend with notably underdeveloped depictions of the character’s motivations, making for a rather shallow take overall when it comes to exploring the protagonist’s nature. To its credit, “Maestro” features a fine production design and gorgeous Oscar-nominated camera work (especially in the black-and-white sequences), and Mulligan’s luminescent presence is positively captivating, in my view the only real reason for screening this offering in the first place. Otherwise, however, this is a big awards season disappointment (one that has stunningly earned numerous nominations in all of the major competitions, including seven Academy Award nods) that leaves much to be desired – and that likely would have been better off left in the hands of the project’s originally designated director, Steven Spielberg. Cooper may be a fine actor, but that’s what he should stick with, as that’s where his real strength lies – not behind the camera or sitting in the writer’s chair.</p><br/><br/><br/><br/><figure class="wp-block-image size-full"><img src="https://brentmarchant.com/wp-content/uploads/2023/08/red-white-royal-blue-RWRB_2023_DigitalOneSheet_Lake_27x40_PRE_FINAL_en-US_STNLY_rgb.jpg" alt="" class="wp-image-16405"/></figure><br/><br/><br/><br/><p><strong>9.  <a href="https://brentmarchant.com/quick-cuts/red-white-royal-blue/">“Red, White & Royal Blue”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://press.amazonstudios.com/us/en/original-movies/red-white-royal-blue">Web site</a> <a href="https://youtu.be/pt56IC8gDZ4">Trailer</a></strong></p><br/><br/><br/><br/><p>There are three things necessary to make a gay romantic comedy work: It needs to involve a readily recognizable gay relationship, it needs an undeniable sense of romance and it has to be funny. However, this heavily diluted, glacially paced piece of insipid celluloid fluff has none of the above, and it truly escapes me how many critics and viewers have found this utterly bland exercise to be heartwarming, charming and involving. In telling the somewhat far-fetched story of an alleged romance between a British prince (Nicholas Galitzine) and the son of an American president (Taylor Zakhar Perez) who start out as comically exaggerated adversaries but end up unconvincingly finding true love with one another, writer-director Matthew López subjects his audiences to a relationship wholly lacking in chemistry and stemming from an improbable courtship. Much of this arises from a string of all-too-convenient, less-than-discreet engagements that are ordinarily supposedly impossible to arrange and coordinate. What’s more, the film’s humor is virtually nonexistent and incorporates none of the edginess generally associated with gay comedies. In fact, it’s so dull and so safe that it makes most Hallmark Channel movies seem downright risqué by comparison. To its credit, the picture makes some modestly eloquent statements about LGBTQ+ equality (even if they’re nothing we haven’t already heard many times before), and it features a fine supporting performance by Sarah Shahi as a smart-mouthed, fast-talking presidential aide (arguably the only genuinely funny element in the film), but it misses the mark on so many other fronts that it’s hard to believe this project ever got green-lighted. It’s a shame that the door opened by <a href="https://brentmarchant.com/2022/10/21/bros-asks-what-makes-a-relationship-work/">“Bros” </a>(2022) to make gay romcoms a more viable cinematic genre has been set back by this underwhelmingly disappointing effort. It’s also equally surprising that an organization like Amazon Studios – one known for generally doing solid work – could let something as sub-par as this out into the movie marketplace. Let’s hope moviegoers can put this one quickly behind them and see the foregoing issues soon fixed going forward.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/A-Haunting-in-Venice-400x600.jpeg" alt="" class="wp-image-16500" width="292" height="417"/></figure><br/><br/><br/><br/><p><strong>8.  <a href="https://brentmarchant.com/quick-cuts/a-haunting-in-venice/">“A Haunting in Venice”</a> (USA/UK/Italy)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.20thcenturystudios.com/movies/a-haunting-in-venice">Web site</a> <a href="https://youtu.be/yEddsSwweyE">Trailer</a></strong></p><br/><br/><br/><br/><p>The one thing a good whodunnit should not do is put its audience to sleep. Unfortunately, this latest cinematic adaptation of an Agatha Christie novel fails miserably on this score. Director Kenneth Branagh’s third outing as Belgian sleuth Hercule Poirot is a protracted snooze that leaves viewers caring little about the characters and even less about the story in which they’re trapped. When the famed detective (Branagh) – now in retirement in Venice – is called upon by a friend and author of murder mysteries (Tina Fey) to help her verify or discredit the psychic powers of a medium (Michelle Yeoh) at a séance at an allegedly haunted Venetian palazzo, he’s drawn into yet another of his famous investigations. The problem here is that what should be an engaging story is interminably dull, one that, regrettably, prompts frequent checking of one’s watch. Moreover, virtually the entire film is shot with excessively dark camera work (so much for showing off the glories of Venice). And then there are the performances, which feature good turns by Yeoh and Jude Hill but a positively wooden portrayal by Branagh (compared to his previous depictions of the protagonist) and an absolutely dreadful performance by a woefully miscast Fey. To its credit, like its recent predecessors, the production values of this Christie offering are top shelf, but that’s about all this release has going for it, a far cry from the much better overall work found in “Murder on the Orient Express” (2017) and “Death on the Nile” (2023). [<a href="https://brentmarchant.com/quick-cuts/death-on-the-nile/">https://brentmarchant.com/quick-cuts/death-on-the-nile/</a>] Indeed, even fans of the famed mystery writer are likely to find “A Haunting in Venice” tiresome and tedious. Pack a pillow for this one.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/air-SMAN_2023_SPStatic_27x40_KeyArt_STRAD_en-US_rgb-600x889.jpg" alt="" class="wp-image-15969" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>7.  <a href="https://brentmarchant.com/quick-cuts/air/">“Air”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.airmovie.com.ph/home/">Web site</a> <a href="https://youtu.be/7OKPknt7EtU">Trailer</a></strong></p><br/><br/><br/><br/><p>I’ll put this in the simplest terms possible – despite efforts to dress this film up into something more substantial than it really is, at bottom, this is little more than a two-hour commercial for Nike. I’m truly puzzled how a film about sporting gear marketing could have ever gotten off the runway, even if it is a story tied to NBA legend Michael Jordan. Unless one has a diehard fascination with the intricacies of this particular line of business and/or an intimately detailed examination of the ancillary revenue streams of basketball stars, I see virtually no purpose for this picture’s existence. Director Ben Affleck’s latest is a major snooze fest in the first hour (my viewing companion was asleep after 10 minutes), improving somewhat in the second half (but that depends a great deal on whether one still cares by that point and/or has somehow managed to stay awake). Moreover, the claims that this was supposedly Golden Globe Award nominee Matt Damon’s best shot at lead actor accolades at the Oscars have proved to be grossly overstated (much as they were with <a href="https://brentmarchant.com/quick-cuts/stillwater/">“Stillwater”</a> (2021)), as he turns in what amounts to yet another typically adequate (but far from sensational) Matt Damon performance. In the picture’s favor, it admittedly features a generally fine supporting cast, especially Viola Davis, Chris Messina, Chris Tucker and Matthew Maher, but their performances and a few catchy one-liners here and there are far from enough to save this offering from its pervasive shortcomings. Affleck has certainly done better work as a director (and actor) than he has here, so catch one of those other releases instead. And, if you’re really that interested in this slog (hard as that might be to imagine), catch it on streaming, but drink a big mug of strong coffee first.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/02/Knock-at-the-Cabin-600x950.jpg" alt="" class="wp-image-15673" width="271" height="452"/></figure><br/><br/><br/><br/><p><strong>6.  <a href="https://brentmarchant.com/quick-cuts/knock-at-the-cabin/">“Knock at the Cabin”</a> (USA/China)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.uphe.com/movies/knock-at-the-cabin">Web site</a> <a href="https://youtu.be/0wiBHEACNHs">Trailer</a></strong></p><br/><br/><br/><br/><p>Writer-director M. Night Shyamalan truly is a filmmaker who has lost his way. The once-promising auteur has delivered yet another in a string of cinematic disappointments with this long-winded, overly talky, patently obvious, unsuspenseful account of an unexpected visit to a vacationing family (a pair of same-sex parents and their young adopted daughter) by the Four Horsemen of the Apocalypse (no, I’m not giving anything away here – that’s apparent from the trailer, let alone the excessively delayed revelation in the film). The members of this alternative household are given the option by their unforeseen visitors to sacrifice one of themselves in order to forestall the end of the world, an inevitability sure to materialize if they fail to comply. And, if they refuse, the bringers of doom will themselves be sacrificed, after which various calamities will be unleashed against humanity. As intriguing as this premise is, though, the players in this story, quite ironically, talk this possibility to death, leaving viewers wishing for something to happen to make the production even moderately interesting (talk about yawn city). In addition to the endless dialogue, audiences are fed a diet of cheesy, sometimes-implausible special effects, gratuitous violence (even if only by implication), and, surprisingly, the lack of a twist, one of this director’s signature artistic tricks. What’s more, actor Dave Bautista, as capable as he might be in any number of supporting roles, simply isn’t up to carrying the lead here as the head honcho horseman; he’s just not a strong enough performer for that. But what’s most troubling are the themes permeating this work, even if unintentional or only cautionary in nature. The “be very afraid of everything” message runs strong and deep, as does the picture’s conventional fire and brimstone religiosity. Even its well-meaning support of the gay community boomerangs on itself and ultimately reinforces (albeit inadvertently) stereotypically homophobic sentiments and outlooks. At this point, given the filmmaker’s track record, I’m puzzled that any backers would want to continue giving money to Shyamalan to keep making movies. It’s been a long time since he’s made anything worth watching, and this offering merely continues a trend that’s been going on for years now.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/AC_DOM_Digi_1080x1350_Cast_011683743520-600x750.jpg" alt="" class="wp-image-16187" width="272" height="392"/></figure><br/><br/><br/><br/><p><strong>5.  <a href="https://brentmarchant.com/quick-cuts/asteroid-city/">“Asteroid City”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.focusfeatures.com/asteroid-city/watch/">Web site</a> <a href="https://youtu.be/9FXCSXuGTF4">Trailer</a></strong></p><br/><br/><br/><br/><p>Writer-director Wes Anderson is another director who has lost his way, and this film certainly proves it. I realize that the auteur’s signature style of filmmaking is an acquired taste, and, to his credit, he’s made some fine pictures over the years. But this one is not among them. In fact, contrary to many of the inexplicable claims that this is his finest release, I’d contend just the opposite. It’s arguably his worst, a meandering, cryptic, unfocused piece that’s so muddled you’ll need the assistance of a search party to find your way out of it (that is, if you even care by the time the end of this overlong mess rolls around). The director appears to have become so enamored with his own eccentricity that it doesn’t even seem to matter to him whether or not viewers are on the same page as he is. Admittedly, this offering once again captures Anderson’s singularly stylish look with a stunning production design and gorgeous cinematography. But that’s all it has going for it, and that’s unfortunate given the phenomenal cast he has available to him. What’s more, despite his proficiency in creating superb visual style, he’s forgotten about pairing it with meaningful (or even interesting) substance. Its incomprehensibility and inclusion of bits that are there just for the sake of their own whimsy seriously undercut any effort to make this an intelligible, engaging work. In short, “Asteroid City” was yet another major disappointment in what turned out to be a dreadfully dismal 2023 summer movie season. It’s likely to appeal only to diehard fans of the director (and maybe not even a lot of them this time out). If you’re on the fence about this offering, consider the following two telling tipoffs: (1) when no one in the theater laughed at what was billed as a comedy, that should speak volumes about it (as happened at the screening I attended); and (2) when you consider how aggressively and ubiquitously the distributors promoted this film in ads on TV and the internet, it’s obvious they were trying awfully hard to peddle shabby, substandard merchandise. This is a huge waste of time and money; don’t squander yours.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/Fair-Play-400x598.png" alt="" class="wp-image-16586" width="296" height="435"/></figure><br/><br/><br/><br/><p><strong>4. <a href="https://brentmarchant.com/quick-cuts/fair-play/"> “Fair Play” </a>(USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/81674326/">Web site</a> <a href="https://youtu.be/vICUPlr3EEI">Trailer</a></strong></p><br/><br/><br/><br/><p>It’s amazing how one film can be predictable, implausible and preposterous all at the same time, but writer-director Chloe Domont’s debut feature manages to pull off this trifecta of lamentable attributes with remarkable ease. This alleged psychological thriller goes from bad to worse as its plot hole-filled story degenerates from a boring, clandestine office romance into an over-the-top envy-driven battle of egos when one partner unexpectedly gets promoted over the other at a prestigious Wall Street firm. The way in which this unfolds, though, is largely laughable, despite an underlying message that has some noteworthy merit (even if it’s a bit trite in this day and age). The picture might be more worth watching if the two protagonists (Phoebe Dynevor, Alden Ehrenreich) weren’t so inherently deplorable and portrayed with some of the hammiest on-screen acting I’ve seen in a long time. This is all made worse by one of the most awful scripts I’ve come across in a while, with almost as much tawdry, needlessly foul language since “The Wolf of Wall Street” (2013). Put these qualities together and you’ve got an absolute work of utter trash that makes the prime time soap operas of the 1980s look like epic storytelling. Indeed, as far as how this one plays, all I can say is “No fair.”</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Saltburn-600x889.jpg" alt="" class="wp-image-16791" width="295" height="445"/></figure><br/><br/><br/><br/><p><strong>3.  <a href="https://brentmarchant.com/quick-cuts/saltburn/">“Saltburn”</a> (USA/UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.saltburnfilm.net/">Web site</a> <a href="https://youtu.be/IV24RtV1K9s">Trailer</a></strong></p><br/><br/><br/><br/><p>Sometimes you come across a filmmaker whose works you just don’t like. And now, after two features in, I can honestly say that about writer-director Emerald Fennell. I didn’t care much for her debut outing, <a href="https://brentmarchant.com/quick-cuts/promising-young-woman/">“Promising Young Woman” </a>(2020), and I can say the same (and more) about her follow-up effort, “Saltburn.” This alleged thriller about a seemingly awkward but quietly sinister Oxford student (Golden Globe and BAFTA Award nominee Barry Keoghan) who ingratiates himself into a family of wealthy English aristocrats features a story and characters about whom, quite frankly, I couldn’t care less. (Think “The Killing of a Sacred Deer” (2017) with a cast of eccentric old money cronies and a wolf in sheep’s clothing.) This assemblage of utterly reprehensible characters living utterly reprehensible lives and zealously adhering to utterly reprehensible values fails to engender viewer empathy, interest or even connection. Much of the narrative is predictable and glacially paced, incorporates sequences that are included for little more than forced shock value (many of them is egregiously poor taste), features monodimensional and blatantly obvious (almost trite) character development, and frequently stumbles in attempts at humor that are wedged in largely for the sake of convenience or calculatedly timed comic relief. It’s the kind of picture that prompts regular looks at one’s watch to see how much more one must endure and delivers welcome sighs of relief when the end finally comes. What’s more, given the combined talent pool for this production, it’s a genuine shame to see the likes of Carey Mulligan, Richard E. Grant, and Golden Globe and BAFTA Award nominee Rosamund Pike relegated to supporting roles in which their abilities are sorely underused. And then there’s the excessively hammy performance of Keoghan, who’s quite obviously (and knowingly) acting and not disappearing into the bona fide portrayal of a character. In all, this offering, with its numerous inexplicable awards competition nominations, feels like a picture that tries awfully hard to see how much it can get away with, especially when seeking to invoke dropped jaws among audience members, much as this director’s cinematic predecessor attempted to do. Save your money, and don’t waste your time on this vastly overrated release from a vastly overrated filmmaker.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/bottoms-BottomsOfficialPoster_rgb-600x889.jpg" alt="" class="wp-image-16434" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>2.  <a href="https://brentmarchant.com/quick-cuts/bottoms/">“Bottoms”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.mgm.com/movies/bottoms">Web site</a> <a href="https://youtu.be/vH5NAahf76s">Trailer</a></strong></p><br/><br/><br/><br/><p>I hate to admit it, but I allowed myself to be suckered in to this one as a result of its rambunctiously funny trailer only to be grossly disappointed at what I saw. This is a positively dreadful film, and I’m at a complete loss to understand how viewers have found it funny. When a pair of lesbian high school students (Rachel Sennott, Ayo Edebiri) establish a fight club (i.e., a euphemistically labeled “self-defense program”) as a means to surreptitiously bed down their cheerleader classmates (an implausible story line that’s more than a little dubious in itself), they subsequently launch into a meandering narrative that makes little sense and plays like it was made up by a group of stoners who’ll laugh at anything when suitably smoked up. The film starts out trying way too hard and then proceeds to quickly go downhill from there. Much of the material is in questionable taste, too, such as sequences that feature unrestrained physical abuse against women, as well as other forms of sanctioned violence. How is this stuff supposed to be funny? “Bottoms” has been described by viewers and critics as a go-for-broke/anything-for-a-laugh comedy, but I found its distasteful stabs at humor cringeworthy at best. What’s more, the picture’s feeble attempts at trying to inject the narrative with a message related to women’s empowerment are completely betrayed by its many wrong-headed plot devices. To the film’s credit, it does feature some passable performances by its supporting cast (most notably Punkie Johnson, Dagmara Dominczyk and former NFL star/Independent Spirit Award nominee Marshawn Lynch). But, sadly, this effort is a big step down for director Emma Seligman and writer-actor Rachel Sennott, both of whom turned in brilliant work in their raucous collaboration, <a href="https://brentmarchant.com/quick-cuts/shiva-baby/">“Shiva, Baby”</a> (2020) (not to mention that Sennott’s casting represents a laughable choice for someone who’s nearly 28 attempting to portray an 18-year-old character). It’s also quite a comedown for producer Elizabeth Banks, who scored big earlier in 2023 with the utterly hilarious <a href="https://brentmarchant.com/quick-cuts/cocaine-bear/">“Cocaine Bear.”</a> It occurred to me after watching this debacle that maybe I’m just getting old and losing my sense of humor, but, after thinking it over, I realized that’s genuinely not the case. And how it earned nominations in the Independent Spirit Award and Critics Choice Award competitions is truly beyond me. “Bottoms” may indeed represent a case of changing movie tastes, but, if that’s so, I’m seriously troubled about the direction in which those tastes are headed.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/evil-dead-rise-EVDRI_VERT_MAIN_2764x4096_DOM_rgb-600x889.jpg" alt="" class="wp-image-16210" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>1.  <a href="https://brentmarchant.com/quick-cuts/evil-dead-rise/">“Evil Dead Rise”</a> (USA/New Zealand/Ireland)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.evildeadrisemovie.com/">Web site</a> <a href="https://youtu.be/BqQNO7BzN08">Trailer</a></strong></p><br/><br/><br/><br/><p>As contemporary horror films go, I’ll freely admit that this is a genre about which I couldn’t care less. I find most of these films boring, predictable, stupid and not especially scary. In fact, the only ones to which I’ll even give a second look are smart horror films (like “Get Out” (2017) or <a href="https://brentmarchant.com/2018/03/09/annihilation-challenges-notions-existence/">“Annihilation”</a> (2018)) or campy romps (like <a href="https://brentmarchant.com/2023/04/25/renfield-explores-taking-back-ones-personal-power/">“Renfield”</a> (2023)). So the fact that I somehow managed to sit through this positively disgusting trash heap is quite an accomplishment. (Actually, the only reason I watched was because I was channel surfing and there was nothing else on, so I decided to give it a chance (I would have been better turning on the radio).) This pointless parade of endless blood and gore is a prime example of the decline of the mainstream movie industry (how projects like this get greenlighted is beyond me, except, of course, for the obvious box office considerations). It’s so utterly ridiculous that the picture plays like something that was made up as the crew went along. I’ll admit that there was some modestly cheeky humor here, but not enough to make it a genuine camp fest. Writer-director Lee Cronin’s latest is an assault on the art of filmmaking, the kind that should carry fines and other punishments. My goodness, what has this industry come to?</p><br/><br/><br/><br/><p><strong>Dishonorable Mentions</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/03/January.png" alt="" class="wp-image-15860" width="310"/></figure><br/><br/><br/><br/><p><strong>11.  <a href="https://brentmarchant.com/quick-cuts/january-janvaris/">“January” (“<em>Janvaris</em>”)</a> (Latvia/Lithuania/Poland)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.mistrusmedia.lv/productions#fiction-films/january">Web site</a> <a href="https://www.youtube.com/watch?v=ocQgDRezyIU">Trailer</a></strong></p><br/><br/><br/><br/><p>The 1991 independence movement led by the Baltic states of Lithuania, Latvia and Estonia in the days preceding the collapse of the Soviet Union was a dynamic but dangerous time in the re-emergence of those nations as sovereign states, a subject that has provided the basis for a growing number of recent cinematic releases. Because of these conditions, it was also a time when the citizens of those republics had no clear indication of what the future would hold. Could they successfully break away, or would they come under the harsh retribution of their superpower occupiers? And what did those residents think about these possibilities – should they support revolution or remain ostensibly loyal to those who could potentially crush them with little effort? When these circumstances are added to the personal uncertainty associated with someone who’s in the throes of coming of age, these questions loom even more profoundly. Such is the case in this historical drama about an aspiring young Latvian filmmaker (Karlis Arnolds Avots) looking to find himself amidst all of the surrounding chaos, both in his homeland and in neighboring Lithuania, either as an experimental auteur or a documentarian of what was transpiring around him. The protagonist also wrestles with an on-again/off-again romance involving a cinematic colleague (Alise Danovska), as well as his decision of whether or not to honor his Soviet conscription obligation. On the surface, all of this would appear to offer the makings of a powerful, compelling, first-class drama, but the unbalanced execution of writer-director Viesturs Kairiss’s narrative keeps the film from living up to that potential. The principal issue here is a story that takes far too long to get off the ground, incorporating a wealth of easily excluded extraneous material that adds little to capturing the character of the time and the merits of its associated scenario. And, when things finally do get on track, there’s a good chance viewer interest may have been lost long by that point (I know it was with me). It’s baffling that this offering was considered worthy enough to win the best international narrative feature at the 2022 Tribeca Film Festival, along other comparably dubious accolades. In short, this should have been a terrific picture, but, unfortunately, it represents a lost opportunity for telling an engaging story about a tense time and how a lost soul tries to find his place in it.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/Since-the-Last-Time-We-Met-400x569.png" alt="" class="wp-image-16529" width="305" height="427"/></figure><br/><br/><br/><br/><p><strong>12.  <a href="https://brentmarchant.com/quick-cuts/since-the-last-time-we-met-desde-la-ultima-vez-que-nos-vimos/">“Since the Last Time We Met” (“<em>Desde la última vez que nos vimos</em>”)</a> (Argentina)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt22802920/">Web site</a> <a href="https://www.youtube.com/watch?v=74LhCNWXhtE">Trailer</a></strong></p><br/><br/><br/><br/><p>If you’re looking for a film about how <em>not</em> to conduct yourself in a gay male relationship, this is it. Writer-director Matías De Leis Correa’s second feature outing is a talky, jumbled mess about the dysfunctional reunion of two long-separated partners (Patricio Arellano, Esteban Recagno) who constantly paw at one another but can’t make up their minds about what they want for the future. In a story that pretentiously deals with the supposed power of love and unrestrained raw emotion, the film ends up being little more than an exercise in whiny, circular, often-contradictory discussions about relationships and responsibility as a precursor to soft-core gay male porn. The picture tries hard to pass itself off as a work of poetic, heartfelt romance but is in actuality little more than slickly produced justification for bad behavior. What’s more, the story grows ever more tedious as it unfolds, straining to evoke sympathy from audience members for the selfish expectations and doormat subservience of its two remarkably unlikable protagonists, plot devices that regularly and increasingly prompt sighs and reactions of “Oh, come on already!” While this release admittedly features some fine camera work of the Argentinean landscape, that’s about all it has going for it. This one is easily skipped.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/FF59_TheBeautifulSummer-poster_600x900-400x600.jpg" alt="" class="wp-image-16612" width="297" height="445"/></figure><br/><br/><br/><br/><p><strong>13.  <a href="https://brentmarchant.com/quick-cuts/the-beautiful-summer-la-bella-estate/">“A Beautiful Summer” (“<em>La bella estate</em>”)</a> (Italy)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt9320170/">Web site</a> <a href="https://youtu.be/a_LhcfzKBwk">Trailer</a></strong></p><br/><br/><br/><br/><p>It’s frustrating to watch a film that’s ostensibly headed along a particular trajectory but that continually stumbles on the path it takes to get there. That’s precisely what happens in this period piece coming out/coming of age story set in 1938 Italy. Writer-director Laura Luchetti’s adaptation of Cesare Pavese’s 1949 novel about an impressionable 17-year-old dressmaker (Yile Yara Vianello) who becomes romantically infatuated with an artist’s model (Deva Cassel) takes its own sweet time (and plenty of overlong detours) in making its way toward a seemingly foregone conclusion. But, even when this offering apparently approaches that destination, it takes yet another unexpected left turn and subsequently leads to what the filmmaker herself admits is a deliberately ambiguous conclusion. Consequently, this is the kind of movie that’s likely to leave many viewers scratching their head and asking, “What’s the point of all this?” The picture is allegedly intended to address a subject that was considered taboo at the time of the story’s setting and of the book’s writing, but that objective isn’t fulfilled nearly as clearly as it might have been. As a result, whatever lofty intentions might have been behind the initiation of this production, they’re decidedly obscured in the final cut. There are also some passing references to the fascist sociopolitical conditions of the time (elements not included in the source material), but they’re never developed much, making their inclusion look like throwaway afterthoughts. To its credit, “The Beautiful Summer” has some fine cinematography, well-chosen location settings showcasing the beauty of Turin and a stirring soundtrack, but, if these attributes are the best that one can say about the film, that’s not saying much about the picture overall. Luchetti’s third feature outing truly needs ample retooling to make it work, because, as it stands, it doesn’t.