…. featuring films about and with children, about family dynamics, films starring women and LGBT characters, so many films from 2017 (coincidence?), some indie gems, some classics, some new and some old. No spoilers.
The Florida Project (2017): 10/10
Sean Baker’s radiant take on a child’s perspective of life in poverty was an instant hit for me. I didn’t know what to expect so I was surprised to find myself crying by the end. It’s still a mystery to me how this movie managed to hook me from the beginning because there is virtually no plot. However, there is an undeniable charm in the colourful set design, the amazing, naturally flowing dialogues and the excellent acting of everyone involved. Now, don’t get the wrong impression: this isn’t sugary-sweet fun for the whole family. Many complaints have been made about how unbearable this film is; its seeming incoherence, all the children running around, screaming and shouting obscenities, adults being irresponsible and neglecting their children. And yes, this is a substantial part of the movie, so it might not be for everyone. The movie is often painful to watch despite all the bright colours and the shenanigans the children are up to: It portrays the daily struggles and the desperate measures to make money that are reality for the majority of America’s lower class without being condescending or making an overt political statement.
I adore this film and I enjoyed every second of it. Doubtless the best film I saw this month. Highly recommended!
Summer 1993 (2017): 9/10
Another film focussing on a child’s perspective, although this time set in the gorgeous landscapes of Catalonia, is Carla Simón’s directorial debut that draws from her own experience and memories. Summer 1993 is the story of little Frida (Laia Artigas) who is orphaned after the death of her mother and moves from her urban apartment in Barcelona to her uncle’s farm in rural Catalonia, where she has to work through her grief and integrate into a family life that is very different from the one she knows. This is a bittersweet film about loss and family that stands out due to the amazing performances and its honesty and delicacy in treating a very sensitive topic. Truly heart-wrenching, the films has moments of very authentic tension as well as melancholic tones and handles its tonal shifts very well.
Onward (2020): 8/10
Pixar’s newest work tells the story of two brothers in a fairy-tail world where magic has basically been replaced by technology. This quirky set-up unfolds its true potential when the brothers’ attempt to magically bring back their father for a day goes horribly wrong, leaving them with the lower half of their parent and prompting them to go on an adventure to save the(ir) day. While certainly not Pixar’s best, the film is still the studio’s characteristic mix of entertainment and genuine heart-felt moments. It is certainly better-suited for fans of the fantasy genre, mostly because it pokes fun at numerous clichés and adventure game tropes. The ending stays true to Pixar’s formula and is arguably the strongest part of the movie. Perfect story telling in a setting that unfortunately often comes off as too contrived.
The Red Phallus (2018): 8/10
Another indie gem on the list, this is a haunting tale about female oppression that operates on the basis of one of it own quotes:
“Don’t assume my silence is empty.”
Set in the stunning mountainous scenery of Bhutan, The Red Phallus is a slow-paced, rather taciturn film about feelings of isolation in a culture dominated by men. It is as visually stimulating as it is thought-provokingly eerie. The film relies very little on dialogue and the imagery is all the more significant. There is certainly a lot to mull over afterwards. An uneasy watch, but certainly one worth the time.
I, Tonya (2017): 8/10
The tumultuous life story of figure skater Tonya Harding was unheard of for me, so I won’t spoil it here in case anyone else here is living the blissfully unaware life. I, Tonya turns Harding’s life into a dark comedy riddled with wonderfully recreated skating scenes. Despite a lot of comedic moments, the film doesn’t gloss over darker elements of Harding’s life like the domestic abuse she endured. Some of the jokes crossed the line for me but I guess that just comes down to taste. All performances are great and it is obvious that a lot of thought and care went into the recreation of characters, outfits and locations. There are some characters and moments in this film that are almost too painfully laughable to be true, so it is almost shocking to have them revealed as meticulous and almost line-by-line imitations of actual interview footage by the time the credits roll around.
