I placed Elem Klimov’s 1985 anti-war work Come and See on my watch list years ago. The film’s title comes from the Book of Revelation, “I heard the Beast say Come and See”.
When the restored print was released in 2020, there was universal acclaim for the 142-minute film. At times shocking, numbing, unforgettable, the director writer consciously acknowledges Aleksei Rodionov’s realistic camera work with startling character portrait compositions.
Aleksey Kravchenko as Florya
Come and See is the story of a simple Russian peasant boy with visions of adventures fighting occupying Germans along-side the resistance. The inescapable Hell on Earth brutality of World War 2 confronts fourteen-year-old Florya, an extraordinary performance from Aleksey Kravchenko, as youth evolves to a shattered existence.
Klimov’s Come and See is about human beings who stopped being human, just beings.
What is happening in Hollywood? It was suppose to be easy. The business model was based on acquiring Intellectual Properties, then turn them in media franchises across every platform. Simple. A movie here, a television show there, spin off’s in every directions. Audiences would pay to see their favorite characters in new adventures time and time again.
Apparently the audience did not read the memo. One major release after another has stumbled. The big studios have hit a box office wall of underperforming films or out and out flops. It was not suppose to be this way. It is one thing when a movie disappoints, it’s a panic attack when a eco-system faces collapse.
The Disney and Lucasfilm’s INDIANA JONES and THE DIAL of DESTINY recently opened with a soft $60 million weekend in take. The $300 million production needs to earn over $700 million to break even. That number seems unlikely given the drowsy reviews of the James Mangold film. Harrison Ford’s fifth and last outing as the iconic adventurer seemed set to be a spinoff for a more modern story. Unlikely given Disney could lose as much $500 million on the time traveling saga. Disney head Bob Iger’s having acquired George Lucas’s creations for over $4 billion in 2012 has fans asking what was the point? Four STAR WARS productions each one worse than the other, now the nail in the coffin, a below average Indy movie.
The Other Side of Burbank
The other Burbank powerhouse studio, Warner Bros finds itself moving into pray mode. The $200 million dollar THE FLASH struggled to cross the $100 million mark at the US box-office. The CGI heavy DC Comic production did not click with ticket buyers. Given that parent company Warner Discovery is in $50 billion debt, certainly alarm bells are ringing in the head office. After all, colorful tight pajamas were written in as a major revenue asset for the media giant.
It is looking more and more fatigue is taking hold of cinema goers. The lack of originality and pandering works have driven away ticket buyers to screaming on social media about Hollywood’s dismal releases.
Hollywood has learned, again, there is no such thing as a sure thing. Will this make studios change course? Disney announced new STAR WARS films. I would almost rather be on Alderaan watching the Death Star hover than sit through another instalment of the now soul less galactic saga.
Short listed for the 2023 Oscar, ALMOST HOME is a the present day topical sci-fi short film from Nils Keller explores decisions and relationships in the future on spaceship.
A interview with director Nils Keller.
A very today reference set in the future, how did you develop this storyline?
The idea for ALMOST HOME was inspired by a newspaper article I read in March 2020 about a cruise ship’s odyssey due to the mounting fear of Covid 19. What really shook me was the mention of people who, after being trapped aboard their floating steel prison for weeks and despite the prospect of finally being able to leave it, wondered if it was safer to stay. Absurd at first glance, I immediately wondered what this might say about our lifelong struggle to draw a line between safety and freedom. The idea of using certain aspects of this article and turning it into a more universal short film story that departs from Covid’s reality and takes the form of a character-driven coming-of-age drama set in space evolved over the next few days.
Almost Home, the choices and conflicts in the story, you stayed away from the good guy, bad guy, can you explain this?
In creating the film, which at its core was meant to be a metaphor for our lifelong struggle to determine the right balance between freedom and security, two things were very important to us: we wanted to ask questions, not provide answers – and in order to achieve that, we wanted to create multidimensional characters with very good but very contrary intentions. Let’s face it: life would be so much easier if it consisted mostly of circumstances where there was a clearly good and a clearly bad option. But in fact, that is rarely the case. Most of the things we must decide on are tremendously complex and become even more complicated as more people are involved in the calculation and emotions as well as individual perceptions start playing their parts. The pandemic has given us a very global and painful example of this. And in some ways ALMOST HOME draws from this confusion while intentionally moving away from Covid itself and asking more general questions about growing up, handling social conflict, sharing and taking responsibility and navigating life-changing situations where it’s hard to know what long-term consequences will arise.
Why did you decide on a sci-fi film with CGI as a project, not exactly an easy choice.