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/08/Aporia-AmericanSciFiDrama-WellGoUSA-KeyArtPoster-812x1200-1-600x887.jpg" alt="" class="wp-image-16387" width="300" height="444"/></figure><br/><br/><br/><br/><p><strong>14. <a href="https://brentmarchant.com/quick-cuts/aporia/"> “Aporia”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://wellgousa.com/films/aporia">Web site</a> <a href="https://youtu.be/XKeNWUsC_Nw">Trailer</a></strong></p><br/><br/><br/><br/><p>For those unfamiliar with the term “aporia,” it refers to a state of puzzlement or bewilderment, especially in philosophical and ethical discourse. And, in the case of this latest effort from writer-director Jared Moshé, it’s equally applicable to the essence of this film’s existence. This romantic sci-fi saga of a nurse, Sophie (Judy Greer), who loses her engineer/physicist husband, Mal (Edi Gathegi), to a drunk driver follows the efforts to bring him back to life with the assistance of her late spouse’s best friend, Jabir (Payman Maadi), a fellow scientist with whom he was working on a time machine. Unfortunately, the device doesn’t function as intended, but it is nevertheless capable of sending a deadly subatomic particle through time whose impact is capable of killing someone – in this case, the proposed target being the motorist who killed Mal. The prospect poses a daunting ethical dilemma, but Sophie agrees to it, and she soon finds herself back in the company of her husband. But changing the past carries consequences, many of them unforeseen and difficult to deal with. The film presents an intriguing premise, to be sure, but one not unlike what was previously examined in “The Butterfly Effect” (2004). What’s more, this offering is plagued by a number of issues, such as needlessly slow pacing, insightful but overlong ethical debates and a stunningly unsophisticated temporal device that looks like one of Rube Goldberg’s comical contraptions. The biggest problem by far, though, is one of narrative credibility – not from a scientific standpoint but from a moral one: It’s hard to believe that these three supposedly intelligent individuals can be so casual and cavalier when it comes to their ethics and morals. I find it unfathomable how a supposedly compassionate caregiver like a nurse could so willingly go along with a harebrained plan to willfully kill someone for self-serving purposes; it’s a hallow, contrived and patently unbelievable story arc. And, when efforts to make up for this transgression surface, the plot truly starts to go off the rails. Indeed, the logic behind this tale truly needs to be rethought and reworked, because, as it stands now, it genuinely leaves philosophically minded viewers in a deep state of aporia, especially when it comes to figuring out why they bought a ticket to watch it in the first place.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/They-Cloned-Tyrone-600x900.png" alt="" class="wp-image-16303" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>15.  <a href="https://brentmarchant.com/quick-cuts/they-cloned-tyrone/">“They Cloned Tyrone”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/80996324/">Web site</a> <a href="https://youtu.be/2S3M1xFVdVg">Trailer</a></strong></p><br/><br/><br/><br/><p>When a drug dealer (John Boyega) in a predominantly African-American inner city neighborhood dies in a revenge killing, his friends and colleagues are stunned to find him alive and healthy the following day. That’s particularly true for two of his regular associates, a pimp (Jamie Foxx) and one of his ladies of the evening (Teyonah Parris). Together, the unlikely trio proceeds to investigate what’s going on, only to soon find themselves in the midst of a fiendish social experiment involving cloning, mind control and behavior modification targeting their entire neighborhood, a clandestine initiative operated by an evil organization headed by a bigoted mastermind (Kiefer Sutherland). As intriguing as that narrative may sound, however, the picture’s execution leaves much to be desired. For starters, the film is trying way too hard to imitate the works of writer-director Jordan Peele, with more than a few thinly veiled elements that echo “Get Out” (2017) and <a href="https://brentmarchant.com/2019/03/28/us-forces-us-to-take-a-look-at-ourselves/">“Us”</a> (2019). Then there are a number of serious technical issues, most notably the picture’s truly horrendous sound quality (generally throughout, but especially in the first 30 often-undecipherable minutes) and its needlessly dark cinematography (there’s a big difference between atmospheric and incomprehensible). To top that off, many of this release’s attempts at humor fall flat and/or lazily rely on shamelessly milking well-worn stereotypes, often verging on insulting. To its credit, “They Cloned Tyrone” does offer some valuable (if a bit overly obvious) pieces of social commentary, making the second half more watchable than the first. It also features a fine performance by Parris, who often steals scenes and leaves her co-stars in the dust. Nevertheless, writer-director Juel Taylor’s second big screen feature fails on so many fronts that the shortcomings undermine what could have been a hilarious sci-fi thriller if left in more skilled hands (like Jordan Peele, perhaps?). Take a pass on this one.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/flora-and-son-FAS_ENG_Hero_Headphones_Press_2x3_wBranding-600x900.png" alt="" class="wp-image-16533" width="297" height="443"/></figure><br/><br/><br/><br/><p><strong>16.  <a href="https://brentmarchant.com/quick-cuts/flora-and-son/">“Flora and Son”</a> (USA/Ireland)</strong></p><br/><br/><br/><br/><p><strong><a href="https://tv.apple.com/us/movie/flora-and-son/umc.cmc.1ol2idv8q2iftiyjfkuyfki5l">Web site</a> <a href="https://youtu.be/beNTTHnMIy8">Trailer</a></strong></p><br/><br/><br/><br/><p>The hype swirling around this romantic/creative saga about how the power of love and art can solve virtually any problem has indeed been palpable, but the finished product unfortunately fails to live up to its ambitious billing. Writer-director John Carney’s latest feature tells the story of Flora (Eve Hewson), a Dublin working class single mom with questionable values who’s struggling to raise her (allegedly) rebellious teenage son, Max (Orén Kinlan). But, in doing so, the picture tends to wander amidst an array of diverse story threads, all of which start out dubious but gradually mellow into a mass of schmaltzy harmony, a somewhat implausible scenario given the patently unlikable and irresponsible nature of its central characters. The means for accomplishing this transformation is Flora’s budding love of music, a newfound passion brought about in large part thanks to her online relationship with Jeff (Joseph Gordon-Levitt), a deadpan, middle-aged Los Angeles-based guitar instructor, a relationship with obvious (but not especially credible) romantic underpinnings. However, in telling this tale, the film gets bogged down by elements like Max’s frequent but unconvincing rebelliousness, Flora’s turbulent relationship with her ex-husband, Ian (Jack Reynor), and a series of long-winded, tedious, supposedly sensitive conversations between Flora and Jeff. To its credit, the film has its share of biting one-liners and a breakout performance by Hewson, but much of this production never really seems to know where it’s going and ends up relying on trite, formulaic plot tropes to wind things up. Regrettably, “Flora and Son” represents yet another example of a film that seriously could have benefitted from further revision and development before being committed to a final cut, an all-too-familiar problem with many cinematic releases in recent years.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/chevalier-CHEVALIER_1Sht_Teaser_NoDate_rgb-600x889.jpg" alt="" class="wp-image-15978" width="296" height="437"/></figure><br/><br/><br/><br/><p><strong>17.  <a href="https://brentmarchant.com/quick-cuts/chevalier/">“Chevalier”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.searchlightpictures.com/chevalier/">Web site</a> <a href="https://youtu.be/-LtCIImfSCk">Trailer</a></strong></p><br/><br/><br/><br/><p>Imagine a prime time soap opera with 18th Century French period piece trappings, and you’ve pretty much got the gist of this fact-based (and loosely so, I understand), underwhelming offering from filmmaker Stephen Williams, a director best known for his acclaimed cable TV series work (which is probably why this release feels so much more like a television piece than a movie). The picture presents the biography of Joseph Bologne (Kelvin Harrison Jr.), the Chevalier de Saint-Georges, an acclaimed multiracial violinist and composer who rose through the social ranks to attain a celebrated place in the court of Marie Antoinette (Lucy Boynton) in pre-revolutionary France. But, rather than focusing on Bologne’s accomplishments (many of which have been lost over time but are allegedly traceable), the film instead tells the scandalous (for the time) tale of a failed interracial romance and its fallout, a story that deeply affected him personally and changed the artist into an advocate for society’s downtrodden (noble ambitions that, regrettably, receive short shrift in the film). While all of this should provide the makings of a captivating watch, much of it falls dreadfully flat – a collection of pretty images populated with arrogant, elegant aristocrats casting knowing glances and wry smiles but not providing significant fodder for viewer engagement. Such blandness even spills over into the performances, like that of protagonist Harrison, an actor whose work I generally admire but who comes across here to be about as interesting as a bowl of lukewarm porridge. To me, it seems like so much more could have been done with this story, but what comes from it here is stunningly uninteresting and uninvolving, a disappointment given that Bologne deserves better than this.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/Bhy3eRTI-600x889.jpeg" alt="" class="wp-image-16156" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>18.  <a href="https://brentmarchant.com/quick-cuts/past-lives/">“Past Lives”</a> (USA/South Korea)</strong></p><br/><br/><br/><br/><p><strong><a href="https://a24films.com/films/past-lives">Web site</a> <a href="https://youtu.be/kA244xewjcI">Trailer</a></strong></p><br/><br/><br/><br/><p>As the son of parents who were childhood sweethearts/soul mates, I tend to be a sucker for movie romances that address this subject. In this case, however, the only “sucker” aspect applies to me and the money I plunked down to watch this two-hour snoozefest, an undeserving Oscar nominee for best picture, as well as the recipient of accolades from numerous other awards competitions. Writer-director Celine Song’s debut feature has been praised as a masterful piece of filmmaking and one of the best pictures of 2023, but I <em>heartily</em> beg to disagree. When a pair of young, tightly knit Korean children, Nora (Greta Lee) and Hae Sung (Teo Yoo), part ways from their native Seoul and are later reunited in New York after a 24-year separation, the reunion of these onetime pals provides them with an opportunity to reflect on their relationship and what might have been. However, their time together consists mostly of a series of bloated pregnant pauses, inane dialogue and missed chances to discuss much of anything meaningful, the kinds of scenes that make even the most patient viewers want to yell “Get on with it already!” These “conversations” come nowhere close to matching the joy of their spirited youthful interactions or the heartfelt, substantive talks that take place between Nora and her eventual American husband, Arthur (John Magaro). And, as the title implies, there’s a reincarnational theme that’s assumed to play a role here, but it’s so heavily diluted and lamely handled that it comes across as an underdeveloped afterthought, one that could have easily been left out entirely with no impact on the story (though it probably could have added a lot if given greater weight). The overall result is, quite frankly, a big fat bore that’s trying to be more than it is but never achieves that outcome, relying on alleged “deftness” and “nuance” that never end up bearing significant fruit. Perhaps the biggest problem with all this is the film’s apparently sincere but decidedly paper thin narrative (and inexplicably Oscar-nominated original screenplay) that doesn’t have the writing support to bring it all into beautiful full bloom, despite some fine performances, exquisite cinematography and an emotive background score. From this work, the director would appear to have a hefty reserve of artistic potential stashed away, at least based on this offering’s stylistic elements, but it just doesn’t show in the end product. Indeed, the substance could use some definite and considerable shoring up. Let’s hope she gets that right the next time.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/08/Golda-Poster-530x782-1-400x590.jpg" alt="" class="wp-image-16421" width="300" height="443"/></figure><br/><br/><br/><br/><p><strong>19.  <a href="https://brentmarchant.com/quick-cuts/golda/">“Golda”</a> (USA/UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://bleeckerstreetmedia.com/golda">Web site</a> <a href="https://youtu.be/unW5w6JCEb8">Trailer</a></strong></p><br/><br/><br/><br/><p>Paying homage to a country’s great leader is certainly a worthy and noble undertaking, but, when it comes to director Guy Nattiv’s would-be tribute to Israeli Prime Minister Golda Meir (Helen Mirren), the film comes up far short of what it could have been. The film focuses on Meir’s handling of the 1973 Yom Kippur War, when the nation was on the brink of collapse from “surprise” (though strongly anticipated) attacks by Egypt and Syria, largely as retribution for their territorial losses in the 1967 Six-Day War, with significant support from the Soviet Union. The picture presents a detailed by-the-numbers account of the conflict, including Meir’s involvement with her top military advisors and with US Secretary of State Henry Kissinger (Liev Schreiber). Granted, it’s important to understand this background to provide context for the stage on which this drama plays out. However, for a release called “Golda,” one would think that its focus would be more focused on the title character, as a biographical sketch that just happens to be set during wartime. Instead, because of this, Meir is almost reduced to a supporting player in a much wider cast of characters playing out the specifics of the conflict (at least in the first half). There’s virtually no back story about the PM as an individual, providing little insight into who she is and how that impacts her approach to handling the combat. To its credit, the film improves in the second half, especially when it starts presenting Meir’s story from a somewhat more personal perspective. By that point, however, the filmmaker has already lost his audience for what this offering could and should have been. Viewers come away from this one knowing little more about the woman who was a national hero in a time of crisis than what they would likely find in history books and documentary films. In fairness, Mirren and Schreiber deliver fine performances, disappearing into their respective roles and making this production look better than it actually is. But that’s not saying much given what seems to be the genuinely sincere intent that was behind this release. Unlike Meir, this film simply doesn’t rise to the challenge (its Oscar nomination for best hair and makeup notwithstanding), and that’s unfortunate considering who it is ultimately trying to honor. And, because of that, it should come as no surprise why this offering ended up in the late summer stash of cinematic also-rans.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/Barbie-600x919.jpg" alt="" class="wp-image-16330" width="300" height="460"/></figure><br/><br/><br/><br/><p><strong>20.  <a href="https://brentmarchant.com/quick-cuts/barbie/">“Barbie”</a> (USA/UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.barbie-themovie.com/">Web site</a> <a href="https://youtu.be/pBk4NYhWNMM">Trailer</a></strong></p><br/><br/><br/><br/><p>“Heavy is the arm that wears its heart on its sleeve.” That’s the best way to sum up this overwritten, overlong, stunningly obvious treatise on gender equality, consumerism and existentialism, whose messages get beaten to death beginning early on and never let up, an exhausting experience, to be sure. Writer-director Greta Gerwig’s latest offering, co-written with collaborator Noah Baumbach, features a dreadful (and, ironically, Oscar-nominated) adapted script (adapted <em>from what</em>?) that’s about as subtle as a young adult novel. What’s more, this highly decorated awards season nominee drones on and on and on for about 30 minutes longer than it needs to be, becoming endlessly repetitive and incorporating irrelevant and several disingenuous story threads that could have easily been scaled back or eliminated entirely (such as those with Will Ferrell and Michael Cera). In addition, much of the dialogue is either stupefyingly juvenile or sounds more like “writing” than anything anyone would actually say (even for a fictional fantasy character), with attempts at humor that often fall woefully flat. And, to be honest, for all intents and purposes, the project comes across like a two-hour commercial for Mattel (even if the company manages to find ways to poke fun at itself). To its credit, “Barbie” does have a few strengths going for it, such as its superb production design, some genuinely clever humor (especially in its opening pre-titles sequence and occasional asides), and fine performances by Margot Robbie and Oscar nominee Ryan Gosling (both of whom manage to make this material look better than it actually is), as well as a capable Oscar-nominated turn by America Ferrera and a heartwarming appearance by Rhea Perlman. Beyond that, though, this was handily the most overrated, overhyped release of 2023, one that’s ultimately easily forgettable – and one that conclusively proves the power of effective marketing, no matter what the quality of the merchandise being promoted.</p><br/><br/><br/><br/><p><strong>Disappointments (In Alphabetical Order)</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/All-Dirt-Roads-Taste-of-Salt-600x889.jpg" alt="" class="wp-image-16932" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/all-dirt-roads-taste-of-salt/">“All Dirt Roads Taste of Salt”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://a24films.com/films/all-dirt-roads">Web site</a> <a href="https://youtu.be/qiQvFKfpCi4">Trailer</a></strong></p><br/><br/><br/><br/><p>When creating a film that’s best described as experimental, ambition goes a long way toward the fulfillment of that goal. However, it’s not enough to carry the project if it doesn’t have something meaningful or profound to say in the end product, and that, unfortunately, is what’s missing from the Independent Spirit Award-nominated premiere effort from poet Raven Jackson in her writing/directing feature debut. This offering is perhaps best characterized as a visual tone poem examining the decades-long life of an African-American woman (Charlene McClure) in rural Mississippi from childhood to becoming a grandmother. It’s light on narrative and seeks to tell its story visually a la the likes of Terrence Malick, relying more on showing than telling, a noble undertaking, to be sure. Nevertheless, the picture leans on its imagery so heavily that it often fails to convey anything of real substance, despite its visual beauty and some obviously heartfelt sequences in which the principals’ emotions are indeed palpable and affecting. In between, though, the story begins to feel padded after a while, striving to capture profound insights through events that are too innately incidental and inconsequential to express anything truly enlightening, reflective or philosophically rich. Instead, it offers viewers a biographical look at one individual’s ties to the people, places and everyday events that made up her life, a depiction that, regrettably, plays more like a home movie with arthouse treatment. This is perhaps best exemplified by a nearly 10-minute sequence of a hug that, frankly, grows stunningly tedious in far less time than that. I suspect that these shortcomings probably arise from the filmmaker being too close to her own subject matter, given that many of the characters in this story are said to be based on the lives of people from her own family and ancestors. Those elements may be deeply moving <em>to her</em>, but they don’t translate into material that would mean much to those outside her own immediate circle. With that said, however, this release is not without its merits, most notably its gorgeous Independent Spirit Award-nominated cinematography and beautiful original score. Beyond that, though, “All Dirt Roads Taste of Salt” is likely to try the patience of many viewers, including those willing to give a chance to its attempt at an alternative inventive approach. This truly feels more like a film or art school project than something that would appeal to even the most ardent of diehard open-minded cinephiles. And that’s unfortunate, because I’m sure there’s an interesting story buried somewhere within this material. Sadly, it never surfaces but remains camouflaged in its own artistic trappings.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/Anatomy-of-a-Fall-400x587.jpeg" alt="" class="wp-image-16895" width="305" height="440"/></figure><br/><br/><br/><br/><p><a href="https://brentmarchant.com/quick-cuts/anatomy-of-a-fall-anatomie-dune-chute/"><strong>“Anatomy of a Fall”</strong> <strong>(“<em>Anatomie d’une chute</em>”)</strong></a><strong> (France)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.anatomyofafall.film/home/">Web site</a> <a href="https://youtu.be/_MdTMA0PetA">Trailer</a></strong></p><br/><br/><br/><br/><p>It’s always disappointing when a film aspires to greatness that it never achieves. Such is the case with the latest offering from Oscar-nominated writer-director Justine Triet, whose allegedly suspenseful thriller is about as appetizing as a plate of tepid leftovers. This crime investigation/courtroom drama about the mysterious death of a middle-aged unsuccessful writer (Samuel Theis) who falls from the second story of his mountain chalet looks into whether his demise is due to suicide or murder, with his wife (Sandra Hüller), herself a best-selling author, being the prime suspect. Despite an intriguing premise, however, the movie is overlong, needlessly talky and inherently flat, with a cold, clinical, unengaging narrative and characters who engender no connection, compassion or empathy with the audience. In essence, this is a “whodunnit” that plays like an extended “whocares.” Fault the Oscar-nominated original screenplay, which seeks to tell a tale in the same gripping vein as such great courtroom dramas as “Anatomy of a Murder” (1959) but that never achieves the level of tension, mystery and audience engagement needed to pull that off. The meticulously orchestrated script here instead feels calculated and derivative virtually from start to finish, especially in its trial sequences, which explore an array of possible motives and explanations, including everything from infidelity to plagiarism to previous suicide attempts, that rely on often-implausible speculation and inflated conjecture to carry forward a proceeding that probably never should have ended up in court in the first place. What’s more, the double entendre that is the picture’s title is so obvious that any hopes of nuance, subtlety or profundity evaporate quickly once the failing nature of the couple’s troubled relationship surfaces. While the film admittedly features a fine performance by Academy Award nominee Hüller (though not on par with her better role in <a href="https://brentmarchant.com/quick-cuts/the-zone-of-interest/">“The Zone of Interest”</a>), it’s far from enough to rescue a picture with big aspirations that never pan out. How this release has garnered so much widely exaggerated awards season buzz, including an Oscar nod for best picture, is beyond me, especially given its intrinsically insipid, underwhelming, overstated character. There are plenty of other films of this ilk out there that are far more worth watching than this one, so grab one of those better selections instead and give this one the well-earned pass it genuinely deserves.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/p_disney_themarvels_1571_v2_4526812e-400x600.jpeg" alt="" class="wp-image-16692" width="303" height="461"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/the-marvels/">“The Marvels”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://movies.disney.com/the-marvels">Web site</a> <a href="https://youtu.be/wS_qbDztgVY">Trailer</a></strong></p><br/><br/><br/><br/><p>When I first heard the title of this movie, I thought it was about a 1960s girls’ singing group. And, frankly, that would have probably made for a better movie. Writer-director Nia DaCosta’s third feature outing and the latest in the Marvel Universe paradigm is a wildly inconsistent superhero movie that tries too hard to do too much and doesn’t have a script to support it. Too many of its plot elements aren’t adequately explained until well into the story, while others aren’t explained at all, leaving viewers who aren’t comic book laureates wondering what’s going on (particularly at film’s end). Meanwhile, other narrative aspects frequently appear gimmicky and grow old quickly, such as the introduction of the primary superpower that its three protagonists share, one that almost becomes slapstickish after an all-too-brief while. On top of that, the CGI effects vacillate from one end of the quality spectrum to the other, creating a mix of images that are either startling to look at or stunningly cheesy at best. Add to that a villain that isn’t particularly menacing, along with attempts at humor that either succeed brilliantly (cat lovers take note) or that fall flat and look incredibly lame (as aficionados of musical theater will undoubtedly attest), all of which further add to the picture’s pervasive inconsistency. The inclusion of ample clues for advancing the overarching Marvel Universe storyline continues here, too, furthering a trend that’s growing tiresome in the studio’s releases, a development akin to the “Paul is dead” legacy come to life with every passing picture. Then there’s the trio of heroes themselves, who often appear more like they’ve been plucked from a giddy slumber party flick or a Cyndi Lauper video than taking center stage as seriously empowered champions in an action-adventure offering, a big drop-off from this film’s predecessor. All of these failings combine to make this production more of a forgettable placeholder in the Marvel mythology than a standalone feature (not to mention a pale substitute for a sequel to the far-superior film that launched the <a href="https://brentmarchant.com/2019/03/15/captain-marvel-celebrates-coming-into-our-own/">Captain Marvel</a> franchise in 2019). In short, “The Marvels” is as much of a mess as it is a movie, and that’s troubling for several reasons. It lends credence to the growing criticism that films like this aren’t to be taken seriously. It reinforces the notion that they’re cookie-cutter in nature, easily interchangeable with one another. And it raises questions about the career choices of lead actress Brie Larson, who, though quite capable of playing roles like these, is running the risk of becoming type-cast, a troubling prospect for an Academy Award-winning actress who possesses a depth of talent and is handily adept at taking on better and more serious material than this. In the wake of this release, Marvel Studios should take a step back and seriously assess where its future is headed, especially if movies like this are any indication. As pictures like “Wakanda Forever” (2022) show, the studio is capable of better work – and it’s time to show viewers that.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/May-December-600x889.jpg" alt="" class="wp-image-16739" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/may-december/">“May/December”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/81702955">Web site</a> <a href="https://youtu.be/4VdAParM4h8">Trailer</a></strong></p><br/><br/><br/><br/><p>In moviemaking, there’s subtlety, and then there’s subtlety carried too far. In the case of director Todd Haynes’s latest, the filmmaker unfortunately indulges himself far too much in the latter. This story of an actress (Natalie Portman) who visits a middle-aged sex offender (Julianne Moore) to prepare for a role she’s about to play in a movie about her subject’s life never seems to find a footing to stick with and explore. The narrative examines many different aspects of the back story behind the lives of the characters to be portrayed in this pending production without ever really resolving any of them by the time the credits roll. This includes not only the protagonist’s reasons for pursuing her once-underage husband (Charles Melton) – actions that got her jailed and made her fodder for countless tawdry tabloid cover stories – but also the nature of the actress’s real motivations in conducting such an excessively intense in-depth study of her character. In the process, virtually everyone comes across as somewhat unsavory, and, considering that the truth is never clearly revealed about any of them, it begs the question, why should we care about any of this? The film depicts all of this so subtly that it goes beyond nuance, veering into the realm of enigmatic, thereby further reinforcing the notion of why any of us should care. Ironically, these underplayed elements are in stark contrast to some rather obvious (and terribly trite) symbolism, particularly in images related to themes of transition and transformation. The picture’s inconsistent changes in tone don’t help, either, vacillating between allegedly serious drama and a seemingly underdeveloped desire to break out as an exercise in full-fledged camp (which, by the way, probably would have made this a much better offering). The Oscar-nominated script’s meandering flow and glacial pacing also don’t help, leaving viewers scratching their heads more often than not as to where this story is headed. In the end, all of the foregoing is ultimately quite unfortunate, because there’s definite potential in this project, but it’s never adequately defined and fleshed out. Leads Moore and (especially) Portman turn in admirable efforts to make this material fly, but they simply don’t have enough to work with to make that happen. While there appear to be allusions to themes like the difficulty involved in dealing with long-buried feelings and the fact that we may never be able to adequately grasp the truth behind them (either as outsiders looking in or as active participants in the midst of such dealings), the cryptic handling of those ideas undermines whatever meaningful messages or cinematic value they might have, making all of this seem like just such a big waste of time, the film’s many awards season nominations notwithstanding. Director Haynes has an impressive filmography behind him with such releases as “Poison” (1991), “Far From Heaven” (2002) and <a href="https://brentmarchant.com/2019/12/31/dark-waters-pushes-us-to-test-and-surpass-our-limits/">“Dark Waters”</a> (2019), but, regrettably, “May December” certainly can’t be counted as part of that list. Watch these other offerings instead.