Gone Girl (2014): 8/10
I finally made time to see this one and I didn’t regret it once! David Fincher’s thriller about the strained marriage of Nick and Amy Dunne (Ben Affleck and Rosamund Pike) and her sudden disappearance is a slow but steady descent into madness. Rosamund Pike’s performance especially is stellar and I found it so refreshing to see such a compellingly villainous female character on screen. The “Cool Girl-Monologue” is a classic scene that probably all female viewers will emphasise with. The ending requires some viewers to throw logic and common sense out of the window to make it work (and that is a valid point of critique) but it makes sense within the narrative. Wonderfully written, expertly directed and amazingly acted, you shouldn’t miss out on this one (like I did for 6 years…).
Earthquake Bird (2019): 8/10
This Netflix production hasn’t received much love and is in my opinion chiefly underrated. To be honest, the main reason I watched it is Alicia Vikander (because, well, Alicia Vikander) and I didn’t know what to expect. Earthquake Bird takes you straight to 80’s Japan and explores the relationship between translator Lucy who is haunted by her past, her boyfriend Teiji, a photographer, and their friend Lily who went missing. The film slowly unravels each character’s secrets while staying mostly mysterious until the end, which felt admittedly a bit sudden and very rushed. I also still don’t know what the deal with the titular Earthquake bird is, but apart from that, the film really gripped my attention and I was on the edge of my seat watching it. Also, Alicia Vikander is amazing as usual.
A Fantastic Woman (2017): 7.5/10
How I suffered alongside the protagonist watching this one… A Fantastic Woman is the story of transgender singer Marina (wonderfully played by Daniela Vega, a trans-woman herself) who is brought into the center of a crime investigation after her lover’s sudden death. The film bears testimony to the discrimination and violence against trans people and has an urgent message that hopefully no one will refute. Never objectifying the protagonist, the film has a very delicate and sensitive approach to Marina’s struggles. Watching this film was an emotional rollercoaster between tender sympathy for Marina and anger at her fellow human beings. Dreamlike moments and hallucinations add a bittersweet, escapist note to the narrative. The imagery is mostly well-done, “mostly” because some visual cues were just too on-the-nose and unnecessary. Another critical aspect are the antagonists who are just so plain evil and have no redeeming quality what so ever which makes them seem very one-dimensional and fake.
Call Me By Your Name (2017): 7/10
Many people, including my friends, have highly praised this film and while I understand why they loved it, I didn’t really love love it. It’s a great film, no question, but I’m not a friend of romance stories at all, so the film didn’t really get me, if that makes sense? The setting is gorgeous, the performances don’t disappoint and the soundtrack is incredible. The plot is… well, it’s a love story tied to the coming-of-age of protagonist Elio (Timothée Chalamet). It’s tender, it’s sweet and it’s perfectly awkward at times. I feel almost bad because I’m not completely in love with this one. You should definitely see it.
Talking About Trees (2019): 7/10
This is a documentary about four Sudanese filmmakers trying to set up a cinema showing. It’s a love declaration to cinema and those who watch it. I guess especially people interested in film history will greatly appreciate this one and gain a lot from it. I had the wrong expectation going it, thinking this was a fictional film, so I felt like it was quite a stretch and the little tension I felt was whether they would be able to show the movie or not. The protagonists are however all charming and their friendship is inspiring. I walked away feeling more aware of Sudanese culture and politics and I’m glad I saw it.
Clueless (1995) & Mean Girls (2003): 7/10
Both undeniably comedy classics and pop culture phenomena, I was really positively surprised by both. I’m grouping them together here because they are quite similar and I both liked them equally and couldn’t pick a superior one. Dealing with the often complicated friendships in high school years, heartbreak and peer pressure, I found myself relating to the struggles of the girls on screen. What else to say about these films? I mean, come on, you already know why you love them.
Limitless (2011): 6/10
Based on the rather innovative premise that a drug can give you unlimited access to your complete brain potential, this sci-fi thriller is a fun time. There are plenty of little twists and turns and the film is visually impressive. However, there was no real investment in the characters on my behalf and I am afraid I already forgot most of the plot. I would probably watch it again if I need some light entertainment, though.
Ace Ventura – Pet Detective (1994): 5/10
The first scene is hilarious, but it slumps from there. Jim Carrey delivers a solid comedic performance and his facial contortions will probably remain the only (positive) memorable aspect of this movie. A lot of the jokes didn’t age well (was homophobia ever funny, though?) and it sometimes left me feeling more uncomfortable than entertained.
Lee's Brain Dump 