As a director, my passion goes towards these grounded yet cinematic genre films that focus on the characters and highlight their drama. I think it’s one of the most magical powers of cinema that narrative distance can pave the way to talk about essential issues in our lives that would otherwise be buried under too many strange or personal circumstances, or too hurtful to address. I also like the entertaining and world-building part of genre narratives, where you’re a little freer to tell your story. In the specific case of ALMOST HOME, the main reason for setting the story in a futuristic and isolated environment was to distance it as much as possible from Covid 19. The spaceship is meant to provide a confined cinematic stage to reflect on what it means to be dependent – on our parents or other people who try to have a saying in our life choices – and how hard it can be to break away from that while not destroying the relationship. It’s that very physical yet metaphorical expression of not being able to run or hide. I wanted to focus on our characters and their dramatic conflict and see the larger implications of life in that.
Of course, we knew from the beginning that it would be very difficult, some even said impossible, to create a no-budget sci-fi film with so many challenging elements. There was an ongoing pandemic, little money, the need to build a full-scale walkable spaceship and tons of visual effects. On the other hand, the fact that we were students offered us a unique chance for support, funding and trying things out. People tend to love these passion projects and there were so many great filmmakers and supporters helping us with almost no payment involved. Among them companies like ARRI giving us their cameras and lights for free, our film school (the University of Television and Film Munich) etc. Since DoP Georg Nikolaus and I had done some commissioned CGI projects before, we were also confident, that this could be a manageable thing. Of course, everything turned out to be much more difficult. But thanks to the great team and the hard work of everyone involved, our dream didn’t crash but started flying. And it’s an amazing honour for all of us involved to receive such great feedback now on such a high level. It really is beyond our wildest dreams.
Obviously you worked closed with a veteran cinematographer, what was the relationship?
I wouldn’t necessarily say that Georg Nikolaus is a veteran cinematographer, even if he has the calm and many impressive skills of one. I think it was very important for this project that he and I know each other since the beginning of film school. We did almost all our short films together and worked on some commissioned productions for commercials and television together. There has always been a shared understanding that story and characters must come first when we think about visual language. In the case of ALMOST HOME, we discussed the possible layout of the spaceship early on to make sure we had the right mix of a narrative stage for our story and enough opportunity to visually approach the characters and their environment in an intimate way. Further down the road, we used the 3D model of the spaceship, created by our incredible production designer Pan Patellis, to work out literally every shot, the blocking and camera movements. The spaceship was so cramped, the shooting time so short and the technical demands so advanced, that we had to exactly know where to put the camera and determine what walls and ceilings had to be disassembled for certain scenes. Yet we also often took a step back from planning and considered how to visually help express Jakob’s emotionality and his longing for Earth as it felt important to convey a human and poetic note in a cold environment like ours. Through highlighting Jakob’s personal items with their used surfaces, the presence of the earth through moving sunlight glimpses through the windows with the blue marble in sight etc. As a result, there was a lot of planning together with the art department as well. We also stayed true to the idea of letting the camera playfully float at the beginning of the film where Jakob feels free and optimistic in zero gravity. Advertently, when gravity sets in, the visual language becomes as stiff as his body. In order to emphasise the relationship between Jakob and his mother and their shifting understanding of each other, we discussed every angle, inch and trick possible inside a confined set like ours. It was of incredible help here, that ARRI Rental supported our work with their amazing equipment like the ALEXA Mini LF, lights and much more. Later in post-production, Georg continued to be an integral part of our naturally understaffed project, having ongoing conversations about the right perspectives for visual effects, dispelling, preparing the colour grading, creating screen inserts, artworks etc.
ALMOST HOME has been shortlisted for the Oscar 2023.
For this episode of Chat Cinema, a conversation with Director Alejandro Loayza Grisi about his highly acclaimed film UTAMA. The Bolivian film has been selected for entry for Best International Film Oscar.
I screened the short film The Women’s Revenge on the International Film Festival Rotterdam platform. The work packs a punch. Listen to the Chat Cinema conversation with Director Su Hui Yu explain his work and influences.
From the International Film Festival Rotterdam, Chat Cinema spoke to Director Basir Mohmood about his short film Sunsets, Everyday. The Tiger Award winning short examines domestic abuse during the pandemic.
During a partial lockdown my only entertainment is sitting in the living room in front of a screen. I got a screener link to Possessor. I knew a few details about the film from social media. The jarring one sheet poster meant this is a not a mainstream film.
Brandon Cronenberg is an apple who did not fall from the tree. Like his father, the son of acclaimed filmmaker David Cronenberg displays his cynicism towards modern technology front and centre. To classify the film as just a sci-fi thriller would be too easy. Identity, corporate assignation, gender roles, murder and personality theft are covered in Possessor.
His Father’s Son
I expected some head turning moments when the opening credits rolled. The “what have I gotten myself into moment” started during the first 5 minutes. The shocking opening scene gives a bloody preview of things to come. For Cronenberg fans, as I said, Brandon inherited his father’s artistic DNA.