</p><br/><br/><br/><br/><p><strong>Disappointing Delayed Releases (In Alphabetical Order)</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/Blueback-400x569.jpg" alt="" class="wp-image-15998" width="300" height="427"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/blueback/">“Blueback”</a> (Australia)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.bluebackmovie.com/">Web site</a> <a href="https://youtu.be/Jwv5DuCgZcI">Trailer</a></strong></p><br/><br/><br/><br/><p>I feel somewhat guilty criticizing a picture that seems to have its heart in the right place but that, frankly, just isn’t very good. Such is the case with director Robert Connolly’s latest, an earnest but schmaltzy, predictable, uneven offering that addresses noble sentiments but isn’t put together well. The film tells the story of Abby (Mia Wasikowska), a marine biologist who’s called away from her coral reef studies to care for her aging mother, Dora (Elizabeth Alexander), when she suffers a debilitating stroke that has left her unable to speak. Upon Abby’s return home to her Western Australia coastal community of Longboat Bay, she reflects back on how her mother got her interested in oceanography, particularly through her efforts to establish a local marine preserve. This part of the story is told through extensive flashbacks featuring Abby’s younger self (Ariel Donoghue, Ilsa Fogg) and a youthful Dora (Radha Mitchell) in their efforts to protect the bay from illegal fishing and potentially damaging waterfront development, especially after they meet and “befriend” a large wild blue grouper that Abby names Blueback. The film thus raises and addresses an array of issues related to environmentalism, ecological stewardship and cross-species relations, as well as following one’s passions and walking one’s walk. Unfortunately, the flashbacks dominate the narrative so much that the story thread that launches the picture feels more like an afterthought, one in which Wasikowska almost could have phoned in her part. And, as for the content that makes up the bulk of this release’s screen time, it comes across as laudable and well-meaning but a little too obvious and preachy, playing more like the script of an <em>After School Special</em> or material based on a selection from an all-girls’ Young Adult reading group. The somewhat insipid treatment of this story tends to undercut this release’s other strengths, such as its gorgeous underwater cinematography and the value of the messages it’s seeking to impart. Some might say the foregoing sounds cruel and heavy-handedly cynical, but at least it’s honest, all good intentions aside.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/64248004cf20b04bf4345567_Enys-Men-Key-Art-600x889.jpg" alt="" class="wp-image-15905" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/enys-men/">“Enys Men”</a> (UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://enysmenmovie.com/">Web site</a> <a href="https://youtu.be/f7Pwf94_XLY">Trailer</a></strong></p><br/><br/><br/><br/><p>Well, I’ll say this much about this one – I knew I had one of the movies for my 2023 worst films list when I screened this early-year release. Writer-director Mark Jenkin’s so-called horror offering is an absolute mess almost from the very beginning. Set in 1973, this story (if one could call it that) of a wildlife volunteer’s study of a rare flower that grows on an uninhabited island off the coast of Cornwall thrusts the curious but bewildered protagonist (Mary Woodvine) into a surrealistic metaphysical odyssey in which she struggles to determine what’s real and what isn’t. Of course, the problem with that premise is that the viewer is saddled with the same task and likely won’t have much more luck at this than the puzzled environmentalist. The bizarre mixture of imagery, from the wildly imaginative to the everyday mundane and everything in between, is undoubtedly stylish and may be modestly appealing to look at (especially with its skillfully crafted 1970s-style camera work, film editing and intentionally grainy image quality), but there’s an utter lack of focus that keeps audience members at arm’s length (whether intentionally or not) and never provides any kind of meaningful hook with which to engage them. And what the filmmaker supposedly passes off as horror is anything but. Horror is supposed to frighten and shock viewers, not put them to sleep, which is what this picture increasingly does the further one gets into it. Instead of chills and thrills, the picture is interminably boring, eventually becoming cryptic, confusing and downright laughable. I can’t recall how many times I found myself rhetorically asking, “What the hell is supposed to be going on here?” Admittedly, Jenkin is, laudably, an experimental filmmaker, and his supporters have staunchly (yet ultimately euphemistically) referred to this work as a “mood piece.” Frankly, however, I find that a pretentious way of describing what amounts to an amateurish, directionless exercise that plays more like an out-of-control student film project on steroids than a piece of serious cinema. If you’re really and truly up for something atmospheric that delivers the goods and provides a satisfyingly insightful narrative, there are plenty of other better offerings out there. You’ll feel much more fulfilled and entertained by those pictures – and you’ll probably stay awake for them, too.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/297979463_714245943452194_938167395360157940_n-600x805.jpg" alt="" class="wp-image-16020" width="300" height="403"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/el-rezador-the-preacher/">“<em>El Rezador</em>” (“The Preacher”)</a> (Ecuador/Spain/Colombia)</strong></p><br/><br/><br/><br/><p><strong><a href="https://medialuna.biz/programme/el-rezador">Web site</a> <a href="https://medialuna.biz/programme/el-rezador">Trailer</a></strong></p><br/><br/><br/><br/><p>Many religious experiences that can’t be readily explained are simply chalked up as “holy mysteries.” And, comparably speaking, as for many of the cryptic plot developments that emerge in writer-director Tito Jara’s second feature outing, such events simply appear to be passed off as narrative mysteries. This story of a religious con man (Andrés Crespo) who convinces the parents (Emilia Ceballos, Carlos Valencia) of an allegedly gifted miracle child (Renata Jara) to set up a business based on their daughter’s supposed healing powers starts out credibly enough but soon falls back on clichéd plot threads, eventually deteriorating into a muddled mess that’s virtually indecipherable. Every few minutes, new developments arise seemingly out of left field, many of which are left significantly unresolved, almost as if these script ideas were casually thrown together, the result of which is some kind of incomprehensible narrative stew. The picture’s hodgepodge of subplots covers everything from the operation of the business to the veracity of the child’s gifts to the health of the con man to the marital fidelity of the parents and even a few supposedly supernatural twists that are sprinkled in essentially as mystical throw-aways. Perhaps this lack of clarity is attributable to cultural concepts that are somehow lost in translation, but I’d more likely suspect that it’s more a result of poor writing and a lack of diligent script revision after the initial draft. Given the prevalence of religion in Latin American culture, the description of this film made it sound like an intriguing watch. Instead, it comes across as a trite, largely unintelligible pile of clutter that’s not worth the time.</p><br/><br/><br/><br/><figure class="wp-block-image size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/03/Employee-of-the-Month.png" alt="" class="wp-image-15798" width="292"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/lemployee-du-mois-employee-of-the-month/">“Employee of the Month” (“<em>L’employée du mois</em>”)</a> (Belgium)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.velvetfilms.be/film/en/21/employee-of-the-month">Web site</a> <a href="https://www.youtube.com/watch?v=SWmYk7r8CQM">Trailer</a></strong></p><br/><br/><br/><br/><p>It’s hard to convey my level of disappointment (and disgust) when it comes to this perfectly dreadful movie. As one of the pictures I was most looking forward to seeing at the Gene Siskel Film Center Chicago European Union Film Festival, I walked out at the end thoroughly appalled by what I had just watched. What should have been a screwball dark comedy with a premise loosely based on elements from the classic workplace farce “9 to 5” (1980) and the long-running hit TV sitcom <em>The Office</em> somehow managed to find ways to completely miss the mark from start to finish. To begin with, as a picture that’s supposed to be a comedy, it simply wasn’t funny, with virtually every bit failing to land. Then there was the pacing, which was far too laborious for a story that should have moved by at breakneck speed. But, perhaps most importantly, writer-director Véronique Jadin doesn’t appear to have a handle on what distinguishes macabre humor from nasty, mean-spirited poor taste. I can’t believe how many times during the picture I caught myself saying “There’s absolutely nothing funny about that.” And, even if this production were meant to be a goofy, gory tale a la movies like “Raw” (2016) or “The Columnist” (“<em>De kuthoer</em>”) (2019), it’s not nearly campy, creative or playfully over the top enough to be able to pull off that feat. What’s more, the film’s attempts at making statements about equal pay, toxic masculinity and sexual harassment in the workplace are far too obvious and heavy-handed, expressing sentiments that virtually anyone save for those who’ve spent years living in a cave should readily be able to recognize without being beaten over the head. Thankfully, the only saving grace here is the picture’s mercilessly short 1:18:00 runtime, but even that feels eons longer than it actually is. I suppose the most troubling thing I find about this offering, however, is that I actually heard audience members laughing during this travesty. It made me wonder about people these days and how they could possibly see the humor in any of this. There’s a big difference between a deft touch and a sledgehammer approach, even in dark comedies, but the filmmaker apparently doesn’t recognize it, and that shows in her work.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/275752420_498993911594346_6962994923091144926_n-600x850.jpg" alt="" class="wp-image-16216" width="300" height="425"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/sublime/">“Sublime”</a> (Argentina)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt14927880/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_sublime">Web site</a> <a href="https://youtu.be/GocliIKPg0o">Trailer</a></strong></p><br/><br/><br/><br/><p>There certainly has been no shortage of coming of age films in recent years, and many of those have had LGBTQ+ elements as part of their storylines. And now writer-director Mariano Biasin has added to that list with his third feature offering about a teenage boy who’s become infatuated with one of his longtime pals from childhood. To complicate matters, as members of an aspiring rock band, they spend much of their time together, which leads to an ever-growing fixation for the curious young man the more he’s in his friend’s company. His feelings become further strained when his sidekick starts bragging about his growing list of female conquests, prompting quiet but powerful fits of jealously from his secret admirer and increasing tension in their long-tenured relationship. Unfortunately, other than the rock band story thread, this is far from an original narrative in the history of LGBTQ+ cinema. What’s more, the opening act is more of a jumble of rambling, seemingly unrelated images than the makings of a coherent story, almost to the point where this film would have been better titled “Cryptic” or “Vague.” Moreover, the picture places a strong emphasis on its musical numbers, most of which are admittedly decent enough, though there are quite a few of them, a fact probably attributable to the filmmaker’s experience as a director of music videos. But, when you add that to the fact that the screenplay tends to get somewhat repetitive as the story plays out, you’ve got an increasingly tedious film that leaves viewers wondering when all of this is finally going to get wrapped up. In short, “Sublime” is a work that could definitely use some retooling (and a little more imagination) to make it a more worthwhile viewing choice, especially in light of the many other better options available in both gay cinema and music videos. Choose them instead.</p><br/><br/><br/><br/><p>Copyright © 2023-2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-87793493767857275612024-01-30T05:21:00.001-06:002024-01-30T05:21:37.523-06:00The Best of 2023<p>With 2023 now in the books, it’s time to look back on the year in movies. In this first of three blogs, I spotlight my Top 10 Films of 2023, followed by 10 Honorable Mentions and an open-ended list (in alphabetical order) of other releases that I found noteworthy. In each case, I’ve included web site and trailer links, as well as links to my own reviews, either those that have been published as full blogs or as summary write-ups in this site’s Quick Cuts section.</p><br/><br/><br/><br/><p>In addition, due to the special circumstances caused by the writers’ and actors’ strikes, as well as the carryover effect from the COVID pandemic – both of which caused some havoc with distribution schedules – I have included a new category this year: a list of my favorite films that were produced in previous years but whose release was impacted by these delays and weren’t released until 2023. This is also an open-ended list with pictures listed in alphabetical order and no particular ranking.</p><br/><br/><br/><br/><p>In separate blog posts, I will examine my Worst Films of 2023, as well as a review of my picks for the Best and Worst in 2023 Documentaries, to be posted shortly.</p><br/><br/><br/><br/><p>So, with that said, check out what I thought about 2023’s crop of movies. You may not agree with me, and I respect your opinions, regardless of whether our views align. I hope you’ll respectfully grant me the same. And your feedback, as always, is welcome. Here goes!</p><br/><br/><br/><br/><p><strong>The Top 10 Countdown</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/Upon-Entry-400x540.png" alt="" class="wp-image-16915" width="277" height="390"/></figure><br/><br/><br/><br/><p><strong>10.  <a href="https://brentmarchant.com/quick-cuts/upon-entry-la-ilegada/">“Upon Entry” (“<em>La Ilegada</em>”)</a> (Spain)</strong></p><br/><br/><br/><br/><p><strong><a href="https://tubitv.com/movies/100011434/upon-entry">Web site</a> <a href="https://www.youtube.com/watch?v=B9dFvX8_1eo">Trailer</a></strong></p><br/><br/><br/><br/><p>Welcome to America, land of the free and home of the brave, a sanctuary for the world’s poor, tired and huddled masses. Or is it? That’s the question raised in this gripping, edgy debut feature from the writing-directing duo of Alejandro Rojas and Juan Sebastián Vasquez. When a Spanish couple (Alberto Ammann, Bruna Cusí) relocating to the US on legally obtained visas launches the process of beginning a new life, they’re unexpectedly detained by authorities on arrival at the New York port of entry, where they’re subjected to intense questioning about matters of an undisclosed nature. With no explanation for the interrogation, they’re asked an increasingly intrusive line of questioning by two antagonistic agents (Ben Temple, Laura Gómez) who offer no rationale for their hostile scrutiny. It’s an exercise on par with an increasingly brutal fraternity hazing ritual, one aimed at ultimately trying to uncover some kind of secretive, allegedly illegal scheme driven by trumped-up speculation and the couple’s growing resistance to cooperate, especially when they seem to be guilty at best of failing to dot a few i’s and cross a few t’s. They become reluctant to answer highly personal questions, leading to circumstances that eventually threaten to tear apart the fabric of the duo’s obviously loving relationship. While it’s certainly reasonable to employ prudent security precautions in immigration and customs scenarios, is this kind of unduly malicious treatment really necessary, particularly when the couple ostensibly appears to be playing by all the rules? Is this the America we want, one driven by paranoia and pervasive suspicion? And, if so, then why would anyone want to come here in the first place, even when making a diligently concerted effort to follow all of the legally sanctioned protocols? This film sends a powerful message about these kinds of practices, especially given that some of them have actually been in place far longer than most American citizens are aware of. These issues are disturbingly brought to life by the film’s meticulously crafted writing, which keeps characters and viewers alike guessing about what’s playing out, combined by the superb performances of the four principals, who effectively convey the anguish and fright being wrought on screen. This Tubi TV offering is highly deserving of its three Independent Spirit Award nominations for best first feature, best first screenplay and best editing, even if it’s also the kind of picture that makes audiences uneasy – but, then, maybe that’s the point behind it, too, a goal at which it succeeds brilliantly.</p><br/><br/><br/><br/><figure class="wp-block-image size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/El-Conde.webp" alt="" class="wp-image-16715" width="260" height="395"/></figure><br/><br/><br/><br/><p><strong>9.  <a href="https://brentmarchant.com/2023/12/15/el-conde-metaphorically-skewers-a-dictators-life/">“<em>El Conde</em>” (“The Count”)</a> (Chile)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/81590652/">Web site</a> <a href="https://www.youtube.com/watch?v=YGvX7ma7Xnk">Trailer</a></strong></p><br/><br/><br/><br/><p>Fusing cinematic genres can be tricky, especially if the mix doesn’t mesh. But the latest from writer-director Pablo Larraín successfully pulls off a brilliantly original blend and does so just about perfectly. This metaphorical account of the life of former Chilean dictator Augusto Pinochet (1915-2006) (Jaime Vadell) portrays the onetime-strongman as a vampire a la Dracula (hence the title and the character’s nickname, “the Count”), shot in the style of F.W. Murnau’s black-and-white silent film classic, “Nosferatu” (1922). The story charts the immortal’s life from his birth as orphaned royalist Claude Pinoche in late 18th Century France through the many military campaigns in which he fought to put down radical rebellions before finally rising to power as the right-wing dictator of Chile through the 1973 coup d’état of left-wing President Salvador Allende. But much of the narrative actually follows Pinochet in the years after he was himself out of office, living a life in seclusion after faking his death. It’s a time when he is being stalked by various parties seeking to get their hands on his illegally amassed fortune, including his wife (Gloria Münchmeyer), his longtime butler (Alfredo Castro), a nun/exorcist posing as an accountant auditing his assets (Paula Luchsinger) and his five adult children. And, ironically, as all of this is transpiring, Pinochet himself is in the throes of ennui, trying to make up his mind about whether or not he wants to go on living. Many story threads emerge and become intertwined, satirically invoking wry observations about despotism, greed, power, lust, immortality and religion. On top of all this, there’s an articulate, faceless narrator with a pronounced British accent who tells the tale and makes an unexpected on-screen appearance late in the film, taking things in an entirely new direction with deliciously twisted plot developments. Add to all this the film’s stunningly gorgeous Oscar-nominated monochrome cinematography, superb production design, fine performances and positively sparkling screenplay, along with just enough restrained campiness in the dialogue and special effects to make viewers giggle with delight without becoming silly, and you’ve got one finely crafted production, perfectly integrated and nicely balanced. Admittedly, the pacing drags a smidge late in the second act, but that’s easily dismissed considering how well everything else works together. Also, the film is quite graphic in a number of sequences, so squeamish and sensitive viewers would be wise to avoid this one. But, if you’re not faint of heart and have an appetite for the macabre, give this Netflix exclusive a look. Director Pablo Larraín’s pictures keep getting better and better with every outing, and this is the latest in a string of releases that have firmly established him as one of the finest auteurs in the business these days, so tune in and see for yourself.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/Dream-Scenario-600x889.jpg" alt="" class="wp-image-16720" width="286" height="427"/></figure><br/><br/><br/><br/><p><strong>8.  <a href="https://brentmarchant.com/2023/12/10/dream-scenario-wrestles-with-social-fanaticism/">“Dream Scenario”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://a24films.com/films/dream-scenario">Web site</a> <a href="https://www.youtube.com/watch?v=q3x9iUL-74w">Trailer</a></strong></p><br/><br/><br/><br/><p>Packing a lot of material and ideas into a single film can result in a muddled, confusing mess, no matter how well-meaning a filmmaker’s intentions might be. However, in his third feature outing, writer-director Kristoffer Borgli succeeds for the most part when it comes to tackling such an imposing task. This offbeat tale of tenured but underappreciated university professor (Nicolas Cage) takes viewers on a wild ride through the diverse realms of fame, metaphysics, cancel culture, unrelenting group think, and unexpressed, underpursued desire, along with the downside consequences of each. All of this comes about when the middle-aged everyman protagonist inexplicably begins showing up in the dreams of countless people, many of whom he doesn’t even know. This curious oneiric anomaly – an inspired metaphor for one’s presence on social media and in the public eye – quickly transforms him into an overnight viral media sensation, one that starts off with a generous showering of attention and lustful admiration but that almost as quickly leads him to become a scorned, put-upon pariah. He swiftly becomes more than just yesterday’s news; he turns into the object of a targeted campaign of cancel culture, hate speech and unapologetic ostracism. And, ironically, it all stems from something he never wanted nor asked for in the first place (at least in the form it ultimately took). From the foregoing description, it might sound like the filmmaker has tried to overstuff this vehicle with far too much material for viewers to process and comprehend, and there are points in the story (especially in the last half hour) where a good case could be made for that argument. However, in telling this allegorical fable, the director manages to keep the narrative’s ideas distinctly sorted and in context to drive home his message, a powerful cautionary tale about the point we’ve collectively reached as a society with respect to these powerful and potentially damaging matters and practices. These are notions that we all need to hear but seldom do because of all the noise surrounding us that prevents us from hearing the music because of all the notes. For all this seriousness, however, “Dream Scenario” is loaded with hilarious, laugh-out-loud humor and fine performances all around (especially those of Golden Globe Award nominee Cage and Michael Cera as an empty-headed, self-absorbed brand management expert), complemented with skillful film editing and carefully selected incidental shots that effectively punctuate the mood of many scenes. The script is generally solid, too, though it begins to stray somewhat from the material that works best in the final act, and there are a few graphically violent sequences that sensitive viewers should be wary of. On balance, though, this is the kind of production that should be made in greater numbers in an age where so many of us have lost touch with reason, our existence and ourselves. Maybe watching an offering like this could help us all sit up, think and get back on track while we still can.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/05/R9REQCX8-600x889.jpeg" alt="" class="wp-image-16131" width="292" height="428"/></figure><br/><br/><br/><br/><p><strong>7.  <a href="https://brentmarchant.com/2023/06/04/you-hurt-my-feelings-weighs-the-value-of-honesty/">“You Hurt My Feelings”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://a24films.com/films/you-hurt-my-feelings">Web site</a> <a href="https://www.youtube.com/watch?v=20GWk5cWPBs">Trailer</a></strong></p><br/><br/><br/><br/><p>One thing for sure you can say about the films of writer-director Nicole Holofcener is that they’re rarely what you expect but always deliver more than you hope for. What’s more, given her recent track record, she keeps getting better and better with each release. Building on inventive narrative styles, precise cinematic pacing, superb character development, a knack for capturing the unexpected and impeccable writing quality developed in her recent directorial works “Please Give” (2010) and <a href="https://brentmarchant.com/2013/10/03/enough-said-implores-us-to-follow-our-hearts/">“Enough Said”</a> (2013), as well as her spot-on screenplay aptitude in <a href="https://brentmarchant.com/2018/10/31/can-you-ever-forgive-me-examines-creativity-gone-awry/">“Can You Ever Forgive Me?”</a> (2018), the filmmaker has done it again in this insightful comedy-drama, arguably her funniest and most accessible work to date. Holofcener’s multi-layered storytelling approach covers a great deal of ground, from how much honesty is too much to taking personal responsibility for resolving one’s own issues to wrestling with the ennui of nagging midlife challenges (particularly where matters of career performance are involved). The picture’s overlapping story threads integrate seamlessly, often with carefully crafted, raucously funny boomerang effects. In addition to making viewers laugh, the film also makes them think, serving up incisive scenarios that truly give audience members much to contemplate, including incidents that they might have otherwise failed to consider. This is all stunningly brought to life by the positively stellar ensemble cast, especially Julia Louis-Dreyfus in one of her best-ever lead performances. To be sure, the story meanders a bit at the outset, but the opening act is decidedly designed to set up what’s to come, all of which plays out flawlessly as the picture unfolds. “You Hurt My Feelings” may not conform to convention or deliver what viewers expect going in, but, like a well-prepared dinner, it definitely satisfies one’s appetite for a thoroughly satisfying meal. View hearty, everyone.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/Apple_TV_Fingernails_key_art_2x3-600x900.png" alt="" class="wp-image-16658" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>6.  <a href="https://brentmarchant.com/2023/11/05/fingernails-charts-the-quest-for-the-perfect-mate/">“Fingernails”</a> (USA/UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://tv.apple.com/us/movie/fingernails/umc.cmc.5kr10v39ex4n13rrwxjzm3jy7">Web site</a> <a href="https://www.youtube.com/watch?v=mY-by4qPQpE">Trailer</a></strong></p><br/><br/><br/><br/><p>How do we know when we’re in love? And, even if we suspect we are, how do we know if we’re with the right person? In an age where individuals are increasingly out of touch with their own feelings – especially the one they seem to crave the most – these are pressing questions that desperately beg answers. So what should we do? Maybe technology is the answer. But how reliable is it? Can we trust it to give us definitive, accurate, meaningful results? Those are the issues that writer-director Christos Nikou addresses in his second feature outing, an excellent follow-up to his superb debut, <a href="https://brentmarchant.com/2020/11/12/apples-examines-the-selectivity-of-memory/">“Apples”</a> (2020), hitting his second cinematic home run in a row. In this insightful romantic comedy/drama, the filmmaker takes viewers on a heartfelt yet delightfully quirky absurdist odyssey in a society where amorously lost souls seek verification of the validity of their partnerships through a medical test that calls for the removal of one of each of the partners’ fingernails as a means of scientifically determining compatibility (talk about an act of commitment). And, to strengthen those relationships, the organization sponsoring these tests augments the results with a series of carefully structured (though frequently hilarious, somewhat clichéd and often seemingly preposterous) lessons designed to promote enhanced intimacy. But are these exercises proof positive of a successful match? That’s a question raised by one of the organization’s new instructors (Jessie Buckley), who has nagging doubts about the long-term viability of her relationship with her supposedly verified true love (Jeremy Allen White). The ante is further upped when she meets a fellow instructor (Riz Ahmed) with whom an unspoken but decidedly sensuous mutual attraction develops. In light of that then, can old-fashioned gut feelings legitimately trump allegedly solid science, particularly at a time when technology is being trumpeted as a panacea for all our problems, including those of an emotional nature? “Fingernails” does an exceedingly thoughtful job of examining these matters while incorporating both sublime yet sidesplitting humor and offbeat theoretical concepts that give us much to think about, qualities that helped to establish and distinguish Nikou as a director in his first film. In this offering, however, he builds upon that stylistic foundation by adding themes aimed at promoting truly genuine feelings aimed at plucking the heartstrings without becoming manipulative or sappy, creating a layered, thought-provoking, richly rewarding viewing experience. This is all brought to life by the fine performances of the three protagonists and an excellent supporting cast, backed by skillfully crafted humor parodying a number of other films and a nuanced soundtrack consisting of deftly chosen selections that definitively set the mood for countless scenes. Admittedly, the generally solid pacing could have used some tweaking in a few sequences, and the ending could have been a little more developed, but these modest shortcomings detract little from the overall quality of this fine production. If you doubt that, see this one for yourself and let your own mind – and not some technical contraption or overly intellectualized abstraction – decide for you.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Apple_TV_Killers_Flower_Moon_key_art_2_3_1-600x900.png" alt="" class="wp-image-16875" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>5.  <a href="https://brentmarchant.com/quick-cuts/killers-of-the-flower-moon/">“Killers of the Flower Moon”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.paramountmovies.com/movies/killers-of-the-flower-moon">Web site</a> <a href="https://youtu.be/EG0si5bSd6I">Trailer</a></strong></p><br/><br/><br/><br/><p>The importance of addressing (and attempting to correct) gross injustices can’t be overemphasized, and that’s the key objective behind writer-director Martin Scorsese’s latest release. This fact-based saga chronicles attempts by unscrupulous, two-faced White swindlers clandestinely (and sometimes quite brazenly) seeking to steal the considerable assets of wealthy Osage Indians in Oklahoma in the 1920s after oil is discovered on their land. This tragic tale explores the depths that these immoral criminals would go to (including murder) in the name of unabashed greed, efforts ironically spearheaded by the local, smiling, allegedly well-meaning sheriff (Oscar nominee Robert DeNiro) with the help of his dimwitted nephew (Leonardo DiCaprio), especially in their scheme to shamelessly pilfer the wealth of the accomplice’s own wife (Oscar nominee Lily Gladstone). The sweeping scope of this offering is indeed impressive, effectively brought to life by the fine performances of the three principals and an excellent ensemble of supporting players. And the stellar cast is backed by proficiently executed work in an array of technical areas, including production design, writing, cinematography and the late Robbie Robertson’s original background score, making for a gorgeous picture to look at, all of which have earned “Flower Moon” a boatload of awards season nominations, including an Oscar nomination for best picture. However, the runtime of 3:26:00 – with <em>no</em> intermission – is a challenge to manage, even for the most patient and tolerant moviegoer. I streamed it, watching it in two parts, almost as if it were more of a TV miniseries than a standalone film, the only way I could effectively see myself getting through it. This handling of the story, in my opinion, represents something of a significant miscalculation by the filmmaker and the film editing staff – either cut the picture (which could have been done without losing much) or add a much-needed break partway through (which could have been accomplished without inhibiting the story’s continuity). In my view, I believe that the second half was far better and more compelling than the first and that some of the narrative’s more incidental detail could have easily been dispensed with without affecting the overall quality of the release. Still, that aside, it’s obvious that this project was a labor of love for the director, one with a clear vision of what the filmmaker wanted to say in relating an important and little-known story of injustice in a nation that professes to be a staunch champion of truth and virtue, and, for that, we should be thankful for the enlightenment provided here. This unconventional take on the Western may not feature the traditional cinematic interpretation of cowboys and Indians, but it nevertheless sets the record straight about who the real villains are, at least in this story, a lesson from which we can all learn.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Monster-OfficialKeyArt-WellGoUSA812x1200_0-600x887.jpg" alt="" class="wp-image-16780" width="300" height="444"/></figure><br/><br/><br/><br/><p><strong>4.  <a href="https://brentmarchant.com/2023/12/28/monster-seeks-to-arrive-at-the-whole-truth/">“Monster” (“<em>Kaibutsu</em>”)</a> (Japan)</strong></p><br/><br/><br/><br/><p><strong><a href="https://mubi.com/en/us/films/monster-2023">Web site</a> <a href="https://www.youtube.com/watch?v=cOpWDxxiwoE">Trailer</a></strong></p><br/><br/><br/><br/><p>The perspective from which we view a situation infallibly provides us with a clear, irrefutable picture of its truthfulness, right? But what happens if we encounter someone who witnesses the same incident and comes away from it with a totally different interpretation? Both views can’t be “right,” can they? Or is it possible that none of us can see the totality of a scenario and claim to know everything about it? That’s the core takeaway from director Kore-eda Hirokazu’s latest feature, an ambitious, skillfully crafted tale told from multiple vantage points, all of them “correct” in their own right, despite the myriad differences that distinguish them from one another, a storytelling technique first developed by Japanese master filmmaker Akira Kurosawa in the screen classic “Rashomon” (1950). Kore-eda’s cinematic homage to the famed auteur, told in three separate but interconnected segments, focuses on the exploits of a rebellious pre-teen (Soya Kurokawa) seemingly prone to acting out as a bully. The youth’s unpredictable behavior, however, doesn’t tell the whole story. His actions appear to be cryptically interwoven with those of his overly protective widowed mother (Sakura Ando), his young middle school teacher (Eita Nagayama), his aging, softspoken principal (Yuko Tanaka), and his effervescent best friend (Hinata Hiiragi), many of whom aren’t always what they seem to be. There are forces at work here that are a cause for concern, prompting the often-asked question, “Who is the monster?”, a query that provides the inspiration for this film’s title. It’s intriguing to watch how the picture’s various story threads come together, reminding us of the old adage of not judging a book by its cover, poignantly illustrating that, no matter how much we may <em>think</em> we know about a particular situation, there’s a good chance we’ll never get a complete picture of it. Kore-eda serves up an eye-opening tale, one that gives us pause to think about our impressions and preconceptions in an age when many of us are all too quick to superficially judge what we see – and in a frequently flawed framework at that. The picture, winner of two Cannes Film Festival awards and nominee for a third, could stand to be a little more swiftly paced at times (especially in the final act), but this is arguably the director’s best and most sensitive work to date, one that, we can only hope, will have the kind of profound impact we need in an age where open-mindedness and tolerance are traits we could all stand to develop to a much greater degree – particularly when pieces of the puzzle are missing.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/poor-things-PT_Payoff_ONLINE_POSTER_1350x2000_FIN_rgb-600x889.jpg" alt="" class="wp-image-16826" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>3. <a href="https://brentmarchant.com/2023/12/20/poor-things-surveys-the-process-of-reinvention/"> “Poor Things” </a>(USA/UK/Ireland)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.searchlightpictures.com/poor-things">Web site</a> <a href="https://www.youtube.com/watch?v=RlbR5N6veqw">Trailer</a></strong></p><br/><br/><br/><br/><p>When the circumstances of our lives don’t suit us, it’s time to reinvent ourselves – something that happens both literally and metaphorically in this latest offering from director Yorgos Lanthimos. But the way that result comes about here represents a truly inspired fusion of genres, including comedy, romance, social commentary and sci-fi, making for one of the most inventive, unusual and hilarious releases of recent years. This offbeat feminist fable tells the story of how a pregnant, young, anonymous suicide victim (Oscar nominee and Golden Globe and Critics Choice Award winner Emma Stone) is reanimated with the aid of a brain transplant from her unborn fetus, an achievement accomplished by a colorful, controversial but well-meaning surgeon/scientist a la Dr. Frankenstein (Golden Globe nominee Willem Dafoe). He nurtures his subject back to life, health and sentience, a sometimes-challenging process that finally surfaces when she discovers her sexuality, the trigger for exploring a new, independent life for herself, both physically and emotionally. Through a series of adventures over the course of a trip through Europe with a free-wheeling, lusty but lecherous, self-serving lawyer (Oscar nominee Mark Ruffalo), she finds herself as a self-actualized woman in an age where that’s more of a rarity than a standard, particularly in a world where men treat women more like property than people. While the film’s pacing could use some shoring up in the middle, this offering nevertheless entertains with uproarious laughs throughout, even when the narrative turns more thoughtful and substantive. The superb performances by Stone, Dafoe and Ruffalo are top shelf, contributing to the picture’s whopping 11 Oscar nominations, 13 Critics Choice Award nods and 7 Golden Globe Award bids, among other honors. The film is also visually stunning in its cinematography and editing, as well as in its spectacular and whimsical production design, filled with images reminiscent of the movies of Wes Anderson and Terry Gilliam while sustaining a look all its own. Admittedly, this release features a good deal of explicit sexuality, both visually and in the dialogue, so sensitive viewers should take note. However, as one of the most anticipated pictures of this year’s awards season, “Poor Things” never disappoints, serving up a solid offering that consistently tickles the funny bone while giving audiences much to think about – and there’s nothing poor in any of that.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/AOUS_ONLINE_POSTER_1334x2000_PAYOFF_FIN-600x900.jpg" alt="" class="wp-image-16918" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>2. <a href="https://brentmarchant.com/2024/01/27/all-of-us-strangers-celebrates-the-enigmatic-power-of-love/">“All of Us Strangers”</a> (USA/UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.searchlightpictures.com/all-of-us-strangers/">Web site</a> <a href="https://youtu.be/O97iSjvqBlY">Trailer</a></strong></p><br/><br/><br/><br/><p>In a movie awards season that has had more misses than hits, it’s gratifying to see a picture that not only lives up to, but exceeds, its potential. Such is the case with writer-director Andrew Haigh’s latest offering, a heartwarming and heartbreaking story of love, reflection and healing all rolled into one. To say too much more about the film would invariably unleash a plethora of spoilers, but suffice it to say that it tells a genuinely moving and touching tale of a thirtysomething gay Londoner (Andrew Scott) and his budding relationship with a mysterious new beau (Paul Mescal), an involvement very much influenced by the protagonist’s relationship with his own past, most notably his involvement with his long-estranged parents (Jamie Bell, Claire Foy). This is one of those pictures that’s just about perfect in virtually every regard thanks to its stringent adherence to authenticity in the writing and the portrayals of its positively stellar cast, especially the highly underrated performance by BAFTA Award nominee Foy, whose role has puzzlingly been flying under the radar thus far. It’s also a production that will likely surprise viewers in myriad ways, defying expectations and telling a story that’s anything but apparent from what’s in its promotional trailer. Moreover, I’m impressed by the fact that this is an offering featuring gay characters in which their sexuality is not the principal focus of the narrative, something that truly distinguishes this feature from so many others in this genre. Add to these attributes a sensitively chosen soundtrack and some surprisingly innovative cinematography, and you’ve got one helluva fine movie. To be sure, this is one of those releases that, if it doesn’t touch you profoundly, you’d better check to see if you have ice water coursing through your veins. “All of Us Strangers” richly deserves whatever accolades it receives, having been nominated in most of the year’s major awards competitions (despite an inexplicable and inexcusable snub for <em>any</em> Oscar consideration). It’s truly one of the year’s best, bar none.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/OPR_Tsr1Sht4_RGB_2-600x950.jpg" alt="" class="wp-image-16306" width="300" height="475"/></figure><br/><br/><br/><br/><p><strong>1.  <a href="https://brentmarchant.com/2023/07/27/oppenheimer-wrestles-with-the-torment-of-moral-dilemmas/">“Oppenheimer”</a> (USA/UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.oppenheimermovie.com/">Web site</a> <a href="https://www.youtube.com/watch?v=bK6ldnjE3Y0">Trailer</a></strong></p><br/><br/><br/><br/><p>Telling the story of a larger-than-life individual truly calls for a larger-than-life film, and that’s precisely what writer-director Christopher Nolan has come up with in his latest feature outing, handily the best work of his career. Nolan’s three-hour opus about the life of Dr. J. Robert Oppenheimer (Oscar nominee Cillian Murphy), director of the Manhattan Project (and more commonly known as the Father of the Atomic Bomb), provides viewers with a comprehensive biography of this brilliant and thoughtful yet often-inscrutable and naïve physicist who took on a patently dangerous venture that left him morally conflicted about the nature of his creation. The story, which spans several decades of the scientist’s life, chronicles his development of “the gadget” and the fallout he suffered as a consequence of his left-wing political leanings and his efforts to keep the released nuclear genie from getting out of control. The film is admittedly a little overlong and probably could have used some editing in the opening and final hour, but, in the interest of telling the whole story of Oppenheimer’s odyssey, its length is understandable (and, consequently, justifiable). The picture’s production values are all top shelf, especially its brilliant cinematography, stirring original score and superb sound quality, an element that truly leaves audiences with a bona fide visceral experience. Moreover, the narrative is skillfully and eloquently brought to life by this offering’s outstanding ensemble cast, including Murphy, Matt Damon, Tom Conti, Benny Safdie, Emily Blunt, Florence Pugh, Gary Oldman, Rami Malek, and, especially, Oscar nominee and Golden Globe and Critics Choice Award winner Robert Downey Jr., who delivers a stellar supporting performance showing acting chops that I never knew he possessed. “Oppenheimer” is easily the best film of 2023, garnering 13 Oscar nominations and multiple awards and nominations in other competitions. It packs a potent punch and delivers a message that we can all never hear too often, poignantly reminding us all of the importance of not falling prey to the same Promethean burden that Oppenheimer was forced to shoulder.</p><br/><br/><br/><br/><p><strong>Honorable Mentions</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/When-Time-Got-Louder-400x592.jpg" alt="" class="wp-image-16758" width="300" height="444"/></figure><br/><br/><br/><br/><p><strong>11.  <a href="https://brentmarchant.com/quick-cuts/when-time-got-louder/">“When Time Got Louder”</a> (Canada)</strong></p><br/><br/><br/><br/><p><strong><a href="https://whentimegotlouder.com/aboutthefilm">Web site</a></strong> <strong><a href="https://www.youtube.com/watch?v=gFOCxSzFDfA">Trailer</a></strong></p><br/><br/><br/><br/><p>Finding a harmonious balance between caring for the needs of others and addressing one’s own happiness and well-being can be a difficult tightrope to traverse. So it is for the caregivers who attend to the needs of those with high-maintenance requirements, such as those afflicted with autism. For one family caring for a teenage autistic son (Jonathan Simao) – a high-functioning, extremely gifted but largely nonverbal illustrator – it takes a lot. It also takes a lot away from their own lives, often prompting profound feelings of guilt when they pursue initiatives of their own. That’s especially true when the artistic savant’s older sister (Willow Shields) goes away to college and begins pursuing a same-sex relationship with a new love interest (Ava Capri), actions that make her feel as though she’s selfishly abandoned her brother’s needs. So how do she and her stressed-out parents (Elizabeth Mitchell, Lochlyn Munro) cope with these circumstances? That’s what writer-director Connie Cocchia’s debut feature beautifully and sensitively examines, presenting viewers with a compelling, heartfelt story in which loving but hard choices must be made to take care of everyone’s needs under trying conditions. Beautifully filmed, skillfully edited through a carefully assembled series of flashbacks and backed by a deftly compiled soundtrack, this tale is effectively brought to life by its superb ensemble cast, including all of the family members and a caring but no-nonsense social worker (Sharon Taylor). The film evokes genuine emotions and does so with an organic authenticity, never becoming schmaltzy or clichéd, quite a coup for a first-time feature filmmaker. “When Time Got Louder” is one of those little-known gems that has largely flown beneath the radar, primarily playing the film festival circuit, but, thankfully, it’s now available for streaming – and a well-worthwhile viewing choice at that.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/theteacherslounge_poster-600x889.jpg" alt="" class="wp-image-16928" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>12. <a href="https://brentmarchant.com/quick-cuts/the-teachers-lounge-das-lehrerzimmer/">“The Teachers’ Lounge” (“<em>Das Lehrerzimmer</em>”)</a> (Germany)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.sonyclassics.com/film/theteacherslounge/">Web site</a> <a href="https://youtu.be/UZyfhp5IPZk">Trailer</a></strong></p><br/><br/><br/><br/><p>In recent years, we’ve all seen examples of incidents that start out comparatively small but that quickly get blown all out of proportion – and unreasonably so at that. As developments emerge and explode under these conditions, they often lose all sense of rationality and proportion, soon taking on lives of their own, expanding into tangential and seemingly unrelated areas that have virtually nothing to do with the event that spawned them. And, in the end, we’re left with outcomes that seem inappropriate and ill-suited to what launched these insane scenarios in the first place. That’s what writer-director Ilker Çatak explores in his latest offering, a dramatic satire about what unexpectedly grows out of a case of petty theft in the teachers’ lounge at a German middle school. Before long, the victim in this incident (Leonie Benesch) becomes swept up in a very public dust-up that leads to her becoming a very public pariah in the eyes of her peers, her students and their parents, while those in official capacities sit on the sidelines and do virtually nothing meaningful to address the issue. The situation thus serves as a microcosmic metaphor for what’s happening on a wider scale in society at large today, drawing in such ancillary elements as racial and national prejudice, the incendiary role of the media, the impact of unsubstantiated innuendo, the protection of personal privacy, the indulgence of contemporary youth, and the sway of fake news in shaping public opinion, a rather full plate of dubious and unsavory fallout stemming from comparatively meager beginnings. While some may contend that these outcomes are somewhat exaggerated in nature, they nevertheless collectively draw attention to undeniably troubling issues desperately in need of attention in our increasingly out-of-control world, global concerns that obviously transcend national borders, all punctuated here with more than a few hefty infusions of wickedly absurdist humor. Despite its Oscar nomination for best international film, “The Teachers’ Lounge” might not appeal to everyone, but, for those who enjoy movies that aren’t afraid to present biting social commentary, this should be added to your watch list. As the picture so sadly illustrates, even supposedly civil environments aren’t immune from the kind of social nonsense depicted here, a troubling teaching for all of us who are looking for a return to sanity in an increasingly crazy existence.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/01_ZONE_COMP_420B-600x900.jpg" alt="" class="wp-image-16950" width="300" height="450"/></figure><br/><br/><br/><br/><p><strong>13.  <a href="https://brentmarchant.com/quick-cuts/the-zone-of-interest/">“The Zone of Interest”</a> (USA/UK/Poland)</strong></p><br/><br/><br/><br/><p><strong><a href="https://a24films.com/films/the-zone-of-interest">Web site</a> <a href="https://youtu.be/r-vfg3KkV54">Trailer</a></strong></p><br/><br/><br/><br/><p>Some movies just <em>have</em> to be seen, even if they make for a difficult watch, and writer-director Jonathan Glazer’s latest is one of those pictures. While this offering is at times a bit uneven, when it’s on, <em>it’s on</em>, leaving a powerfully indelible mark on viewers, one that you feel in your gut and your heart and can’t get out of your mind. The film tells the unnerving story of the family of Auschwitz commandant Rudolf Höss (Christian Friedel). They reside directly next door to the infamous Nazi concentration camp, somehow managing to live seemingly “normal” lives in the shadow of this horrendously notorious facility. What’s most chilling, however, is that the family seems largely oblivious to the atrocities taking place on their doorstep, focusing more on their social activities and material possessions instead, even with the routine sounds of gunfire and the sight of billowing smoke from mass crematoriums filling the surrounding skies. In portraying this, the filmmaker doesn’t need to resort to graphic, gratuitous imagery to make his point about the unspeakable acts unfolding so close to home; comparatively simpler depictions of these events (and their aftermath) speak volumes instead, creating some of the most implicitly unsettling sights ever captured on film. As a consequence, this approach really makes one wonder how anybody could be so wantonly callous and unfeeling, making for truly troubling viewing. Yet it’s also the kind of imagery that <em>has</em> to be seen for its full impact to sink in. This Oscar nominee for best picture – and the recipient of numerous other competition and film festival accolades throughout awards season – richly deserves the attention it has garnered, even if it’s an inherently disturbing watch (sensitive viewers take note). To be sure, there are some pacing issues that could stand to be rectified, and a few story threads could use better clarity, but the picture’s superb cinematography and fine performances by its excellent ensemble cast (especially Sandra Hüller as the commandant’s self-absorbed wife) are undeniably noteworthy. This might be a film that no one wants to screen – but that everybody nevertheless should.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/08/Passages-600x800.jpg" alt="" class="wp-image-16397" width="300" height="400"/></figure><br/><br/><br/><br/><p><strong>14.  <a href="https://brentmarchant.com/quick-cuts/passages/">“Passages”</a> (France/Germany)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt16252698/">Web site</a> <a href="https://youtu.be/m5Kr38lovJc">Trailer</a></strong></p><br/><br/><br/><br/><p>Intimacy can be a beautiful thing. However, it can also become something messy, hurtful and emotionally devastating when tainted by self-serving agendas, irresponsible intentions, or reckless, short-sighted experimentation, influences that can purposely or unwittingly end up wreaking widespread havoc. Such is the case in writer-director Ira Sachs’s new domestic drama about a flamboyant, free-spirited gay male filmmaker, Tomas (Independent Spirit Award nominee Franz Rogowski), who impulsively jumps into an impromptu fling with a woman, Agathe (Adèle Exarchopoulos), a relationship that leaves his longtime husband, Martin (Independent Spirit Award nominee Ben Whishaw), unsure of what the couple’s future might hold. As time passes, circumstances grow increasingly complicated as each member of this unlikely trio tries to sort out what lies ahead, particularly with the emergence of Tomas’s ever-growing thoughtless capriciousness. With four Independent Spirit Award nominations, some viewers may look upon the story’s shockingly reprehensible developments as improbable and appalling, but, sadly, as anyone who has ever watched tabloid TV can probably attest, the events depicted here might not appear as far-fetched as one might think. In that respect, this offering presents a bold, courageous, honest look at what can go awry in situations like this, an account loaded with incensed outrage, unbridled ire, biting humor and more than a little cynicism. It’s a narrative that some audience members may find offensive, even deplorable, but, like a horrific car accident, it’s also something that many viewers might find difficult to look away from, thanks in large part to the wholly convincing performances of the three protagonists. Sensitive viewers should be aware that the film includes a fair amount of explicit and provocative sexual content, so those easily offended by such material may not want to put this one on their watch lists. However, for those who appreciate domestic dramas that hold nothing back and that aren’t afraid to get down and dirty in their portrayals of what can happen, this release is about as good as any out there. Just be prepared to be left with your jaw agape – and your head spinning.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/Nyad-400x560.jpg" alt="" class="wp-image-16682" width="300" height="420"/></figure><br/><br/><br/><br/><p><strong>15.  <a href="https://brentmarchant.com/2023/11/23/nyad-calls-for-blending-determination-and-flexibility/">“Nyad”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/81447231/">Web site</a> <a href="https://www.youtube.com/watch?v=3anCgVSQb3Q">Trailer</a></strong></p><br/><br/><br/><br/><p>It’s been said that it’s never too late to pursue one’s dream. But how many of us who are getting on in years actually make the effort to accomplish that? As time passes by, we may begin to feel like life is passing us by, too, sweeping away the opportunities to fulfill those aspirations and leading to relentless disappointment, frustration and depression. So it was for famed marathon swimmer Diana Nyad (Oscar and Golden Globe Award nominee Annette Bening) as she entered her senior years. Having accomplished much as a long-distance open water swimmer as a young adult, she subsequently became a broadcaster for ABC Sports, serving as an expert on the subject. But that work didn’t provide the same satisfaction as what she was born to do, an undertaking that made her feel like she had taken a 30-year detour in her destiny. That changed, however, when she decided to get back in the water and attempt to make the 103-mile swim from Havana, Cuba to Key West, FL, a long-cherished dream she tried but failed at when she was 28. At 60, however, she believed she could still do it, and so she set off on a quest to complete it, a pursuit that everyone said was unrealistic and impossible at her age. As a headstrong, never-say-die force to be reckoned with, though, Nyad forged ahead with her best friend, Bonnie (Oscar and Golden Globe Award nominee Jodie Foster), serving as her often-beleaguered coach. Directors Jimmy Chin and Elizabeth Chai Vasarhelyi bring this fact-based story to life in this engaging biopic, chronicling Nyad’s odyssey and, in the process, never shying away from portraying the fabled swimmer from all angles, both as a heroic, determined role model and as an off-putting, obstinate pain in the butt. The storytelling approach is admittedly somewhat formulaic and a tad overlong, but the picture’s overall execution provides an authentic depiction of the grueling ordeal Nyad and her crew underwent, all effectively brought to life by the star power of Bening and Foster in their respective roles. The film also provides Nyad’s childhood back story, illustrating how she steeled her lifelong resolve for success and refused to play the part of a victim when the going got tough. It’s also refreshing to see a release that’s not afraid to showcase the story of an older woman, an often-overlooked demographic in contemporary cinema about a character who just might have something worth saying. “Nyad” probably doesn’t qualify as epic filmmaking, but it certainly makes the most of everything it has to work with, presenting viewers with an entertaining and inspiring watch, especially for those who feel cast aside and reconciled to their circumstances but who still have a burning desire for excellence aflame within them.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/RNF_Teaser1Sheet_RGB_4-600x950.jpeg" alt="" class="wp-image-15974" width="300" height="475"/></figure><br/><br/><br/><br/><p><strong>16.  <a href="https://brentmarchant.com/2023/04/25/renfield-explores-taking-back-ones-personal-power/">“Renfield”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.uphe.com/movies/renfield">Web site</a> <a href="https://www.youtube.com/watch?v=FrnpV4xh7-8">Trailer</a></strong></p><br/><br/><br/><br/><p>I must admit that I had some doubts about this one going in. Those who know me are well aware that I’m not a huge fan of horror flicks (unless they’re smart horror or campy comedic romps). But director Chris McKay’s refreshingly humorous take on the Prince of Darkness mythology as told through the eyes of his longtime personal assistant, Robert Renfield (Nicholas Hoult), pleasantly surprised me. As a melancholic soul who’s looking to get more out of life than the perpetuation of his unfulfilling tenure as a glorified go-fer for Dracula (Nicolas Cage), Renfield seeks to change his destiny. He begins the process by joining a support group for those seeking to escape toxic, co-dependent relationships. And, not long thereafter, when he learns that his boss has teamed up with a powerful New Orleans mob family in a fiendish plot to take over the world, Renfield joins forces with an assertive, idealistic police officer (Awkwafina) to both take back his personal power and thwart the evil schemes of the conniving, overzealous vampire. Considering the story’s horror roots, there’s plenty of blood-dripping gore as this yarn unfolds, but it’s all presented with a delightfully whimsical, albeit macabre sense of play, especially in its exceptionally well-choreographed action sequences. The narrative also features ample send-ups of the self-help/personal growth community, a story element perfectly juxtaposed to the picture’s other more visceral (in every sense of the word) content, one that subtly and surprisingly has something meaningful to say in the midst of this offering’s pervasive chaos. Admittedly, the pacing lags in a few spots, and the meshing of the story threads could have been handled a little more deftly at times. Nevertheless, despite these modest missteps, the laughs are definitely in huge supply here, thanks in large part to the film’s excellent cast, including the fine performances of Hoult as the lost but transformation-minded milquetoast and Shohreh Aghdashloo as an oily, glamour-puss mob matriarch. But the one who really steals the show here is Cage, who turns in his best work in years (perhaps even of an award-worthy caliber), memorably embodying the character of Dracula and genuinely making it his own, much like what Michael Keaton did with Beetlejuice and Ryan Reynolds has done with Deadpool. “Renfield” is truly a lot of fun, skillfully blended with substantive, deceptively nuanced material wrapped up in a vehicle where such content is least likely expected. So go sink your teeth into this one; you’re sure to have a bloody good time.</p><br/><br/><br/><br/><figure class="wp-block-image size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/AllHappyFamilies-copy.jpg" alt="" class="wp-image-16593" width="298" height="454"/></figure><br/><br/><br/><br/><p><strong>17.  <a href="https://brentmarchant.com/quick-cuts/all-happy-families/">“All Happy Families”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt15388560/">Web site</a></strong></p><br/><br/><br/><br/><p>Movie portrayals of family life often leave much to be desired when it comes to authenticity (especially for offerings on the Hallmark Channel). So it’s genuinely refreshing when a film comes along that depicts these stories with honesty while being eminently entertaining at the same time. Such is the case with writer-director Haroula Rose’s second feature outing about a Chicago family going through a variety of transitions that become ironically (and often hilariously) interconnected, all served up with sparkling wit and an excellent array of one-liners that are definite zingers without being hurtful or nasty. The construction of the narrative and its accompanying screenplay are meticulous and economical, moving along with a steadily sustained pace and never getting bogged down by prolonged sequences that languish or lose their zest, much in the style of director Nicole Holofcener’s works. All of this is brought to life by a finely assembled ensemble cast, especially its four principals (Josh Radnor, Rob Huebel, John Ashton and Becky Ann Baker), but also in its palette of intriguing supporting players. What’s more, the film does a superb job in its depiction of Chicago’s people and neighborhoods, presenting an authentic look and feel of the Windy City, one that residents of the Second City will relish and appreciate. “All Happy Families” is one of those offerings that aren’t widely seen (or made) anymore, but it’s one of the best I’ve screened in a long time. This charmer deserves a general release and a robust fan base. Let’s hope it gets both.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/Juniper-400x580.jpg" alt="" class="wp-image-15916" width="300" height="435"/></figure><br/><br/><br/><br/><p><strong>18.  <a href="https://brentmarchant.com/2023/04/09/juniper-fosters-the-value-of-mutual-understanding/">“Juniper”</a></strong> <strong>(New Zealand)</strong></p><br/><br/><br/><br/><p><strong><a href="https://greenwichentertainment.com/film/juniper/">Web site</a> <a href="https://www.youtube.com/watch?v=Pk26BsKMngI">Trailer</a></strong></p><br/><br/><br/><br/><p>Individuals seeking to sort out their personal challenges sometimes need to work together to achieve meaningful results. What’s more, strange as it may seem, these situations often call for the formation of unlikely pairings to attain desired outcomes. Such is the case in writer-director Matthew J. Saville’s debut feature about the unusual and stormy but beneficial relationship between a troubled teen (George Ferrier) mourning the loss of his mother and his prickly, salty-tongued English grandmother (Charlotte Rampling), a retired, independently minded war correspondent with a drinking problem who’s convalescing from a severely broken leg at the family’s remote New Zealand farm. What begins as a reluctant, seriously strained connection between two nonconformists gradually evolves into a knowing bond between a pair of mavericks who recognize, celebrate and act upon their unconventional impulses, acts that allow them to fulfill their potential as strong-willed individuals who aren’t timid about fully and freely being themselves. In many ways, this is not the kind of association that one would expect to develop under circumstances like these, a development that gives this story a fresh take on intergenerational relations. But that’s also why the film disappoints somewhat by ultimately falling back on a somewhat predictable narrative line and not allowing its innate strength to become as fully fleshed out as it could have been, particularly where the revelation of motivations is concerned. Nevertheless, those shortcomings are made up for by the picture’s gorgeous cinematography of rural New Zealand, as well as the excellent break-out performance of Ferrier and the positively outstanding portrayal of Rampling, who handily turns in some of the best work of her career here. “Juniper” may not live up to everything it could have been, but it has a lot going for it that’s well worthwhile, especially in its ability to move audience members as the story plays out. Enjoy what makes this moving comedy-drama work, but be sure to keep those hankies handy.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/10/FF59_TheHypnosis1_1200x600-600x300.jpg" alt="" class="wp-image-16596" width="450" height="225"/></figure><br/><br/><br/><br/><p><strong>19.  <a href="https://brentmarchant.com/quick-cuts/the-hypnosis-hypnosen/">“The Hypnosis” (“<em>Hypnosen</em>”)</a> (Sweden/Norway/France)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt27789180">Web site</a> <a href="https://www.youtube.com/watch?v=P-njaEZwVWU">Trailer</a></strong></p><br/><br/><br/><br/><p>Sometimes we can all use a little help in changing our behavior when we aren’t able to do so on our own, and hypnosis is one of the most commonly employed practices. But, in some cases, it can work so well that we may unintentionally end up overcompensating, prompting us to act out in ways that yield a whole new crop of issues to contend with. Such is the case with Vera (Asta Kamma August), who gives hypnosis a try to quit smoking, a behavior she regards as unhealthy and antisocial. However, Vera’s hypnotherapist (Karin de Frumerie) suspects that her patient’s reluctance in explaining her reasons for seeking out treatment suggests that she’s there for more than just kicking the habit. This hunch leads her to conduct a profoundly impactful hypnotherapy session that produces a radical, albeit somewhat ill-defined, change in her subject’s behavior. And, even though Vera seems to relish the effects of this change, it couldn’t have come at a worse time: just as Vera and her business and romantic partner, André (Herbert Nordrum), are about to pitch their new commercial venture to a group of select international investors at an elite pitch fest, an event where they receive guidance from a high-profile pitch coach (David Fukamachi Regnfors). During preparation for their presentation, Vera begins acting strangely unpredictably, even disorderly, toward others, including those whom she and André are most trying to win over. So what’s going on here? And what, if anything, can André do to salvage matters before everything falls apart? Writer-director Ernst De Geer’s delightfully quirky debut feature takes a humorously absurdist look at questions of social conformity, particularly when it comes to differentiating behavior that’s gleefully playful from that which is wholly unacceptable, especially in earnestly serious “grown-up” situations. It accomplishes this goal through a captivating mix of hilariously dry wit and cringeworthy drama, one that often makes viewers squirm while questioning exactly what’s going on. In fact, at times, the mix can be perplexing enough that audiences may be uncomfortably puzzled by what’s transpiring on the screen and what the director is going for – that is, until the surfacing of the big reveal, the one that exposes the source behind the emergence of Vera’s erratic behavior, one that plants a rollicking punctuation mark on this often-uproarious offering. Much of the credit for this goes to the film’s fine script and its superb ensemble cast, particularly protagonists August and Nordrum, who play off each other well and create a wry sense of humorously driven dramatic tension. I love movies that make it a point to stick pins in sanctimonious balloons and push over sacred cows, and this one does as good a job at that as I’ve seen in a while. “The Hypnosis” may not be everyone’s cup of tea, but I’m only too happy to take more than a few good sips. Pass the milk and lemon, please.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/AFIRE_Poster_original-600x889.jpg" alt="" class="wp-image-16335" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong>20.  <a href="https://brentmarchant.com/2023/08/09/afire-explores-what-can-occur-when-clearing-the-slate/">“Afire” (“<em>Roter Himmel</em>”)</a> (Germany)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.janusfilms.com/films/2126">Web site</a> <a href="https://www.youtube.com/watch?v=Ss0jpO3txVQ">Trailer</a></strong></p><br/><br/><br/><br/><p>Fire is a force that can destroy and devastate, but it’s also one thar can cleanse, sweeping away what’s of questionable value in order to clear space for robust, vigorous, valued new growth. And, sometimes, it can do both simultaneously, as demonstrated in writer-director Christian Petzold’s latest, a searing drama/wry comedy about four old/newfound friends who are unwittingly drawn together at a summer house near the Baltic seacoast. Their time together proves revelatory, stressful and enlightening, in part because of their interactions, the disclosures that come out of those relationships, and the looming threat of ravaging forest fires that threaten them and their existence, both literally and metaphorically. The film is a slowburn in every sense of the word, especially at the outset, with a somewhat cryptic narrative that seems rather meandering at times, but that sets the stage for what’s to follow in the back half. The picture subsequently presents a witty but profoundly insightful examination of what makes us who we are, how much we enjoy or endure our lives, and what we can do to make it better for ourselves when we eliminate what no longer serves us. In many respects, “Afire” is probably not what most viewers will expect, but, then, that’s a huge part of its appeal, a refreshing, engaging look at life and what we make of it, a valuable exercise given how abruptly it can all be taken away, leaving us to ask ourselves, what did we do with the time we had and was it indeed worth it in the end? Give this one time to unfold, and let it sink in. It may help you realize and understand more about yourself than you can possibly imagine.</p><br/><br/><br/><br/><p><strong>Noteworthy (In Alphabetical Order)</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/About-Us-But-Not-About-Us-400x562.png" alt="" class="wp-image-16526" width="300" height="422"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/about-us-but-not-about-us/">“About Us But Not About Us”</a> (Philippines)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt23622578/">Web site</a> <a href="https://youtu.be/wO8LrhyMudk">Trailer</a></strong></p><br/><br/><br/><br/><p>How well do we understand the situations we find ourselves in? Most of us probably think we have a pretty good handle on them much of the time. But, when a gay, middle-aged Filipino college professor (Romnick Sarmenta) meets with one of his students (Elijah Canlas) whom he hasn’t seen for a while but toward whom he had shown preferential, nurturing treatment at one time, what starts out as a pleasant lunchtime reunion slowly turns into a series of troubling eye-opening revelations. Told through what seems like a seemingly innocent, somewhat innocuous conversation between the duo, writer-director Jun Robles Lana’s latest opens like a latter-day version of “My Dinner with Andre” (1981) but slowly turns unexpectedly dark and sinister, shedding a whole new light on the now-surprisingly deceptive opening act. As a result, what starts out as a seemingly harmless, slightly tedious encounter becomes engrossingly captivating as the true nature of each of the characters is revealed. The picture’s multilayered narrative grows ever more absorbing the further it plays out, showing us just how easily it can be for us to be deceived by circumstances, including in situations where we think we know the score but don’t. It also presents viewers with an intriguing look at how we can be mirrors of one another but never recognize the similarities until they’re squarely shoved in our face. (And who would have thought that watching two people eat a meal and talk could be so engaging?) “About Us But Not About Us” is a delicious little cinematic nugget that will likely leave audience members’ mouths agape by picture’s end, especially when looking back at how things start out and how they eventually wind up, putting a delightfully surprising spin on the film’s skillful incorporation of ambiguously cynical elements whose meanings don’t become fully apparent until the credits roll. Don’t be quick to give up on this one; it’s worth the wait to see what it delivers – and how well it does so.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/All-the-Colours-of-the-World-Are-Between-Black-and-White-600x889.jpeg" alt="" class="wp-image-16523" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/all-the-colours-of-the-world-are-between-black-and-white/">“All the Colours of the World Are Between Black and White”</a> (Nigeria)</strong></p><br/><br/><br/><br/><p><strong><a href="https://coccinellefilm.com/projects/all-the-colours-of-the-world-are-between-blackwhite/">Web site</a> <a href="https://www.youtube.com/watch?v=iYu1vjSm8vk">Trailer</a></strong></p><br/><br/><br/><br/><p>Despite the considerable social progress that the LGBTQ+ community has made in recent years, there are still some places around the world where the act of coming out is questionable and deeply troubling. In some cases, such a step raises serious issues about social acceptance, as well as self-preservation and legal ramifications. It may even prompt some individuals to doubt their genuine intuitive impulses about their natural inclinations just to be able to fit in (and stay alive). Such is the case in Nigeria, as depicted in the debut feature from writer-director Babatunde Apalowo, a Nigerian-born filmmaker based in the UK. In his first feature release, Apalowo tells the story of Bambino (Tope Tedela), a motorcycle deliveryman who meets and befriends Bawa (Riyo David), an aspiring photographer with whom he starts spending considerable time, a connection that carries implications greater than just friendship. However, given the country’s social taboos and illegality considerations, as well as sustained pressure from Efeyinwa (Martha Ehinome Orhiere), a neighbor who wants to become Bambino’s wife, the budding relationship between the two men remains at arm’s length. Bambino has doubts about his own sexuality, while Bawa believes that he and his new companion are destined for something deeper and more meaningful. But will that happen? The film probes this question as the two men tenuously circle one another, trying to figure out what’s next. Admittedly, the pacing here can be somewhat on the slow side at times, but that’s understandable given the circumstances under which they’re operating. But, by taking this approach, the filmmaker has an opportunity to present their story in a highly sensual way, one that creates ample sexual tension that’s fittingly augmented by the picture’s carefully framed shots, many of which allow the actors to convey tremendous depth of feeling merely with facial expressions and body language. The tone, message and style of filmmaking are all reminiscent of filmmaker Barry Jenkins’s Oscar-winning best picture “Moonlight” (2016), a perspective that carries significant ramifications in a culture that often denies the very existence of gay individuals within its ranks. The film thereby provides a revelatory look into a segment of society that many don’t recognize, understand or acknowledge. Like this film’s American counterpart, however, it’s imperative that viewers have patience with this one, giving it time to develop and emerge with a story that’s heartfelt, eye-opening, and, above all, rewarding.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/02/Cocaine-Bear-600x950.jpeg" alt="" class="wp-image-15756" width="300" height="475"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/cocaine-bear/">“Cocaine Bear”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.uphe.com/movies/cocaine-bear">Web site</a> <a href="https://www.youtube.com/watch?v=DuWEEKeJLMI">Trailer</a></strong></p><br/><br/><br/><br/><p>From the film’s title, you can probably guess that this is a one-joke movie, a premise borne out in the trailer and in the picture itself. But, frankly, who cares? This delightfully campy dark comedy arguably has a few pacing and editing issues, as well as some bits that fall a little flat, but it’s generally a filling smorgasbord of over-the-top, goofy, gory fun. Director Elizabeth Banks’s third feature outing definitely won’t appeal to everyone because of its rampant silliness and its gratuitous shock value that’s more than a fitting homage to the cheesy, tacky 1980s slasher movies reminiscent of the time frame in which this fact-based true story is based. In essence, the premise is a simple one: a plane carrying an enormous stash of the powdery white substance crashes in the Chattahoochee National Forest, depositing its cargo within reach of a CGI-generated black bear who immediately becomes hooked on this find and embarks on an out-of-control murderous rampage, taking down an array of characters who have varying connections to the locale, the payload or other related considerations. And, yes, for what it’s worth, this soon becomes a one-note narrative, but the note is played differently every time it’s struck, with funny little twists and ever-more grisly (but creatively hilarious) imagery thrown in for good measure, the kind of laughs typical of cult classics and the fare of midnight shows. This offering also features fine performances by the likes of Margot Martindale, Christian Convery and the late Ray Liotta in his final screen portrayal, all of whom were good sports in recognizing the high-camp factor of this material. Look, let’s face it, drugs are often an inherently funny source of gut-busting humor (more so here literally than in many other cinematic vehicles), so just go with it on that level rather than trying to assess it otherwise – and running the risk of succumbing to the logic contained in the screeds of tiresome, droll, stick-in-the-mud naysayers (as many allegedly esteemed critics have written about in their dour, dull, joyless, overly somber evaluations). Enjoy this one in the kitschy spirit in which it was intended – and ignore anyone who screams “just say no.”</p><br/><br/><br/><br/><figure class="wp-block-image size-full"><img src="https://brentmarchant.com/wp-content/uploads/2023/03/Exodus.jpg" alt="" class="wp-image-15853"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/exodus/">“Exodus”</a> (Sweden)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.cineuropa.org/en/film/437692/">Web site</a> <a href="https://www.cineuropa.org/en/video/rdid/437692/">Trailer</a></strong></p><br/><br/><br/><br/><p>The refugee crisis (especially those escaping from Syria) is an issue that is finally getting its due cinematically, first with the Netflix fact-based offering “The Swimmers” (2022) [<a href="https://brentmarchant.com/2023/02/15/the-swimmers-illustrates-how-to-beat-the-odds/">https://brentmarchant.com/2023/02/15/the-swimmers-illustrates-how-to-beat-the-odds/</a>] and now with this impressive debut feature from writer-director Abbe Hassan. The film follows the odyssey of a young Syrian girl (Jwan Alqatami), travelling alone, who flees to Turkey from her homeland on her way to Sweden for a reunion with her sisters and parents. But, upon exiting the crowded shipping container that transported her on the first leg of her journey, she’s met with a raid by Turkish immigration authorities, barely escaping in the unexpected company of one of the exploitive smugglers who organized her flight to freedom (Ashrof Barhom). Thus begins a trek through Europe as this seemingly mismatched duo makes its way to Sweden, a perilous trip that embroils the protagonists in an engaging array of challenges and revelations, especially the uncovering of the many different sides of these complex characters, superbly portrayed by Alqatami and Barhom. As this story plays out, the filmmaker effectively weaves together elements from a variety of genres, including action-adventure tales, thrillers, emotionally touching dramas and road trip/buddy movies, successfully depicting the refugee saga for it truly is – a bittersweet experience filled with joys, triumphs, disappointments and tragedies. It draws much-needed attention to the plight of these downtrodden souls seeking safety from an insane conflict that’s needlessly displacing so many innocents caught in the crossfire, just one of many such clashes currently occurring around the world. “Exodus” is a genuinely compelling watch, one that truly deserves a mainstream theatrical distribution, as well as recognition for the attention it so absorbingly draws to this urgently heartbreaking crisis.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/Godland_Poster_27x40_r_original-600x889.jpg" alt="" class="wp-image-16233" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/08/02/godland-chronicles-a-spiritually-evolutionary-journey/">“Godland” (“<em>Vanskabte land</em>”)</a> (Denmark/Iceland/France/Sweden)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.janusfilms.com/films/2099">Web site</a> <a href="https://vimeo.com/789053419">Trailer</a></strong></p><br/><br/><br/><br/><p>What is God? Is it a reasoned, rational civilized entity or a wild, untamed force full of unrestrained power in search of being reined in? And, in light of that, then, what kind of relationship are we supposed to have with this elusive divine enigma? That’s one of many unexpected challenges put to a young Lutheran priest (Elliott Crosset Hove) who’s charged with building a church in a small community of Danish immigrants transplanted from the homeland in late 19th Century Iceland, the so-called “unforgiving island.” But, rather than sail directly to his new future home, he chooses to land on the island’s southeastern coast and cross the diverse terrain to his destination, partly to get to know the land and its people but also to indulge his hobby as a pioneering photographer. Once there, however, he gets more than he bargained for, given the difficulty of the journey and the many extreme differences in language, sensibilities and rugged lifestyle compared to the more genteel Denmark he left behind. This combination of elements tests his wits, his patience, and, above all, his faith, as events unfold in unforeseen and potentially disturbing ways. It’s an evolutionary journey for which he’s unprepared and often unable to fathom, prompting him to question much of what he believes and how he conducts himself. The result is a thoughtful meditation on these issues, featuring positively stunning cinematography, fine performances and superb production values. The pacing is surprisingly well balanced, too, especially for a film with a 2:23:00 runtime, though some of the picture’s montages – as beautiful as they are – probably could have been dialed back somewhat without significantly impacting the finished product. Writer-director Hlynur Pálmason’s fact-inspired tale is arguably his best work to date, but be sure to give this one the time that it deserves to thoroughly appreciate and enjoy it, both for its sheer beauty and for everything it has to say about the divine and the place it occupies in our lives.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/07/joyr-2025x3000-online-1-sheet-v2-600x889.jpg" alt="" class="wp-image-16257" width="290" height="428"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/joy-ride/">“Joy Ride”</a> (UK/USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.joyride.movie/">Web site</a> <a href="https://youtu.be/Nn28aZkrFn4">Trailer</a></strong></p><br/><br/><br/><br/><p>Bawdy, raunchy humor generally isn’t my style, but, when it’s done with wit, creativity and no-holds-barred originality, it gets my attention quickly, which this filmmaking debut from writer- director Adele Lim captures from the very first line of the picture (and never lets go thereafter). This rapid-fire screwball comedy follows the exploits of four young Asian women (Ashley Park, Sherry Cola, Sabrina Wu, Stephanie Hsu) on an outlandish road trip through China that steadily deteriorates and routinely places them squarely in a host of raucously hilarious, debauchery-riddled situations. In doing so, the film steadily serves up huge laughs in a story that’s accurately billed as a release unlike anything that moviegoers have seen before. While it’s true that the narrative stretches credibility a bit at times and the film has its share of predictable and sweet but sappy moments, those minor faults are vastly overshadowed by its many strengths, including its fine ensemble cast, balanced pacing, and vibrant, colorful, superbly crafted production design. Because of the nature of the humor, however, sensitive viewers may want to skip this one (though it’s truly hard not to laugh, no matter how conservative one’s views might be). “Joy Ride” may not have received much fanfare or pre-release publicity, but it’s one of the funniest comedies to come along in quite some time, and it proved to handily be one of the best offerings of 2023’s stunningly disappointing summer movie season. Indeed, get ready to seriously laugh your ass off with this one.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/Memory-600x886.jpg" alt="" class="wp-image-16898" width="300" height="443"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/memory/">“Memory”</a> (USA/Mexico)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.memory-film.com/">Web site</a> <a href="https://youtu.be/KeLbykMmLho">Trailer</a></strong></p><br/><br/><br/><br/><p><a>How we remember our past is something we can all bank on, right? Or is it? For instance, what happens when mitigating influences impact our memory, potentially causing it to become fallible and untrustworthy? Can we truly rely on our recall then? Those are among the questions raised in this unconventional romantic thriller from writer-director Michel Franco. The film follows the life of Sylvia (Independent Spirit Award nominee Jessica Chastain), a recovering alcoholic with a troubled past who’s unexpectedly (and alarmingly) followed home from her high school reunion by an alleged former classmate, Saul (Peter Sarsgaard), whom she believes sexually molested her while she was a teen. She’s troubled by this latest incident and questions his motives about it, which even he doesn’t understand, especially when it’s revealed that he suffers from dementia. And, in an added twist, it turns out that Sylvia’s recall about her supposed past interaction with him is foggy, something that’s not entirely surprising in light of her history. This revelation changes everything, and an entirely new relationship between them emerges, particularly when it comes to each of them helping one another sort out their respective pasts and begin the healing process. This includes the exposure of an array of additional developments and the persistence of some still-unresolved ambiguities, all of which emerge through a skillfully crafted narrative, effectively brought to life with the superb performances of Sarsgaard and Chastain. Admittedly, the picture’s first half could benefit from some stepped-up pacing, most notably the elimination of some sequences that are occasionally redundant and innately tiresome. However, the intrigue and engagement ramp up significantly in the picture’s back end, making up for much of the tedium in the opening act. Some of this is ironically accomplished through deftly handled nuance and subtlety, qualities that the filmmaker employs far more skillfully in the second half than in the first, where these traits are virtually obscured by prevailing understatement. Clearly, this is one of those releases that requires the viewer to give it some time to develop, but the payoff for doing so is worth it in the end. If nothing else, “Memory” provides us with a fresh perspective on its central theme while showing us how “like can cure like” in a psychological therapeutic process, an approach that can yield rewards beyond measure.</a></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/monica_keyart_review_030923-600x886.jpg" alt="" class="wp-image-16202" width="300" height="443"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/07/03/monica-examines-acceptance-forgiveness-choice/">“Monica”</a> (Italy/USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.monicamovie.com/">Web site</a> <a href="https://www.youtube.com/watch?v=os8xbNzqA2I">Trailer</a></strong></p><br/><br/><br/><br/><p>Acceptance, reconciliation and forgiveness are arguably among the hardest feelings for many of us to deal with, but coming to terms with them is by no means impossible. When Monica (Trace Lysette), a transgender woman kicked out by her family as an adolescent, leaves her Midwestern home and heads to California to start a new life, she struggles to get by. And, after years of effort, she indeed manages to work it out for the most part. But, years later, when Monica’s sister-in-law (Emily Browning) informs her that her long-estranged mother (Patricia Clarkson) is terminally ill, she’s torn about what to do. Should she ignore the news or step up as a dutiful child? She reluctantly relents and heads back to Ohio to help care for the woman who threw her out of the house, a situation made more complex by the fact that her mother’s malignant brain tumor has seriously affected her memory, leaving her unaware of the identity of the new caregiver who has suddenly appeared in her life. Writer-director Andrea Pallaoro’s third feature outing presents a deftly nuanced, sensitively handled story of a family painfully torn apart trying to put itself back together again under trying circumstances and while there’s still time. The pacing comes across as somewhat slow (undoubtedly by design), so those expecting material that moves along at a brisk, breezy clip may not find it to their liking, but, given the profound nature of the subject matter, it suits the narrative perfectly. There are admittedly a few plotline gaps here and there, but they’re more than adequately compensated for by the film’s superb ensemble cast, razor-sharp writing and gorgeous, atmospheric cinematography. “Monica” may not have received much fanfare upon its theatrical release early in 2023, but this fine streaming offering is well worth the time, providing viewers with a moving cinematic experience that many of us can probably relate to – and whose wisdom should be thoughtfully considered should the need arise in one’s life.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/Nuevo-Olimpo-400x560.jpg" alt="" class="wp-image-16688" width="300" height="420"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/nuovo-olimpo/">“Nuovo Olimpo”</a> (Italy)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.netflix.com/title/81645391/">Web site</a> <a href="https://youtu.be/NatMTfOZsl8">Trailer</a></strong></p><br/><br/><br/><br/><p>Old friends long separated are said to have a deeply rooted connection to one another that allows them to pick up where they left off no matter how long they’ve been apart. The same is arguably true for those who were once romantically linked but have been on their own for some time. And that heartwarming sentiment comes to life loud and clear in this touching but bittersweet Italian love story about two young men (Andrea Di Luigi, Damiano Gavino) who meet in passing and briefly fall madly for one another, only to be separated by unforeseen circumstances not long thereafter. With no way to contact one another, they thus lose touch and go their separate ways, but their unspoken mutual passion never dissipates, as becomes apparent over the next 30 years until another chance encounter unexpectedly reunites them. But what are they to do then – pursue their hearts’ desire or remain committed to the new lives they’ve created for themselves? Those surrogate existences don’t possess the same passion as what they’ve held in their hearts for each other for so long, but can they realistically walk away from what they’ve built? In many ways, writer-director Ferzan Özpetek’s latest has a robust streak of romantic universality running through it, one whose essence extends beyond the scope of the LGBTQ+ community and effectively embodies the overarching notion that love is love, no matter what one’s sexual orientation might be. It’s also intriguing to note that the picture’s various segments poignantly echo elements of Italian culture and cinema that were in vogue during each of the time frames in which those sequences are set, capturing the look and feel of the periods ranging from the late 1970s to the present day. What’s more, the lives of the lovelorn partners are nicely supplemented by an array of colorful supporting players, giving the narrative a degree of depth and diversity that doesn’t place the story’s entire emphasis on the protagonists’ pining away for one another. In all, this is an ideal date night movie that lovers who are truly in love will be able to appreciate and enjoy. Sensitive viewers should be forewarned that there are a few explicit sexual sequences in this offering, but, given that this is a Netflix streaming release, that likely shouldn’t pose a problem for those watching in the comfort of their own homes (or bedrooms). Time and space may separate us, but they can’t take away what’s in our hearts, as “Nuovo Olimpo” so eloquently shows.