Kudos to lead actors Andrea Riseborough and Christopher Abbott for playing their synchronized roles without sharing a scene. As Tasya Vos, Riseborough’s breathes life into her almost out of control tech assassin. Abbott’s role as a possessed displaced person in his own body takes a subtle route of a confused man battling for control of his mind and body.
Andrea Riseborough gives a fine performance as a tech for hire killer.
A lot of mention has been given to the film’s cinematography and direction, well deserved. Brandon’s work is one of a confident director in control. At times the emphasis on style over story hobbles his script, especially 3/4 along the ride. A bit of overkill creeps in.
Director of Photography Karim Hussain’s camera work deserves mentioning. One of main criticism of modern technology is the sense of belonging while in isolation. Karim gets this across by shooting the scenes with a sense of chilling detachment.
Possessor can be called “disturbing”. But for me, I would argue this is a calling card work from a guy with a flair for staging violence. Brandon Cronenberg may not get invited to make a Marvel film. That could be a good thing. We need filmmakers with his perspective working outside the commercial arena.
3.5 out of 5 stars.
Possessor, directed and written by Brandon Cronenberg
After weeks of covering the build up to the US Presidential election then the actual voting and ensuing chaos I was in no mood for a heavy documentary. I got the screener for “Collective” from the press agency. My first impulse was to write my press contact to pass on the viewing. The past few weeks have been exhausting. Like the rest of the world, I wanted to go brain dead. Being unfamiliar with director Alexander Nanu’s work did not help the cause, however this particular work unspooled at the Toronto and Venice Film Festivals. I had to give it a try applying my 20 minutes rule. If I don’t like it, stop.
For some reason the film popped up again in my email. An omen to give the film a try. My first thoughts: Sadly, “Collective” played into the stereotypical image of Romania. A corrupt country run by an openly incompetent government placing more importance on off shore bank accounts than its citizens. The ones screaming for change are outside the power structure.
Brave
There are no heroes in this film. Brave, foolish or naive depends on the viewers perspective. None of big questions answered. A tragic event sets off a series of horrific events. A night club fire kills or injures dozens of people. A medical system run by political cronies based on connections and bribery, not abilities. Alexander’s work pulls you in by showing how systemic rot affects ordinary people. Nevertheless, even exposed the crumbling system has abilities to protect and sustain itself.
“Collective” is timely in today’s climate. Free press is under attack. Large institutional power has little accountability.
The documentary’s strong reviews are well deserved. The Berlin educated director has made a work that stirs the mind. More importantly, the people running Romania should ask themselves “Why can’t we do better?” I could ask this of the US after the elections.
4.5 out of 5 stars.
Collective is being released by Magnolia Films. Running time at 104 minutes.
An interview with film directors Flavia Mastrella and Antonio Rezza from the Venice Film Festival.
1.This is your sixth feature film in a 30-year career that has encompassed Television, shorts and medium-length films. How difficult is it nowadays to get a film financed?
Flavia: “Escoriandoli” (our first movie) was the only film we shot with a producer. It was an interesting experience but we soon realised it was impossible to replicate it. The production pressures had too much impact on our artistic choices. We produce our films and use independent distribution channels.
Antonio: For us, getting a budget is never the main issue. We can always sort something out. A budget is useful because it offers warranties to the film. Without that guarantee, we can’t start shooting. So we look for funders.
Idea for the Film
2. Where did the idea for the story and the script of “SAMP” come from?
Flavia: The inspiration came from the ancestral landscape of Puglia. I was deeply involved in the stories from “La terra del rimorso” (The Land of Remorse), written by Ernesto De Martino.
Antonio: Flavia made a location scouting in the Triana Valley in the spring of 2001. The idea was born there. The screenplay is the result of a cycle of abandonment and reconnection with an on-again, off-again 20 year-long work.
The Sense at Venice
3. What should audiences infer from this film and take away from it?
Flavia: Our films are open to interpretation. We do not offer a truth. We just gather some thoughts. I would like the audience to grasp that sense of expressive liberty we encourage.
Antonio: The great sense of freedom and lack of interest in all forms of power.
4. What are your feelings of having the film play at the Venice Festival this year?
Actor and Director (left) Antonio Rezza
Flavia: We are happy. We can finally see if our communicative experiment works, see the reactions of an audience. We continue to seek new methods to surprise ourselves and others. I enjoy the risk.
Antonio: I was moved by the great acclaim that welcomed the film. It’s nice to feel emotions. It is very childish to vibrate to the sound of approval. But it is the only thing that keeps us attached to the world.
5. Do you feel a little cheated by the Covid-19 crisis with less people attending the festival?
Flavia: For us it is completely normal to be selected in times of crisis, it is our bizarre destiny.
SAMP screened in Competition at the 2020 Venice Film Festival.
Production Company: Rezzamastrella
Running Time: 78 Minutes
Country: Italy
Steve Yates contributes to Black and Paper.
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