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/377714730_24494884220098835_3316455518587957972_n-600x889.jpg" alt="" class="wp-image-16491" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/rotting-in-the-sun/">“Rotting in the Sun”</a> (USA/Mexico)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt24146896/">Web site</a> <a href="https://youtu.be/pKKnigivVFc">Trailer</a></strong></p><br/><br/><br/><br/><p>When an overwrought, angst-ridden, drug addicted filmmaker (Sebastián Silva playing a fictional version of himself) unexpectedly meets a wacky, unhinged comedian/social media influencer (Jordan Firstman playing a fictional version of himself) at a gay Mexican beach resort, the troubled director does all he can to distance himself from his new acquaintance when he becomes interminably annoying, especially in his incessant, unfocused pitches for collaborating on a new movie project. But, when the financially strapped filmmaker returns to his home in Mexico City, he reluctantly relents on the comic’s offer when all his other production proposals are turned down by would-be backers. He thus invites his new writing partner to come stay with him while they hammer out the script, but, upon his collaborator’s arrival, he finds the director has mysteriously disappeared. What ensues is a humorous gay comedy-mystery in which clues about the disappearance slowly emerge. At the same time, however, the story also delves into some surprisingly mature and insightful themes, developments very much in contrast to the film’s screwball narrative and its somewhat manic opening act. Writer-director Silva’s latest thus presents viewers with an intriguing combination of plot elements that one might think shouldn’t belong in the same picture but that work surprisingly well together. While it’s true that the ending seems somewhat abrupt and that some segments run on a little too long (particularly in the first half-hour), with a few others that could have been omitted entirely, the majority of the material nevertheless holds together well, making for an entertaining, if somewhat offbeat, time at the movies. Sensitive viewers are strongly cautioned, however, that the film features numerous scenes with explicit depictions of gay male sexuality, so those who are easily given to offense may wish to pass on this unrated release. Those considerations aside, though, this is a film that’s more than it might superficially seem, particularly the further one gets into the story. With three Independent Spirit Award nominations to its credit, this offering is quite an eye-opening ride into a world that many may be unfamiliar with, but it’s also one that simultaneously makes us laugh and makes us think – a rare combination to be found in the same picture, to be sure.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/06/SOMEWHERE-IN-QUEENS-FINAL-LAYERED-ART-copy-1-scaled-1-600x889.jpg" alt="" class="wp-image-16220" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/07/12/how-to-walk-ones-talk-somewhere-in-queens/">“Somewhere in Queens”</a> (USA)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.somewhereinqueensmovie.com/home/">Web site</a> <a href="https://www.youtube.com/watch?v=T_YDDN66Q1I">Trailer</a></strong></p><br/><br/><br/><br/><p>Genuinely funny family comedies – those without rampant silliness, obnoxiously cynical, smart-mouthed kids, and saccharine-encrusted coatings – have become a rarity in recent years, but, fortunately, this debut feature from actor-writer-director Ray Romano has breathed some new life into this genre. This film about a blue collar New York construction worker (Romano) follows his loving efforts to help out his painfully shy but gifted 18-year-old son (Jacob Ward) earn a college basketball scholarship in an effort to help him stave off a future that’s likely to be disappointingly identical to his own. However, despite his earnest, heartfelt gestures, he ends up creating more issues than he bargained for, some of which threaten to saddle his tight-knit Italian family with more headaches and hurt than expected. The result is a delightful though far from sappy offering very much in the mode of comedies they generally don’t make any more. The film is chock full of hilarious one-liners from a smartly written script that’s executed with snappy direction, steadily paced editing and fine acting, especially in the award-worthy performance of Laurie Metcalf as the athletic prodigy’s mother. The picture also presents one of the best send-ups of New York Italian family life since “Moonstruck” (1987), raucous without becoming riddled with stereotypes. To be sure, a few story threads would have been better cut out or scaled back, but, on balance, “Somewhere in Queens” serves up a charming, entertaining offering with a number of unexpected twists and turns to keep the material fresh and lively. The film may not have received much fanfare with its limited theatrical release early in 2023, but, thankfully, it’s available for streaming online and more satisfying than a big bowl of pasta. <em>Abbondanza!</em></p><br/><br/><br/><br/><p><strong>Noteworthy Delayed Releases (In Alphabetical Order)</strong></p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/03/Black-Box-400x593.jpg" alt="" class="wp-image-15823" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/04/07/black-box-shows-hearing-is-believing/">“Black Box” (“<em>Boîte noire</em>”)</a> (France/Belgium)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.distribfilmsus.com/portfolio/black-box/">Web site</a> <a href="https://www.youtube.com/watch?v=_dooRWLaKns">Trailer</a></strong></p><br/><br/><br/><br/><p>Talk about a helluva movie! Writer-director Yann Gozlan’s stylish, suspenseful thriller follows the plane crash investigation conducted by a diligent, talented aviation technician (Pierre Niney) whose keen sense of hearing is a valuable asset in reviewing the contents of the downed aircraft’s cockpit voice recorder (CVR or more commonly called “the black box”). But, given his reputation for being scrupulously thorough, he’s not satisfied by what appears to be the obvious explanation, a conclusion that draws criticism from many of his colleagues, who believe that he’s chasing windmills, if not paranoid and possibly delusional. His dogged determination won’t let him stop, however, especially when a number of suspicious smoking guns begin turning up, some that hit close to home and begin placing his credibility, and even his personal safety, in jeopardy. Despite a slight tendency to drag a bit in the second hour, this contemporary noir-esque offering gets virtually everything else right. Its inventive cinematography, excellent film editing, engaging soundtrack and fine performances mesh perfectly, and the slow-simmering pace is ideal as clues are meticulously doled out in carefully measured parcels, much like what one might find in the pictures of Alfred Hitchcock, Brian DePalma and Roman Polanski. In fact, in many ways, the structure of this release is strongly reminiscent of Polanski’s chilling and captivating slowburn thriller, “The Ghost Writer” (2010). I’m truly mystified why this picture hasn’t received wider attention or distribution, having played in extremely limited theatrical release in 2022, but, thankfully, it’s now available for streaming online and home media. If you’re looking to watch something that will hook you and take you on a spellbinding thrill ride, give this one a look; you won’t regret it.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/02/strand_tbc_1sheet_v7b2_540x800-400x593.jpg" alt="" class="wp-image-15759" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/03/27/the-blue-caftan-celebrates-love-in-all-its-colors/">“The Blue Caftan” (“<em>Le bleu du caftan</em>”)</a> (France/Morocco/Belgium/Denmark)</strong></p><br/><br/><br/><br/><p><strong><a href="https://strandreleasing.com/films/the-blue-caftan/">Web site</a> <a href="https://www.youtube.com/watch?v=hvXRk6D2XeQ">Trailer</a></strong></p><br/><br/><br/><br/><p>Perhaps the biggest question I have in connection with this film is, “Why hasn’t it received far more recognition than it has?” This positively beautiful picture – winner of the Un Certain Regard FIPRESCI Prize at the 2022 Cannes Film Festival – should have received far wider attention than it has. Writer-director Maryam Touzani’s second feature outing tells the tender, touching story of a middle-aged husband and wife (Saleh Bakri, Lubna Azabal), owners of a traditional Moroccan caftan shop who take on a handsome young apprentice (Ayoub Missioui) to help with their backlog of orders, a decision with ramifications that extend beyond the workplace, including those of an amorous nature. This gorgeously filmed, sensitively presented tale succeeds on so many levels that it’s difficult to list them all – a superbly nuanced screenplay, a beautiful background score, gorgeous costuming and exquisite cinematography, to name just a few. It also brilliantly evokes a variety of moods, from romantic to loving to sensual to erotic, all without ever becoming obvious, excessive or tawdry (though don’t be surprised if it opens up the water works at times, so keep the hankies within reach). Then there are the stellar performances of the three principals, all masterfully handled by Azabal, Bakri and newcomer Missioui. Indeed, how this one got so egregiously overlooked truly escapes me. It should have rightfully claimed nominations for best foreign language/international film in a number of competitions, given its far superior attributes compared to many of the underwhelming releases that somehow managed to land awards or nominations. It’s rare these days when a film has just about everything going for it, but “The Blue Caftan” certainly succeeds at this and is definitely well worth the viewing time.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/08/6-600x889.jpg" alt="" class="wp-image-16359" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/08/20/blue-jean-challenges-exclusion-homophobia/">“Blue Jean” </a>(UK)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.magpictures.com/bluejean/">Web site</a> <a href="https://www.youtube.com/watch?v=Ig4pNINEsmc">Trailer</a></strong></p><br/><br/><br/><br/><p>It wasn’t all that long ago when the LGBTQ+ community not only didn’t have legal protections for its rights, but also faced blatant discrimination against its constituents, prejudiced initiatives aimed at denying them equal treatment under the law and even subjecting them to lawfully sanctioned ostracism. This was true even in “civilized” and “progressive” societies like those found in North America and Europe. And it prompted individuals to live in fear of losing their jobs and leaving them open to ridicule without ramifications for their detractors, not to mention disrespect and mistrust from their own families. Those chilling conditions are ominously brought to light in this period piece drama set in the UK in the late 1980s, when Prime Minister Margaret Thatcher’s Conservative government sought the passage of Section 28, legislation aimed at prohibiting activities openly promoting homosexuality, a bill carrying wide-sweeping implications for the LGBTQ+ community. Many of its constituents, like Jean (Rosy McEwen), a young lesbian physical education teacher, retreated into the closet to keep out of sight. But those efforts derailed whatever social progress had been made, damaging those individuals’ self-esteem and creating a divisive schism between those who vociferously demanded justice and those who chose to keep a low profile to protect themselves, as evidenced by the experiences of the teacher and her out and proud girlfriend (Kerrie Hayes). Writer-director Georgia Oakley’s debut feature does a fine (if somewhat predictable) job of illustrating this rift and the effects it had on both the public and personal lives of these people, an effort that earned the film a 2022 BAFTA Award nomination for Best Debut by a British Writer, Director or Producer. Admittedly, the picture’s opening act meanders a bit, but, once it gets on track, when the emergence of various damning revelations threatens to blow things wide open, it steadily grows more powerful and heartfelt, qualities supported by the fine performances of the cast, solid writing, and its skillfully crafted atmospheric cinematography and production design. It also provides viewers with a potent cautionary tale about the effects of initiatives like Section 28 (which was in force from 1988 to 2003) and the parallels to this legislation that are currently under consideration in various US jurisdictions. It effectively shows us how Jean became so blue – and how we should seek to prevent the same from happening to the rest of us.</p><br/><br/><br/><br/><figure class="wp-block-image size-full"><img src="https://brentmarchant.com/wp-content/uploads/2023/03/Fathers-and-Mothers.jpg" alt="" class="wp-image-15827"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/05/16/fathers-and-mothers-scrutinizes-parents-behaving-badly/">“Fathers and Mothers” (“<em>Fædre og mødre</em>”)</a></strong> <strong>(Denmark)</strong></p><br/><br/><br/><br/><p><strong><a href="https://cineuropa.org/en/film/432985/">Web site</a> <a href="https://www.youtube.com/watch?v=7LSLed7vVOU">Trailer</a></strong></p><br/><br/><br/><br/><p>Ah, parents these days. They’re not what they used to be, which is unfortunate, as this scathing Danish comedy-drama aptly illustrates. Director Paprika Steen’s latest serves up a wickedly funny take on a group of upscale parents who have enrolled their children in an elite private school designed to help kids maximize their potential. Despite their seemingly good intentions, however, the parents in this story unwittingly compete with one another to be the best über-moms and dads possible, particularly when it comes to showing off their degrees of social consciousness and political correctness. In the process, they ostensibly engage in polite but toxic games of one-upsmanship with each other, posing that eventually transforms into bitter arguments that violate their so-called principles and bad behavior that makes anything their kids do look tame by comparison. Much of this plays out at a getaway country weekend for the parents and their children, where a form of unconscious role reversal takes place in which the grownups show their true colors on a variety of fronts as their more mature kids look on. Some may view all this as mean-spirited, but it’s actually spot-on when it comes to poignantly portraying the hypocrisy of those who believe that their you-know-what doesn’t stink. Given the multiple characters and story threads at work here, the film can be somewhat episodic at times, and a few of the narrative tracks don’t feel fleshed out as fully as they might have been. Nevertheless, this offering paints an authentic picture with its share of incisive dramatic moments, as well as ample biting humor that’s depicted directly, by implication and even in deftly placed visuals. When viewed in this context, it’s apparent that there’s a lot more going on here than may superficially meet the eye. There’s a great deal of insightful material tightly packed into this package, but it mostly involves things that need to be said – and, ultimately, in ways that are very much in your face. Let’s hope that those who need to get the film’s message indeed do considering what’s at stake.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/03/NEW_LetItBeMorning_Poster_NoBilling-400x592.jpg" alt="" class="wp-image-15801" width="300" height="444"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/03/29/let-it-be-morning-advises-escape-from-our-self-made-prisons/">“Let It Be Morning” (“<em>Vayehi Boker</em>”)</a> (Israel/France)</strong></p><br/><br/><br/><br/><p><strong><a href="https://cohenmedia.net/product/let-it-be-morning">Web site</a> <a href="https://www.youtube.com/watch?v=Hk4HF139W68">Trailer</a></strong></p><br/><br/><br/><br/><p>Prisons come in a variety of forms – some imposed on us, others self-created – but, regardless of how they materialize, they all have the same impact: a means for keeping us locked in place. The myriad permutations they embody and the ways in which they affect the members of a family and their community provide the focus for acclaimed writer-director Eran Kolirin’s latest. This gentle comedy-drama follows the lives of a rural community populated almost exclusively by Palestinians located within Israel’s borders that suddenly and inexplicably goes on lockdown for an indefinite period of time, preventing anyone from leaving or entering. As the ordeal wears on, residents begin running out of supplies, and their nerves become progressively frayed, prompting a growing number of standoffs, confrontations, revelations and even reconciliations as the characters all seek to free themselves from their confines, be they physical, emotional, psychological or relationship-oriented. But, as troubling as all this may sound, events unfurl in unexpected ways, often laced with humor, satire and heartfelt emotion. Developments tend to evolve somewhat slowly, but the payoffs are definitely worth it in a story that’s beautifully told and photographed, backed by a gorgeous original score. Admittedly the picture tends to be somewhat episodic at times, but it manages to cover all its bases and leaves no narrative threads unresolved. This Un Certain Regard Award nominee from the 2021 Cannes Film Festival seems to have taken a rather long time to make it to general release, but the wait was definitely worthwhile, a touching, sincerely realized work and a genuinely heartrending cinematic gem, one of the finest films to come out of Israel in quite a while.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/09/Mon-Pere-Le-Diable-Our-Father-The-Devil-693x1024-1-600x887.jpg" alt="" class="wp-image-16445" width="300" height="444"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/09/09/our-father-the-devil-asks-when-is-it-too-late-to-do-the-right-thing/">“Our Father, the Devil” (“<em>Mon père, le diable</em>”)</a> (USA/France)</strong></p><br/><br/><br/><br/><p><strong><a href="https://www.imdb.com/title/tt13892558/?ref_=nv_sr_srsg_2_tt_8_nm_0_q_our%2520father">Web site</a> <a href="https://www.youtube.com/watch?v=0zk8SzZfpPQ">Trailer</a></strong></p><br/><br/><br/><br/><p>They say it’s never too late to do the right thing. But how far does that extend? Does it include, for example, atoning for the heinous crimes of a ruthless warlord responsible for the brutal murders of entire villages? Or must such a monster be forced to pay heavily for his crimes, no matter how long it’s been or how contrite the perpetrator may have become? And, in the midst of a debate like this, what would Jesus say? Those are the heady questions raised in this gripping drama about an African woman (Babetida Sadjo) who escapes the vicious atrocities of a cold-blooded strongman after he kills her family and starts her life over as a chef at a nursing home in France. But, when a new priest (Souleymane Sy Savane) unexpectedly shows up at the senior facility, she’s thrown back into the terror of her past when she recognizes the cleric as the man who took her life away from her. What is she to do? How is she to cope? And how will she handle the situation? That’s the story that plays out in writer-director Ellie Foumbi’s brilliant debut feature, a gripping tale that will keep audiences on the edge of their seats. The picture’s mutilayered narrative keeps viewers (and characters) guessing, almost as if both are being toyed with by the filmmaker, but this is carried out so skillfully that one can’t help but remain riveted. The story is effectively fleshed out by the film’s superb ensemble cast (especially the two leads), backed by inventive cinematography, exceedingly clever film editing, a fine background score, an array of subtle touches and a surprising amount of strategically placed, well-executed comic relief. Admittedly there are some modest pacing issues in the middle, but they’re usually employed to set up one of the picture’s <em>many</em> smartly developed plot twists. This 2023 Independent Spirit Award nominee for best feature, as well as the recipient of many film festival award wins and nominations, is a well-kept cinematic secret that genuinely deserves wider attention, both as a thoughtful meditation and as an engaging drama.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/08/Roise-and-Frank-Poster-small-600x889.jpg" alt="" class="wp-image-16367" width="300" height="445"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/08/24/roise-frank-celebrates-undying-devotion/">“Róise & Frank”</a> (Ireland)</strong></p><br/><br/><br/><br/><p><strong><a href="https://junofilms.com/req.php?req=static.php&page=roise-and-frank">Web site</a> <a href="https://www.youtube.com/watch?v=ouuqFHH_slw">Trailer</a></strong></p><br/><br/><br/><br/><p>How refreshing it is to watch a sweet, touching family film without it oozing enough sugary syrup to make even the most hardened stomach nauseous. Such is the case with the latest offering from writer-directors Rachael Moriarity and Peter Murphy, a warm, loving, heartfelt tale about a profoundly saddened and withdrawn Irish widow, Róise (Bríd Ní Neachtain), who springs back to life with the arrival of a mysterious stray dog whom she suspects is the reincarnation of her late husband. While those in her life are supremely skeptical, she can’t deny the plethora of synchronicities that occur that reveal the tail-wagging rascal’s true nature. By coming back, “Frank” (Barley the dog) helps his wife emerge from her prolonged grief and assists others, such as a geeky young neighbor boy (Ruadhán de Faoite) in becoming a proficient hurling player, a sport that the dog’s human predecessor fanatically loved. But there’s even more to Frank’s return, as seen in a heart-tugging series of unexpected twists and turns that will positively leave viewers teary-eyed with joy. Despite a few predictable story elements, “Róise & Frank” nevertheless manages to delight in a natural, emotionally grounded way that never seems forced or artificial, thanks to its fine performances, breezy writing, beautiful cinematography of the Irish landscape and affecting original score. This enchanting Gaelic language offering will charm audiences to no end without ever resorting to schmaltz or manipulation, earning every reaction it evokes. Like its four-legged protagonist, this one could indeed leave viewers coming back for more.</p><br/><br/><br/><br/><figure class="wp-block-image size-full"><img src="https://brentmarchant.com/wp-content/uploads/2023/03/Splendid-Isolation.jpg" alt="" class="wp-image-15900"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/quick-cuts/splendid-isolation/">“Splendid Isolation”</a> (Netherlands)</strong></p><br/><br/><br/><br/><p><strong><a href="https://cineuropa.org/film/420220/">Web site</a> <a href="https://www.youtube.com/watch?v=hjYvPggzxMU">Trailer</a></strong></p><br/><br/><br/><br/><p>What kind of movie would we have if Ingmar Bergman directed a sci-fi/fantasy film? That’s an intriguing prospect, one that’s precisely what’s on offer in this fascinating release from writer-director Urszula Antoniak. This surrealistic tale of two women (Anneke Sluiters, Abke Haring) on an otherwise-uninhabited island in the wake of some unspecified mass catastrophe follows them through their largely unstructured daily lives. Their story primarily focuses on their unusual relationship, which takes the form of a less-than-veiled metaphor for the nature of the COVID-19 pandemic, characterized here by a quietly “polite,” but nevertheless unmistakable, power struggle between an aggressive authority figure (Haring) and a reluctantly submissive everywoman (Sluiters). But there’s more to it than that, as becomes gradually apparent as the film plays out. What’s most impressive here, though, is that the minimalist narrative unfolds with remarkable symbolic subtlety, represented by the picture’s many deftly nuanced elements that are neither overly enigmatic nor unduly obvious, all eloquently enhanced by the film’s gorgeous cinematography and beautiful background score. It calls to mind the stories told in pictures like <a href="https://brentmarchant.com/2022/04/16/the-pink-cloud-ponders-questions-of-perspective/">“The Pink Cloud”</a> (2021) and “Embers” (2015), even though the nature of the seminal event in this story is never delineated (though, from the way things unfold, it’s not especially necessary either). Admittedly, some aspects of the story seem clumsily improvised, and others start out needlessly cryptic, but, once the symbolism of these sequences becomes apparent, they prove stunningly incisive, especially when interpreted on a collective basis. The result is an insightful, thought-provoking, economically told release that proves a film can successfully and expressively present meaningful material by showing more than telling, a model that more filmmakers would be wise to follow.</p><br/><br/><br/><br/><figure class="wp-block-image size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/04/VIKING_affiche-rouge_27x39-1920w-600x867.jpg" alt="" class="wp-image-16009" width="300" height="434"/></figure><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/05/07/viking-stresses-the-need-for-flexibility-resourcefulness/">“Viking”</a> (Canada)</strong></p><br/><br/><br/><br/><p><strong><a href="https://brentmarchant.com/2023/05/07/viking-stresses-the-need-for-flexibility-resourcefulness/">Web site</a> <a href="https://www.youtube.com/watch?v=a_mdIEDJwNw">Trailer</a></strong></p><br/><br/><br/><br/><p>What would you do if you encountered problems while serving as a member of the first mission to Mars? You could probably contact experts for advice on technical issues easily enough, but what about personal or interpersonal issues? That might not be as easy, especially if a psychiatrist wasn’t part of the crew. So what is one to do? In this inventively fictional what-if offering, space agency officials assemble and isolate an earth-based team of counterparts whose personalities, interests and character are virtually identical to those of their Red Planet doppelgangers. The purpose? To see how these terrestrial surrogates respond to the kinds of challenges that could potentially affect their Martian peers as a means for developing civil solutions and helpful coping mechanisms when these situations arise. Good intentions aside, however, things don’t quite work out as anticipated, both for the astronauts and their earthbound doubles. And that premise provides the basis for this brilliant French Canadian sci-fi comedy-drama whose wry humor (some of it quite dark) is simultaneously hilarious, insightful and metaphorical, not to mention astoundingly original, with some of the best writing I’ve seen in ages. The film’s intriguing foundation and telling narrative speak volumes to us on multiple levels (some of which have nothing at all to do with space travel; one could think of this as a fusion of the TV series <em>Moon Base 8</em> and a Stanley Milgram behavioral experiment). All of this is backed up by the picture’s fine performances, superb score and outstanding art direction/production design, along with more than a few cinematic homages to such otherworldly classics as <a href="https://brentmarchant.com/2018/05/20/ode-one-filmdoms-finest/">“2001: A Space Odyssey”</a> (1968). It’s no wonder that this release captured an impressive 10 Canadian Screen Award nominations, including a win for its stunningly gorgeous cinematography. It’s so heartening to see a film these days that’s highly intelligent, raucously funny, supremely thoughtful and eminently entertaining all at the same time. Writer-director Stéphane Lafleur’s fifth feature outing may not have received much fanfare, but this truly is a picture well worth seeing (thankfully it’s available for streaming on multiple platforms). This one is sure to put you into orbit.</p><br/><br/><br/><br/><p>Copyright © 2023-2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-16147072929456697862024-01-29T18:56:00.001-06:002024-01-29T18:56:58.524-06:00True Love on The Cinema Scribe<p>Tune in for the latest <em>Cinema Scribe</em> segment on Bring Me 2 Life Radio, beginning Tuesday January 30, available by <a href="https://www.spreaker.com/show/thecinemascribe">clicking here</a>. You can also catch it later on demand on Spreaker, Spotify, Apple Podcasts, iHeartRadio, Podchaser, Audible, Deezer, Podcast Addict and Jiosaavn.</p><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/American-Symphony-Promo-600x600.png" alt="" class="wp-image-16961" width="450" height="450"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-83780540187566860962024-01-27T17:46:00.001-06:002024-01-27T17:46:46.425-06:00‘All of Us Strangers’ celebrates the enigmatic power of love<figure class="wp-block-image alignright size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/AOUS_ONLINE_POSTER_1334x2000_PAYOFF_FIN-400x600.jpg" alt="" class="wp-image-16918" width="300" height="450"/></figure><br/><br/><br/><br/><p>“All of Us Strangers” (2023). Cast: Andrew Scott, Paul Mescal, Jamie Bell, Claire Foy, Carter John Grout. Director: Andrew Haigh. Screenplay: Andrew Haigh. Book: Taichi Yamada, <em>Strangers</em>. <a href="https://www.searchlightpictures.com/all-of-us-strangers/">Web site</a>. <a href="https://youtu.be/O97iSjvqBlY">Trailer</a>.</p><br/><br/><br/><br/><p><a>Love is truly an enigmatic force. When it’s present in our lives, it can move us to indescribable degrees of joy, bliss and fulfillment. But, when it’s absent – particularly when it’s suddenly snatched away from us – it can leave us in the depths of despair, a sense of despondency from which we may often feel we’ll never escape. However, just when all seems lost, it can have a way of sneaking back into our lives, restoring what’s missing and helping us heal, both ourselves and sometimes others. It’s hard to imagine how one thing can do so much, but it’s true. And, if you doubt that, then make an effort to screen the new surrealistic romantic drama, “All of Us Strangers.”</a></p><br/><br/><br/><br/><p><a>Adam (Andrew Scott), a middle-aged, modestly successful gay screenwriter, leads what appears to be a rather solitary life. He spends most of his days at home, an apartment in a modern, smartly appointed London high-rise that’s, surprisingly, mostly unoccupied. He fills his time attempting to write, channel surfing, noshing and striving to rally his motivation, but he doesn’t seem particularly bothered that he’s not more productive. It’s a somewhat lonely existence, but he doesn’t seem especially anxious about this, either, at least outwardly. But that pattern begins to change late one evening when a building fire alarm begins to sound.</a></p><br/><br/><br/><br/><p>As expected, Adam exits the building and, once outside, observes from the lack of lights turned on in the structure just how vacant it really is, an ironic metaphor mirroring the state of his own life. Not long after returning to his apartment, though, there’s an unexpected knock at his door. When Adam cautiously opens it, he finds a stranger with an open liquor bottle standing before him. The evidently inebriated visitor, another of the building’s few occupants, a middle-aged gay man named Harry (Paul Mescal), strives to strike up a conversation with his neighbor. Like Adam, Harry is apparently lonely, too. He mentions that he’s seen Adam around the building before but admits that he made no effort to speak with him. This time, however, he coyly attempts a less-than-subtle flirtation. Harry even tries to invite himself in, but his advances go nowhere. Adam politely rebuffs Harry’s offer and says his good nights.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/All-of-Us-Strangers-2-600x250.jpg" alt="" class="wp-image-16938" width="450" height="188"/><figcaption class="wp-element-caption"><strong>Screenwriter Adam (Andrew Scott, right) visits with his Mum (Claire Foy, left) at his childhood home in the London suburbs after a long separation, giving them a chance to get caught up and reacquainted after a long time apart in director Andrew Haigh’s latest, “All of Us Strangers.” Photo courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>Afterward, however, the surprise incident gets Adam thinking about his existence and what Harry’s impulsive invitation might have led to. In fact, it prompts some concerted soul-searching and reflection about his life in general, going all the way back to the time when he was a young lad (Carter John Grout). He spontaneously then decides to visit the London suburbs where he grew up, including a stop at his childhood home and a meeting with his parents (Jamie Bell, Claire Foy), whom he hasn’t seen for some time. The three of them get caught up on what’s been happening in Adam’s life. He informs them about what he’s been doing, including his career accomplishments and personal life – things that one might think they should already know about. But, then, that in itself shows just how long they’ve not been a part of Adam’s life. Thus begins a surreal journey into the lives of these three long-separated family members – and how that separation has played out in Adam’s existence and shaped his outlook on life. It reveals just how lonely he is – and how he got that way.</p><br/><br/><br/><br/><p>Adam’s interaction with his parents proves valuable in many ways, however. It helps him heal from his loneliness. It helps him bring closure to their longstanding unexpected estrangement. And it helps him reassess the new possibilities now open to him, both for himself and, potentially, with Harry. And the key to making all this happen is that aforementioned enigmatic force – love.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-400"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/All-of-Us-Strangers-1-400x245.jpg" alt="" class="wp-image-16939"/><figcaption class="wp-element-caption"><strong>Budding romantic partners Adam (Andrew Scott, left) and Harry (Paul Mescal, right) seek to experience the promise of love and what it can do for them collectively and individually in the heartfelt, surrealistic new romantic drama, “All of Us Strangers,” now playing theatrically. Photo by Parisa Taghizadeh, courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>Of course, it’s not just love in itself that can accomplish all this. It depends on <em>what we do with it</em>, which, in turn, is driven by what we think and <em>believe</em> about it. And that’s crucial considering the role that our beliefs play in manifesting the reality we experience, the product of the conscious creation process, the philosophy that maintains these intangible resources are responsible for the materialization of the world around us. It’s hard to say how many of us are aware of this school of thought and how it can be employed, but it nevertheless offers us many choices and possibilities, especially in terms of how we employ it in creating what we experience. And, when there are opportunities for us to make use of it in significantly meaningful ways, it can be a viable option for bringing about what we want – and need – to make our lives better.</p><br/><br/><br/><br/><p>Before making our lives better, however, we must first grasp where we stand with regard to this force, and that’s something Adam must do for himself before he begins making any changes. As the film opens, he obviously recognizes that things aren’t quite what they should be, but he doesn’t seem to be able to specifically identify what’s wrong (hence his lingering ennui) or how to change it. However, when Harry appears, he begins to get a sense of how his circumstances might be rectified, even if he’s initially cautious and skeptical and takes no action to move forward. That hesitancy, however, gets the ball rolling with his analysis of his status and his search for answers. And, fortunately for him, he has enough insight to recognize that examining his life – and how he got there – is the key, specifically assessing the question of his feelings about love and what altering them might do for him.</p><br/><br/><br/><br/><p>Before long, when he visits his past and his relationship with his parents, he begins the process of exploring this subject. One meeting with Mum and Dad soon leads to others, both individually with each of them and collectively with both. And the revelations that come about through those sessions show Adam aspects of himself and his outlook on life that he hadn’t previously recognized or considered. Not only does this enable Adam to reconcile himself with his past, but it also provides him with the means to confidently move forward with a renewed connection with Mum and Dad and a loving and fulfilling relationship with Harry. These perceptions allow him to get in touch with his beliefs and help him understand how and why his existence has unfolded as it has. That’s a big step for someone who has been lost and directionless for some time, especially when it comes to getting the most out of a life that has otherwise seemed largely empty.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/All-of-Us-Strangers-3-600x250.jpeg" alt="" class="wp-image-16940" width="450" height="188"/><figcaption class="wp-element-caption"><strong>After many years apart, middle-aged gay man Adam (Andrew Scott, right) discusses his life and the choices he’s made with his Dad (Jamie Bell, left) in director Andrew Haigh’s latest, “All of Us Strangers,” now playing theatrically. Photo courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>But there’s more to it than this. Adam heals from what’s been a sometimes-troubled past, a development that helps him get over what has been holding him back all along. He sees this through his interactions with his past, his parents and his younger self, as well as his involvement with Harry, who has experienced a comparably troubling past and is himself also looking to heal. These circumstances essentially provide Adam with a highly personal mirror to scrutinize himself to see where his existence has gone awry and how he might fix it going forward. At the same time, this scenario has provided him with the means to help heal others by healing himself and using that experience to make a difference in their lives. And it all stems from his beliefs about love and how he embraces them. That’s quite a powerful tonic indeed, one we can all draw upon in making matters right in our own lives when the need arises, something that many of us can likely relate to these days.</p><br/><br/><br/><br/><p>In a movie awards season that has had more misses than hits, it’s gratifying to see a picture that not only lives up to, but exceeds, its potential. Such is the case with writer-director Andrew Haigh’s latest offering, a heartwarming and heartbreaking story of love, reflection and healing all rolled into one, based on the 1987 novel <em>Strangers</em> by Taichi Tamada. To say too much more about the film would invariably lead to a plethora of spoilers, but suffice it to say that it delivers the goods on virtually every front. This is one of those pictures that’s just about perfect in nearly every regard thanks to its stringent adherence to authenticity in the writing and the affecting portrayals of its characters by its positively stellar cast, especially the highly underrated performance by Foy, who, save for a BAFTA Award nomination for best supporting actress, has puzzlingly flown largely under the radar. It’s also a production that will likely surprise viewers in myriad ways, defying expectations in telling a story that’s anything but apparent from what’s in its promotional trailer, not to mention in its initial sequences and their depictions of what’s actually going on. Moreover, I’m impressed by the fact that this is an offering featuring gay characters in which their sexuality is <em>not</em> the principal focus of the narrative, something that truly distinguishes this feature from so many others in this genre. Granted, their orientation is part of the story, but it’s not <em>the</em> story; that belongs to the force of love at work in the lives of the principals. Add to these noteworthy attributes a sensitively chosen soundtrack and some surprisingly innovative cinematography, and you’ve got one helluva fine movie. To be sure, this is one of those releases that, if it doesn’t touch you profoundly, you’d better check to see if you have ice water coursing through your veins. This superb offering richly deserves whatever accolades it receives. It’s one of the year’s best, bar none.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/All-of-Us-Strangers-4-600x248.jpeg" alt="" class="wp-image-16941" width="450" height="186"/><figcaption class="wp-element-caption"><strong>A reunion after many years apart helps London screenwriter Adam (Andrew Scott, back to camera) heal the wounds of separation with his parents (Jamie Bell, left, and Claire Foy, right) in the moving new surrealistic romantic drama, “All of Us Strangers.” Photo courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>“All of Us Strangers” has received its share of honors in this year’s awards season, most notably six BAFTA Award nominations, including best British film, best director, best adapted screenplay, best casting, best supporting actor (Mescal) and best supporting actress (Foy). It has also earned three Independent Spirit Award nods for best feature, director and lead performance for Scott, who also captured a Golden Globe Award nomination for best dramatic actor. In addition, the film received a Critics Choice Award nomination for best adapted screenplay while also being named one of 2023’s Top 10 Independent Films by the National Board of Review. With all these accolades, however, it’s truly mystifying how this title failed to earn <em>any</em> Oscar nominations, a major, inexplicable and inexcusable snub. Nevertheless, despite this oversight, this is a picture well worth seeing in its current theatrical distribution.</p><br/><br/><br/><br/><p><a>As this film shows, the power of love can indeed work miracles. It can help us to let go of what no longer serves us. It can help us heal what ails us. It can enable us to get on with our lives, removing the stagnation that keeps us locked in place. And it can bring us fulfillment beyond imagination. We, of course, need to believe in that power to make it work, but, when we do, we can easily be astounded by what it can accomplish. If someone as lonely and lost as Adam can benefit from it, there’s no reason why we can’t as well. Should we do so, we may find life more worth living than we thought possible, and what a miracle that would be.</a></p><br/><br/><br/><br/><p>Copyright © 2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-29197093266749034612024-01-10T08:23:00.001-06:002024-01-10T08:23:10.474-06:00Thank You for Your Support!<p>Many sincere thanks to the listeners and viewers of our movie review podcast, <em>Frankiesense & More</em>, for making 2023 such a successful year! Host Frankie Picasso and I are grateful for the 25% increase in our audience that we experienced last year! At The Good Media Network, we're pleased to say we now have cinephiles tuning in around the globe in 8 countries, and we hope to see more join us in the year ahead! To those who have recently come on board, welcome and many thanks for your support. And, to our loyal fans who have been ongoing listeners of our free-wheeling look at the movies, thank you for staying with us. You can catch our broadcasts on Facebook Live, with recorded versions to follow on Facebook, YouTube, Spotify and other streaming services. Wishing you all the best -- and fun times at the movies!</p><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/419079151_10232062925465092_3642234314514049417_n.jpg" alt="" class="wp-image-16909"/></figure><br/><br/><br/><br/><figure class="wp-block-image alignleft size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/418991071_10232062935745349_1857929266935124585_n.jpg" alt="" class="wp-image-16910" width="295" height="450"/></figure><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/418996594_10232062960345964_8962266693662179764_n-400x400.jpg" alt="" class="wp-image-16911" width="454" height="454"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-22625096263995934402024-01-09T21:07:00.001-06:002024-01-09T21:07:58.104-06:00New Movies for the New Year<p>Join yours truly and show host Frankie Picasso for looks at four new films, as well as a few surprises, on the New Year’s movie review edition of the <em>Frankiesense & More</em> video podcast. Tune in on <a href="https://www.facebook.com/thegoodradionetwork">Facebook</a> or <a href="https://www.youtube.com/c/TheGoodMediaNetwork">YouTube</a> for all the fun and lively discussion!</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-full"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/415301541_10232027198731946_6334947224930526414_n.jpg" alt="" class="wp-image-16884"/></figure><br/><br/><br/><br/><figure class="wp-block-image alignright size-full"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/416333023_10232060933055283_6706514926396650697_n.jpg" alt="" class="wp-image-16906"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-60298292834931199432024-01-08T19:20:00.001-06:002024-01-08T19:20:51.658-06:00Exploring the Whole Truth on The Cinema Scribe<p>Tune in for the latest <em>Cinema Scribe</em> segment on Bring Me 2 Life Radio, beginning Tuesday January 9, available by <a href="https://www.spreaker.com/show/thecinemascribe">clicking here</a>. You can also catch it later on demand on Spreaker, Spotify, Apple Podcasts, iHeartRadio, Podchaser, Audible, Deezer, Podcast Addict and Jiosaavn.</p><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/Monster-Promo-600x600.png" alt="" class="wp-image-16902" width="450" height="450"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-33285440529258456782024-01-01T15:17:00.001-06:002024-01-01T15:17:21.151-06:00This Week in Movies with Meaning<p>Reviews of "Poor Things," "Monster" and "American Symphony," as well as a video podcast preview, are all in the latest <em>Movies with Meaning</em> post on the web site of The Good Media Network, available by <a href="https://www.thegoodradionetwork.com/2023/12/31/movies-with-meaning-by-brent-marchant-tgmn-movie-correspondent-132/">clicking here</a>. </p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/poor-things-PT_Payoff_ONLINE_POSTER_1350x2000_FIN_rgb-600x889.jpg" alt="" class="wp-image-16826" width="300" height="445"/></figure><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Monster-OfficialKeyArt-WellGoUSA812x1200_0-600x887.jpg" alt="" class="wp-image-16780" width="300" height="444"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/American-Symphony-600x750.jpg" alt="" class="wp-image-16771" width="300" height="375"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/415301541_10232027198731946_6334947224930526414_n.jpg" alt="" class="wp-image-16884" width="450" height="236"/></figure><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-full is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2024/01/414986233_10232027199611968_3079855191855927938_n.jpg" alt="" class="wp-image-16885" width="360" height="140"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-22406541156436675702023-12-31T17:22:00.001-06:002023-12-31T17:22:33.835-06:00For better or worse addressed in ‘American Symphony’<figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/11/American-Symphony-600x750.jpg" alt="" class="wp-image-16771" width="450" height="563"/></figure><br/><br/><br/><br/><p>“American Symphony” (2023). Cast: Jon Batiste, Suleika Jaouad, Anne Jaouad. Archive Footage: Stephen Colbert, Trevor Noah, Questlove, Stevie Wonder, Billie Eilish, James Taylor, Louis Cato. Director: Matthew Heineman. <a href="https://www.netflix.com/title/81728930/">Web site</a>. <a href="https://youtu.be/wKSMsdq8ONs">Trailer</a>.</p><br/><br/><br/><br/><p><a>The now-famous opening line of the Charles Dickens classic <em>A Tale of Two Cities</em> – “It was the best of times, it was the worst of times” – has become virtually synonymous for describing situations that are simultaneously both joyous yet difficult. In many ways, this is a scenario that seems almost unfathomable, one whose very existence is hard to imagine, let alone endure. Yet many among us have nevertheless experienced such challenging, ironic and contradictory conditions, circumstances that ultimately push us to find the means to survive and to overcome the ordeals posed to us so that we can truly enjoy the best of what life has to offer while putting the worst behind us. Such is the situation faced by an eminently successful, exceptionally creative, deeply enamored power couple in the moving, intimate and captivating new documentary, “American Symphony.”</a></p><br/><br/><br/><br/><p><a>Life in 2022 was a decidedly strange and mixed bag for musician-composer </a>Jon Batiste and his wife, best-selling author Suleika Jaouad. They indeed experienced the best and worst of times. It was a landmark year for Batiste. Coming off Oscar, Golden Globe, Critics Choice and BAFTA Award wins in 2021 for co-writing the best original score for the animated film “Soul,” he went on to capture five Grammy Awards the following year (including record of the year), all the while serving as band leader on <em>The Late Show with Stephen Colbert</em>. The multi-talented, multifaceted, New Orleans-born artist also worked on completing an eclectic, ambitious composition aimed at reflecting the breadth of our national music, diversity and culture, <em>American Symphony</em>, drawing upon his expertise in an array of musical genres. It was the kind of year that most artists dream of.</p><br/><br/><br/><br/><p>However, in the midst of this success, the couple underwent one of the greatest challenges they’ve ever had to face. Jaouad suffered a relapse of the cancer she experienced in 2011, a case of acute myeloid leukemia, an illness that doctors gave her only a 35% chance of surviving at that time. Despite these odds, though, Jaouad pulled through and began writing a column titled “Life, Interrupted” for <em>The New York Times</em>. She went on to become a contributor to <em>Vogue</em>, <em>Glamour</em> and <em>Women’s Health</em> magazines, as well as National Public Radio’s <em>All Things Considered</em>. And, in 2021, she penned <em>The New York Times</em> best-selling memoir <em>Between Two Kingdoms</em>, an account of her battle with cancer as a young adult. How ironic that what helped her become a successful author would come back to haunt her again, just as she and her husband were attaining such tremendous personal and creative achievements. Instead, she was now facing the prospect of a risky bone marrow transplant to survive.</p><br/><br/><br/><br/><p>Then there was the matter of their relationship, a deeply loving, eminently attentive, fully committed devotion to one another. They met as teenagers in band camp and became involved romantically in 2014. And, as this movie shows, rarely has there ever been an on-screen depiction of two partners more dedicated to one another than what is shown here. Their feelings for one another quite obviously run deep, although those emotions are genuine and realistic, never storybook nor sugar-coated, especially under the circumstances they faced with Jaouad’s troubling diagnosis.</p><br/><br/><br/><br/><p>Given these diversely contrasting conditions, it almost seemed like life was dealing Jon and Suleika a cruel joke. How could they enjoy their success with a cloud like this hanging over them? Indeed, how could fate be so relentlessly punishing? And, what’s more, what were they supposed to do about it? Those are huge questions, to be sure. But how can they be effectively answered?</p><br/><br/><br/><br/><p><a>The weight of these circumstances was crushing. And, even though Jaouad was receiving top-notch care, there was only so much that she and Batiste could do tangibly. Because of that, they consequently had to turn inward and tap into their thoughts, beliefs and intents to encourage the emergence of a positive outcome. This meant meditating upon that result, as well as drawing upon the power of prayer to bring it about. In essence, this is a form of the conscious creation process at work, the philosophy that maintains these intangibles can be employed to manifest the means and conditions for realizing what we seek. It’s unclear whether the couple had heard of this way of thinking, but, based on their actions and practices, it’s apparent they believed it could be tapped to yield their hoped-for outcome.</a></p><br/><br/><br/><br/><p>As the film illustrates, there were many times during this ordeal where both partners turned reflective on their circumstances, undoubtedly pleading for a way out of it. But there was more to it than taking such proactive steps to achieve this objective. They also turned to various forms of support, like counselors and family members, to bolster them at times when it was deemed necessary. This provided them with encouragement and coping mechanisms to get through the most critical times. This tactic thus took the form of a collaboration, an empowered act of co-creation that lends added energy and backing to the attainment of a mutual goal.</p><br/><br/><br/><br/><p>In a similar, if not more significant vein, there was also the undeniable love between Jon and Suleika. This, too, is a form of mutual support and another form of collaboration. It might even be argued that this was perhaps the most effective “medicine” at work in this scenario, more potent than any form of chemotherapy could provide. Add to that the beliefs in health and recovery that they’re each emitting, and those are some powerful vibes at work.</p><br/><br/><br/><br/><p>Of course, even with these potent intangible forces at work, one probably can’t help but wonder how and why this illness manifested in the first place. In all honesty, we may never know, and the same might possibly be said for both Jon and Suleika. Their reasons are their own, and it’s not our place to question them. But there are several theoretical possibilities to consider.</p><br/><br/><br/><br/><p>For instance, it’s often been said in metaphysical circles that illness can be a tremendous teacher. There are things we can learn about life and ourselves under those circumstances that we might not be able to explore under any other conditions. Ill health can prompt us to examine alternate modes of healing, something we can engage in more readily in scenarios like this in light of the fact that our consciousness is likely focused almost exclusively on getting well and uncovering the means to achieve it. What’s more, this kind of downtime may afford us an opportunity to partake of other types of creative endeavors, much as Suleika does in the film when she tries her hand at painting. And, as Suleika’s previous experience with illness illustrates, it could open doors to future opportunities, such as the successful writing career that grew out of her first bout with cancer. But, perhaps most importantly, an introspective time like this can prove quite revelatory, showing us qualities of ourselves we never knew we possessed, such as strength of character, resilience and the will to overcome adversity.</p><br/><br/><br/><br/><p>For Jon’s part, there are additional possibilities to consider. For instance, as much and as long as he and Suleika have long been in love, the depth of their feelings for one another only deepened through this experience, drawing them closer together than ever before. As seen here, the emotions they feel for one another are palpable, reaching a point where their status as soul mates is impossible to ignore. As for Jon individually, this experience could also be said to be something that keeps him grounded, immersing him firmly in what’s most important in life and preventing him from letting his success get away from him. That’s not to suggest that would happen even if conditions were different, but circumstances like these have a way of helping us keep our heads, particularly with what matters most to us.</p><br/><br/><br/><br/><p>For all of the artistic achievements on display here, though, the most beautiful creation is the love between Jon and Suleika, for better or worse. They have taken an intangible concept and made it real, for all to see, something that many of us should hope to emulate in our own romantic endeavors. If nothing else, this is the takeaway we should embrace – and, in the end, make our own.</p><br/><br/><br/><br/><p>Creating a heartfelt, loving relationship is much like producing a great work of art. Both take effort and commitment, both in good times and bad. The challenges involved in learning how to successfully maneuver through them can be difficult, but the rewards can be incalculable, as documentary filmmaker Matthew Heineman’s latest so deftly illustrates. These are attainable goals, outcomes that can provide tremendous satisfaction and fulfillment, the prevailing highs and lows notwithstanding. The polar opposite fates that befell Batiste and Jaouad may have been a struggle to get through, but they vowed to keep their love and art alive, putting their personal and professional successes and setbacks into perspective in light of what they were up against. This intimate, heartstring-tugging documentary gives viewers a candid, up-close look at what a truly loving couple can experience under such diverse, trying and bittersweet circumstances, but without becoming manipulative or melodramatic. This beautifully photographed story provides an unfiltered depiction of the range of emotions that each partner goes through, particularly when it comes to its musings of the philosophical insights observed by each of the spouses. It also showcases Batiste’s wide-ranging musical styles, both in his performances and in his composition process. Admittedly, a few of this offering’s sequences meander a bit, but the overall production is skillfully edited and sensitively portrayed, reinforcing what makes life worth living, during both good times and bad, as long as we have each other to make our way through it, bringing new meaning to what our marriage vows are ultimately all about.</p><br/><br/><br/><br/><p>“American Symphony” was widely recognized in 2023 film festival and movie critic association competitions. Most notably, the picture captured two Critics Choice Documentary Awards for best music documentary and best score, along with four nominations for best documentary feature, director, editing and cinematography, all noteworthy accolades for a film that’s well worth your time. This offering is streaming exclusively on Netflix.</p><br/><br/><br/><br/><p>In good times and bad, it’s always comforting to have a companion along for the journey. That’s more than apparent in “American Symphony.” Jon and Suleika set an inspiring example for what it truly means to be a loving couple, one that anybody seeking to find for themselves should follow and make their own – undoubtedly the best of times.</p><br/><br/><br/><br/><p>Copyright © 2023-2024, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-29967754993321119752023-12-27T19:45:00.001-06:002023-12-27T19:45:15.342-06:00‘Monster’ seeks to arrive at the whole truth<figure class="wp-block-image alignleft size-fusion-400 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Monster-OfficialKeyArt-WellGoUSA812x1200_0-400x591.jpg" alt="" class="wp-image-16780" width="300" height="443"/></figure><br/><br/><br/><br/><p>“Monster” (“<em>Kaibutsu</em>”) (2023). Cast: Sakura Ando, Soya Kurokawa, Eita Nagayama, Hinata Hiiragi, Yuho Tanaka, Shido Nakamura, Mitsuki Takahata, Akihiro Kakuta. Director: Kore-eda Hirokazu. Screenplay: Yûji Sakamoto. <a href="https://mubi.com/en/us/films/monster-2023">Web site</a>. <a href="https://youtu.be/cOpWDxxiwoE">Trailer</a>.</p><br/><br/><br/><br/><p><a>Is it possible to know the <em>real </em>truth behind a particular situation? It’s often been said that, as outside onlookers, we only see a fraction of what’s involved in the unfolding of a specific scenario. And, because of that, we might well piece together an incomplete view of things, based primarily on what we believe about them, given that they shape our perspective and, subsequently, the materialized existence that emerges. The outcome may present us with a somewhat accurate depiction of those manifested notions, but how on target is that picture? That’s the core question raised in the engaging new Japanese drama, “Monster” (“<em>Kaibutsu</em>”).</a></p><br/><br/><br/><br/><p><a>Revealing too much about the nature of this film would ultimately expose too much about it. Suffice it to say, however, the picture presents its narrative in several overlapping, interconnected segments, all of them related but each nevertheless distinct in its own right. Collectively, they explore the same scenario from a variety of perspectives, but each only presents a portion of the overall story, something that isn’t fully revealed until film’s end, when all of the pieces are at last drawn together. It’s a storytelling technique that was first, and perhaps best, presented in director Akira Kurosawa’s innovative screen classic, “Rashômon” (1950), and has been eloquently replicated here by a new generation Japanese filmmaker, Kore-eda Hirokazu.</a></p><br/><br/><br/><br/><p>The picture’s opening sequence focuses on the exasperating challenges that single mother Saori Mugino (Sakura Ando) faces with her preteen son, Minato (Soya Kurokawa), who has developed a reputation for acting out. She witnesses some of this behavior firsthand, but much of what allegedly happens comes her way as a result of after-the-fact evidence, much of it delivered by way of the unreliable word of others. In light of that, she must often ask herself, how much can she trust what she hears or finds? Minato is her son, after all, and she wants to protect him against unfounded or unfair accusations, some of which appear to lack credibility or adequate explanation. That’s particularly true when Minato’s teacher, Mr. Hori (Eita Nagayama), is accused of excessive discipline in response to one of the youngster’s outbursts against another student, Yori (Hinata Hiiragi), an incident cryptically explained away by the school’s principal, Mrs. Fushimi (Yuho Tanaka), herself a figure of questionable character. Still, given Minato’s behavior, many are quick to paint him with broad brush strokes as a devious little monster. But is he?</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Monster-1-1-600x238.jpg" alt="" class="wp-image-16863" width="450" height="179"/><figcaption class="wp-element-caption"><strong>Single mother Saori Mugino (Sakura Ando, right) faces her share of behavioral challenges with her preteen son, Minato (Soya Kurokawa, left), in the multi-segmented new Japanese drama, “Monster” (“<em>Kaibutsu</em>”), the latest from director Kore-eda Hirokazu. Photo courtesy of Well Go USA Entertainment.</strong></figcaption></figure><br/><br/><br/><br/><p>In the second segment, the focus shifts to Mr. Hori, who, as viewers discover, is a new teacher at Minato’s school. He’s eager to be starting this new job and looks forward to making a favorable impression on the students, their parents and the administrators. He’s also starting a new relationship with Hirona (Mitsuki Takahata), with whom he’s quite taken. However, not long after beginning work at the school, he notices that Yori is apparently being picked on bullies, something the teacher believes must be difficult for the small, sweet young boy to handle. He takes an interest in the student’s well-being, even going so far as to visit the youth’s family, where he finds him being raised by a drunken, seemingly intolerant father (Shido Nakamura). So, in light of these factors, Hiro quietly assumes the role of a de facto protector, and, when he witnesses the aftermath of an apparent incident involving Yori and Minato, he steps up and takes action. But is his response appropriate? And what do the school administrators like Mrs. Fushimi and Mr. Kumiaki (Akihiro Kakuta) think about it, particularly in light of the impression his actions might leave on skeptical parents, including both Saori and others? In the wake of these developments, Hori is quickly on his way to becoming a pariah, and his life begins falling apart, both personally and professionally. Indeed, is <em>he</em> the monster here?</p><br/><br/><br/><br/><p>In the final sequence, the narrative shifts to the relationship between Yori and Minato, which is not at all what others have been led to believe it is. It seems that Mr. Hori is not the only bodyguard that Yori has. But that’s because there’s more to the boys’ relationship than anyone knows. And, when they mysteriously disappear, their absence raises more questions than ever before. Add to that several other cryptic developments that impact the overarching storyline, such as the breakout of a major fire at a nearby high-rise gentlemen’s club and the landfall of a typhoon, and the mystery deepens further. From this, it immediately becomes apparent that no one could possibly have had a clear picture of what’s been going on all along, that the pieces of the puzzle are simply that – pieces of a larger whole that nobody understands.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Monster-2-1-600x255.jpg" alt="" class="wp-image-16862" width="436" height="185"/><figcaption class="wp-element-caption"><strong>Single mother Saori Mugino (Sakura Ando) seeks answers from those who allegedly impose excessive discipline on her troubled preteen son in director Kore-eda Hirokazu’s latest, “Monster” (“<em>Kaibutsu</em>”), now playing theatrically. Photo courtesy of Well Go USA Entertainment.</strong></figcaption></figure><br/><br/><br/><br/><p><a>Only when all of the pieces are assembled – providing a coalescent view of the whole that goes beyond the postulated beliefs of individual onlookers – can anyone know the whole truth of this scenario. Whether anyone is able to reach such a realization, however, depends on being able to envision the accumulation of all of the situation’s separate parts. And that can happen only when we leave ourselves open to such a possibility, one specifically driven by beliefs that allow it. While that may sound implausible to some, it’s not, thanks to the conscious creation process, the philosophy that maintains we manifest the reality we experience through the power of our thoughts, beliefs and intents. It’s unclear how many of us may have heard of this school of thought, but a lack of awareness of it doesn’t rule out its validity for attaining such an outcome.</a></p><br/><br/><br/><br/><p><a>The implications in this can be staggering. That’s particularly true in the area of judgment (or, more precisely, in the area of <em>judgmentalism</em>). If we were to judge a situation based entirely on our beliefs with little or no hard evidence to back up such conjecture (especially if the speculation only relates to one aspect of the overall scenario), we could be making harsh, irrational or erroneous assessments of the circumstances. And that, in turn, could lead to dire ramifications for those most affected by these ill-informed conclusions.</a></p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Monster-3-1-600x255.jpg" alt="" class="wp-image-16864" width="450" height="191"/><figcaption class="wp-element-caption"><strong>Recently hired teacher Mr. Hori (Eita Nagayama, right) comes under harsh scrutiny from school administrators like Mr. Kumiaki (Akihiro Kakuta, left) for allegedly dispensing excessive discipline against a troubled preteen in director Kore-eda Hirokazu’s latest, “Monster” (“<em>Kaibutsu</em>”). Photo courtesy of Well Go USA Entertainment.</strong></figcaption></figure><br/><br/><br/><br/><p>Think of the impact that could be leveled against those falsely accused (and convicted) in these situations. Is Minato truly the little monster that many contend he is? Or is he simply a misunderstood young man whose actions and behavior have another unseen or mistaken intent underlying them? Conversely, consider the fallout that can result when our beliefs inadvertently lead to us giving a pass to those deserving of deeper scrutiny. Metaphorically speaking, it’s like getting away with murder, the absence of corpses notwithstanding. And, as this story shows, there are several potential culprits in the narrative whose actions and behavior merit a closer look, their deeds coming close to appearing somewhat monstrous themselves.</p><br/><br/><br/><br/><p>There are concerns for the accusers in scenarios like this as well. Consider the consequences for those making and pressing incorrect and unfair claims against the supposed suspects. Think of the guilt and potential liabilities that could stem from inflicting such misplaced suspicions. The impact might readily boomerang against those making such accusations, and where would that leave them then?</p><br/><br/><br/><br/><p>This is not to suggest that our beliefs don’t have merit in these instances. After all, they’re the building blocks of the reality we create for ourselves. However, we should recognize that they’re the starting point, not the end point of this process in any of our endeavors, including discovering the truth behind a particular scenario. The role they play here is in pointing us toward the evidence needed to back up our contentions, not the means to verify and validate the innate truth behind them. Is it any wonder, then, that our judicial system calls for the revelation of “the truth, the whole truth and nothing but the truth?” It would seem that this is a wise outlook not just for a court of law, but also for the court of public opinion – not to mention the internal courts of our beliefs.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Monster-4-1-600x367.jpg" alt="" class="wp-image-16865" width="450" height="275"/><figcaption class="wp-element-caption"><strong>Grade school classmates Minato Mugino (Soya Kurokawa, right) and Yori Hoshikawa ((Hinata Hiiragi, left) are at the center of a widely misunderstood scenario with far-ranging implications in director Kore-eda Hirokazu’s multi-segmented new drama, “Monster” (“<em>Kaibutsu</em>”). Photo courtesy of Well Go USA Entertainment.</strong></figcaption></figure><br/><br/><br/><br/><p>The perspective from which we view a situation infallibly provides us with a clear, irrefutable picture of its truthfulness, right? But what happens if we encounter someone who witnesses the same incident and comes away from it with a totally different interpretation? Both views can’t be “right,” can they? Or is it possible that none of us can see the totality of a scenario and claim to know everything about it? That’s the core takeaway from this captivating dramatic feature, an ambitious, skillfully crafted tale told from multiple vantage points, all of them “correct” in their own right, despite the myriad differences that distinguish them from one another. Director Kore-eda’s cinematic homage to his famed countryman Kurosawa carefully spins a web combining the picture’s various story threads, reminding us of the old adage of not judging a book by its cover, poignantly illustrating that, no matter how much we may <em>think</em> we know about a particular situation, there’s a good chance we’ll never get a complete picture of it. Kore-eda serves up an eye-opening tale, one that gives us pause to think about our impressions and preconceptions in an age when many of us are all too quick to superficially judge what we see – and in a frequently flawed framework at that. The picture could stand to be a little more swiftly paced at times (especially in the final act), but this is arguably the director’s best and most sensitive work to date, one that, we can only hope, will have the kind of profound impact we need in an age where open-mindedness and tolerance are traits we could all stand to develop to a much greater degree – particularly when pieces of the puzzle are missing.</p><br/><br/><br/><br/><p>“Monster” has earned its share of accolades, especially at this year’s film festivals. At the 2023 Cannes Film Festival, the picture took home the Queer Palm Award and the trophy for best screenplay, as well as a nomination for the <em>Palme d’Or</em>, the event’s highest honor. It was later recognized with the Gold-Q Hugo Award at the Chicago International Film Festival. While this offering has primarily been playing the film festival circuit, it has recently been distributed in limited theatrical release, primarily at arthouse cinemas.</p><br/><br/><br/><br/><p><a>Getting to the truth of a matter is something we shouldn’t take lightly. We may never know what’s involved until we take a good hard look at all of the elements involved, particularly those that go beyond the beliefs we hold, no matter how comprehensive we might think they are. Not only will doing so get us to the meat of such matters, but it can also tell us something about ourselves, revealing prejudices, blind spots and aspects of who we are and what we believe when it comes to our dealings with others. We might discover that we possess assumptions that we automatically and unhesitatingly employ, without question or analysis, giving us distorted pictures of the situations and people we face. And one can hardly say there’s <em>any</em> truth in that.</a></p><br/><br/><br/><br/><p>Copyright © 2023, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-18175868757939555412023-12-26T11:59:00.001-06:002023-12-26T11:59:53.959-06:00Reinvention on The Cinema Scribe<p>Tune in for the latest <em>Cinema Scribe</em> segment on Bring Me 2 Life Radio, beginning Tuesday December 26, available by <a href="https://www.spreaker.com/show/thecinemascribe">clicking here</a>. You can also catch it later on demand on Spreaker, Spotify, Apple Podcasts, iHeartRadio, Podchaser, Audible, Deezer, Podcast Addict and Jiosaavn.</p><br/><br/><br/><br/><figure class="wp-block-image aligncenter size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Poor-Things-Promo-600x600.png" alt="" class="wp-image-16855" width="450" height="450"/></figure>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0tag:blogger.com,1999:blog-6554506171097089500.post-1022691449951915012023-12-20T08:24:00.001-06:002023-12-20T08:24:54.603-06:00‘Poor Things’ surveys the process of reinvention<figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/poor-things-PT_Payoff_ONLINE_POSTER_1350x2000_FIN_rgb-600x889.jpg" alt="" class="wp-image-16826" width="300" height="445"/></figure><br/><br/><br/><br/><p>“Poor Things” (2023). Cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael, Hanna Schygulla, Kathryn Hunter, Vicki Pepperdine, Margaret Qualley, Suzy Bemba. Director: Yorgos Lanthimos. Screenplay: Tony McNamara. Book: Alasdair Gray, <em>Poor Things</em>. <a href="https://www.searchlightpictures.com/poor-things/">Web site</a>. <a href="https://youtu.be/RlbR5N6veqw">Trailer</a>.</p><br/><br/><br/><br/><p><a>When the circumstances of our lives don’t suit us, it’s time to reinvent ourselves. However, that may be easier said than done in some instances. It’s a process that can be helped along with some assistance, but the root of such a transformation still arises from within us. And, thankfully, the hoped-for outcome can result from a variety of approaches, nearly all of which can sprout in their own unique, individualized way, with no inherent restrictions holding them back. Such is the case in the outrageously quirky new sci-fi/comedy/romance, “Poor Things.”</a></p><br/><br/><br/><br/><p><a>Dr. Godwin Baxter (Willem Dafoe) leads something of a dual life. Outwardly, the Victorian Era scientist lives a somewhat unorthodox but mostly respectable life teaching med students about anatomy and surgical techniques at a London college. In his private life, however, he’s considerably more eccentric and outlandish, conducting controversial experiments in animal cross-breeding and other highly taboo subjects, stitching together body parts in a manner not unlike that found on his own craggy, patchwork face. To most, he would probably be likened to a peer of Dr. Frankenstein, though, considering the degree of deliberate seclusion he has established for himself, most people would likely never know anything about that side of his persona. And, for his sake, that’s prudent in light of his most outrageous project, one that night overwhelm the most fertile of imaginations – not to mention the civil and moral sensibilities of much of society.</a></p><br/><br/><br/><br/><p>While strolling through London one day, the doctor came upon an apparent suicide victim floating in the Thames at the base of one of the city’s bridges. He found the young, anonymous pregnant woman near death. She appeared to have no brain function, but her vital signs were clinging to life, a condition he believed he could work with in saving her from passing. His plan? Dr. Baxter decided to perform a brain transplant, removing the undamaged organ from the woman’s unborn child and placing it in the mother’s skull, subsequently enlivening it with a device to reanimate the victim.</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Poor-Things-1-600x400.jpg" alt="" class="wp-image-16836" width="450" height="300"/><figcaption class="wp-element-caption"><strong>Bella Baxter (Emma Stone), the product of a questionable but bold scientific experiment, comes of age as she discovers the world around her in the quirky new sci-fi/comedy/romance from director Yorgos Lanthimos, “Poor Things.” Photo by Atsushi Nishijima, courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>As it turns out, the procedure worked, and thus Bella Baxter (Emma Stone) was “born.” There was just one hitch – even though Bella possessed the body of a full-grown woman, she had the brain of an infant. This combination left the doctor’s latest “creation” with a dearth of language and motor skills, as well as a fundamental lack of maturity and virtually no understanding of the wider world, conditions exacerbated by her existence being restricted to Baxter’s home. He was eager to see her grow and develop, but progress was decidedly slow. What was he to do?</p><br/><br/><br/><br/><p>As the film opens, the doctor comes to the conclusion that he might be able to further her development by compiling data about her skills, abilities and learning curve. But such an ambitious undertaking would require assistance, so he hires one of his students, Max McCandles (Ramy Youssef), to collect the information. When Max learns about the true nature of the task, though, he’s stunned. He’s both appalled and intrigued by what he finds, but he has trouble withdrawing from the assignment when he begins developing an attraction for his subject.</p><br/><br/><br/><br/><p>Bella’s progress initially continues slowly, even with Max’s observation and guidance. But the pacing accelerates markedly when she makes a discovery that astonishes her – an awareness of her own sexuality. It triggers something in her, prompting rapid advances in cognition, articulation and creativity. It also gives her tremendous pleasure, and that sense of arousal makes her ever more attractive to the young med student.</p><br/><br/><br/><br/><p>Godwin – whom Bella now calls “God” – notices the attraction between Bella and Max, even going so far as to suggest that they wed, provided they both agree to live in his home as Bella’s personal development continues. Despite the fact that she has made some progress, the doctor doesn’t believe she’s ready to venture out into the real world yet, even with Max to guide her. So, to ensure that his wishes are complied with in this venture, Baxter hires an attorney, Duncan Wedderburn (Mark Ruffalo), to draw up a contract spelling out the terms.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Poor-Things-2-600x486.jpg" alt="" class="wp-image-16837" width="450" height="365"/><figcaption class="wp-element-caption"><strong>Victorian Era surgeon/scientist Dr. Godwin Baxter (Willem Dafoe, right) and his trusty med student assistant, Max McCandles (Ramy Youssef, left), attempt to manage a questionable but bold experiment in the quirky new sci-fi/comedy/romance, “Poor Things,” now playing theatrically. Photo by Yorgos Lanthimos, courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>But, just as matters seem to be falling into place, the arrival of the unscrupulous lawyer changes everything. Mr. Wedderburn, it seems, is quite a lusty, oily lech, taking an obsessive liking to Bella, who willingly returns those feelings in kind now that she’s discovered the libidinal side of her life. Bella and Duncan experience an explosion or carnal passion, and she readily accepts his invitation to join him on a trip to Lisbon. She promises Max that she’s still committed to him but that she wants an adventure in the real world before settling down with him for good. And, despite efforts by Godwin and Max to prevent her from leaving, she takes off with Duncan anyway.</p><br/><br/><br/><br/><p>Once free from her life of seclusion, Bella blossoms like a flower. She begins discovering her true self, growing ever wiser, more observant and more uninhibited in expressing herself and her singular view of the world. Unfortunately for Duncan, Bella’s growing sense of independence causes him frustration and distress he wasn’t prepared for. She wears him out sexually. She behaves in ways he finds embarrassing, particularly in public and in the company of others. And she frequently goes on unannounced adventures, leaving him alone and wondering where she is.</p><br/><br/><br/><br/><p>To rein Bella in, Duncan decides to book passage for the two of them on a Mediterranean cruise, believing that being aboard ship will keep her from straying. But this strategy backfires; she meets new and interesting people, <a>such as Harry (Jerrod Carmichael) and Martha (Hanna Schygulla), an alternative couple who broaden Bella’s </a>horizons, introduce her to philosophy and encourage her not to give in to the conventions of society, all of which nudge her further along her own path of personal exploration – and further away from Duncan.</p><br/><br/><br/><br/><p><a>That becomes particularly apparent when the couple – now in unexpected financial difficulty – is in Paris, where Bella takes a job as a working girl in a brothel run by a wily but insightful house mother, Mme. Swiney (Kathryn Hunter). It’s a place where the free-spirited traveler learns more about personal and sexual sovereignty from her peer and new best friend, Toinette (Suzy Bemba). In fact, as her journey continues, Bella comes into her own even more, leading her to become an astute, independent individual, a far cry from the person she once was and someone who now bows to no one. This developing attribute strengthens her capacity for personal growth and provides her with the common sense and street smarts she needs to get by, especially in a surprise confrontation with an old nemesis (Christopher Abbott).</a></p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Poor-Things-3-600x400.jpg" alt="" class="wp-image-16838" width="455" height="303"/><figcaption class="wp-element-caption"><strong>Bella Baxter (Emma Stone, left), the product of a questionable but bold scientific experiment, attempts to manage a lusty but stormy relationship with attorney Duncan Wedderburn (Mark Ruffalo, right) in the quirky new sci-fi/comedy/romance, “Poor Things.” Photo by Atsushi Nishijima, courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>But where will all this lead? What will happen to Bella’s relationship (such as it is) with Duncan? And what will become of Godwin and Max back in London as their subject continues to roam about freely on her own? Is Bella’s experience something to be concerned about or celebrated? Indeed, will Dr. Baxter’s “experiment” prove to be a failure or a success beyond his wildest dreams? That all remains to be seen as this remarkable odyssey plays out.</p><br/><br/><br/><br/><p><a>Reinvention is a process that can ask much of us, and that’s especially true for someone like Bella given the unique circumstances under which this transformation began and emerged. Despite the beneficial assistance she receives from Godwin and Max, her experience shows us just how much of this change rests with us in our acts and deeds, as well as – most importantly – our beliefs, for they shape the existence that results. Such is the outcome of the conscious creation process, the philosophy that maintains these resources form the basis of each of our respective individual realities. It’s hard to say whether Bella or any of her cohorts have heard of this school of thought, but, as events unfold, it becomes apparent how much she puts it to use in defining herself and generating the new life she leads.</a></p><br/><br/><br/><br/><p>Bella’s experience in working with her emerging beliefs is, admittedly, something of an exercise in trial and error. Some initiatives work, while others need to be revamped. But what’s most impressive is that, like the innate nature of her overall self, she’s not afraid to experiment, to try out new things to see where they take her, all in the belief that the experiences will ultimately serve her well as she hones the path she wants to pursue, no matter how unconventional some of her notions may seem. This is a perspective that would likely prove valuable to <em>anyone</em> seeking to retool, even if matters take some time to sort out and refine. In this regard, Bella essentially becomes an unlikely teacher for all of us in this regard.</p><br/><br/><br/><br/><figure class="wp-block-image alignright size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Poor-Things-4-600x736.jpg" alt="" class="wp-image-16839" width="300" height="368"/><figcaption class="wp-element-caption"><strong>Lecherous lawyer Duncan Wedderburn (Mark Ruffalo) bites off more than he can chew when he embarks on a passionate but frustrating relationship with an independently minded partner in the latest from filmmaker Yorgos Lanthimos, “Poor Things.” Photo by Atsushi Nishijima, courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>I find it intriguing that her greatest growth spurts come about as a result of her discovery of her own sexuality. Some may find this strange or unduly provocative, yet it really shouldn’t come as a surprise to any of us when we think about the underlying nature of one’s erotic side. Sexuality, at its core, is an inherently creative act, one designed to give us pleasure, new experiences, and, perhaps eventually, the creation of new life. Even if some or all of these are not the desired intent, the practice of exploring this part of ourselves could (and, in fact, often does) inspire us to pursue our overall capacity for creativity, regardless of the particular areas of our lives in which it’s employed. It can potentially encompass everything from the creation of artistic works to the way we live our lives and everything in between. What matters most, though, is that we freely exercise this aspect of ourselves as intrinsically creative beings in the exploration and/or reinvention of our existence, no matter what aspect of reality we may choose to investigate.</p><br/><br/><br/><br/><p>Bella is not the only one who engages in this endeavor, either. The same could be said, for example, of the good doctor, whose experiments – while not for everyone – embody the notion of belief-driven creative exploration. Max, in his own way, follows suit, as he comes out of his shell and begins adopting a more open-minded approach to his life, his career and his capacity for romance. And, of course, similar outlooks are more than apparent in the lives of Harry, Martha, Mme. Swiney and Toinette, all of whom are not afraid to chart their own courses with their own brands of creativity and singular insights. Given these charismatic influences, it’s easy to see why Bella is so drawn to them and away from those – like Duncan and his friends – who are more innately conventional in their mindsets, expectations and lifestyles.</p><br/><br/><br/><br/><p>While the creative exploration of our beliefs and personal selves should be of paramount importance to us under any circumstances, it’s particularly crucial in this story in light of its historic time frame and the individuals involved. The Victorian Era was not especially welcoming to innovative thoughts and deeds, nor was it particularly accommodating to women. In an age where men ruled virtually everything and women were typically treated more like property than people, Bella’s determined, almost defiant acts of finding herself, exploring her individuality, and, accordingly, openly expressing her true being are remarkably courageous and inspiring undertakings to be commended. One could hope that the example she set would rub off on others, too, setting the stage for them to follow in her footsteps as reinvented, empowered individuals. That’s especially true for women eager to unapologetically be themselves, those who are unwilling to capitulate to others and refuse to be relegated to the status of “poor things.”</p><br/><br/><br/><br/><figure class="wp-block-image alignleft size-fusion-600 is-resized"><img src="https://brentmarchant.com/wp-content/uploads/2023/12/Poor-Things-5-600x719.jpg" alt="" class="wp-image-16840" width="300" height="360"/><figcaption class="wp-element-caption"><strong>Bella Baxter (Emma Stone) seeks to be a woman who comes into her own in “Poor Things,” now playing theatrically. Photo by Atsushi Nishijima, courtesy of Searchlight Pictures.</strong></figcaption></figure><br/><br/><br/><br/><p>The process of reinvention is something that happens both literally and metaphorically in this latest offering from director Yorgos Lanthimos. But the way that result comes about here represents a truly inspired fusion of genres, including comedy, romance, social commentary and sci-fi, making for one of the most inventive, unusual and hilarious releases of recent years. This offbeat feminist fable, based on Alasdair Gray’s 1992 novel of the same name, pushes the envelope of convention, exposing viewers to a wide range of ideas and outlooks for fulfilling the aforementioned goal and serving it up with hefty doses of absurdist humor. While the film’s pacing could use some shoring up in the middle, this offering nevertheless entertains with alternative insights and uproarious laughs throughout, even when the narrative turns more thoughtful and substantive. The superb performances by Stone, Dafoe and Ruffalo are undeniably top shelf, all of them earning well-deserved awards season accolades, with more undoubtedly to come. The film is also visually stunning in its cinematography and editing, as well as in its spectacular and whimsical production design, filled with vibrant images reminiscent of the movies of Wes Anderson and Terry Gilliam while sustaining a look all its own. Admittedly, this release features a good deal of explicit sexuality, both visually and in the dialogue, so sensitive and easily offended viewers should take note. However, as one of the most anticipated pictures of this year’s awards season, “Poor Things” never disappoints, serving up a solid offering that consistently tickles the funny bone while giving audiences much to think about – and there’s nothing poor in any of that.</p><br/><br/><br/><br/><p>For its efforts, “Poor Things” has earned seven Golden Globe Award nominations for best picture (musical or comedy), director, actress (musical or comedy) (Stone), supporting actor (Ruffalo and Dafoe), screenplay and original score. On top of that, the film has also captured a whopping 13 Critics Choice Award nominations for best picture, comedy picture, director, actress (Stone), supporting actor (Ruffalo), adapted screenplay, cinematography, editing, production design, original score, visual effects, costume design, and hair and makeup. In addition, this release has garnered three honors from the National Board of Review for best supporting actor (Ruffalo) and adapted screenplay, as well as one of the year’s Top 10 Films. “Poor Things” is currently playing theatrically in general release.</p><br/><br/><br/><br/><p><a>Coming into our own is difficult enough, even under the best of circumstances. But shifting to something new and more acceptable <em>after</em> we thought we had things sorted out can be considerably more exasperating, especially if we have no clue what to do next. However, by keeping an open mind, having the courage to experiment and being willing to freely express ourselves, we just might find the process to be easier to manage, perhaps even becoming an amusing and gratifying adventure. There’s much to be experienced and enjoyed in this paradigm we call existence, and a good deal of it could suit us when looking for new ways to live our lives. Bella clearly understands that, so, if we’re dissatisfied with where we’re at, perhaps we should consider following her lead. After all, what do we have to lose but a whole lot of unhappiness and discontent? And, in light of what we stand to gain, that sounds like quite a bargain indeed.</a></p><br/><br/><br/><br/><p>Copyright © 2023, by Brent Marchant. All rights reserved.</p>Brent Marchanthttp://www.blogger.com/profile/08632746771909424089noreply@blogger.com0