Tag: film reviews

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Cinema

Bentonville 2021 Picks

Bentonville

I have been covering the Bentonville Film Festival this year, virtual of course. Not being familiar with the event, perspective or type of works to expect, my expectations were toned down Celebrating Diversity, underrepresented storytellers is the Arkansas based fests theme. 75% of the films selected were made by women. 

The 2021Winners:

Narrative Film Award: 7 Bigs, Director: Roshan Sethi

Documentary Film Award: Kili Big, Director: Ida Joglar

Short Film Narrative Award: Americanised, Director: Erica Eng

Episodic Award: Now With Norma Director: Fiona Dawson

The films I liked:

Wakiki,Special Mention, by director: Christopher Kahunahana, The first time I saw a film exploring the darker side of paradise. When we think of Hawaii images of beaches and surfing comes to mind, not violence and cultural repression.  Mr. Kahunahan takes chances in the story telling department.

The Daphne Project,by Zora Iman Crews and Alec Tibaldi. How to endure social justice, cancel culture, entitlement and ambition with complete self awareness with unlikeable characters? A rockumentary on some not so pleasant people producing a play. 

The Zeitgeist Movement in the wrong hands.

I’ll Be Fine, by Kelley Kali and Angelique Molina tells the story of trying to faking normal while being homeless in LA. Timely and poignant portrayal of life in avacuumof uncertainty. 

Stairs, a short film from Mongolia, deserves attention. I ended up feeling good at the end of the piece.

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Cinema

Crossing Genres With Mixed Results

At the Tribeca Film Festival this year there were the obligatory premieres. Despite the natural anticipation some program choices were questionable. Take for example the Wyatt Rockefeller directed Settlers. For its world premiere at Tribeca, expectations were good. After all, it is a Sci-Fi Western film from a debut director with an interesting cast. 

“Johnny Lee-Miller was seemingly performing a Masterclass in non-acting.”

Settlers

The Storyline in a Nutshell

As the narrative limps forward, a group of bandits fail in their attack on the family outpost. However, one bandit called Jerry survives and kills Reza. Showing no remorse, he attempts to integrate into the family, attempting to prove himself. Although Ilsa somewhat warms to him, after thirty days she tries to shoot him. Jerry will then kill her in the ensuing struggle.

After losing her parents, the film becomes the survival story of Remy. We watch her do this in the face of predatory men. She learns this was the dark secret her parents kept from her. Remmy resents Jerry’s presence and grows up sullen and rebellious. Her only true friend is the loyal but mute robot, called Steve, found in a storage unit.     

Settlers is a seemingly ambitious film. Setting it on Mars is high concept. The problem is that this Mars looks exactly like a studio. Perhaps that’s the point: A seemingly fascinating distant world does disappoint. It is a wasteland, a primitive but bland year zero. 

The only commendable points of Settlers is that it does have its own unique atmosphere. Brooklynn Prince then later Nell Tiger Free (as the older Remmy) also give stand-out performances. It’s also interesting to see her grow from child to young woman. These positive aspects could have made Settlers a quietly impressive piece of work. However, the other actor’s hammy performances let the film down. 

Settlers premiered at the Tribeca Film Festival on 18th June. It was released on 30th July on digital platforms.

~ By Steven Yates

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The Chat Cinema podcast episode discusses the latest big titles from the streaming services. These shows and a movie have taken the world by storm. Is the hype deserved? One says “yes” while the other cohost is not 100% convinced. You decide.

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Cinema

Possessor, A New Cronenberg Arrives

Christopher Abbott from Possessor

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.

One sheet for 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
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

A Running Time of 103 minutes 

From Neon

Available on Video on Demand December 8th

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Cinema

“Collective” Indicts

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.

One sheet for Collective

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.

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Cinema

Directors Notes on “SAMP”

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.

For all things cinema, check out our Chat Cinema Podcasts.

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Cinema

The Netflix Effect

The Netflix effect is real. The streaming has effected the cinema world like no other technology.   The Chat Cinema Team, Steve, Kristin, and Breck discuss the shockwaves.

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Cinema

Berlinale-Alternative List

David Mouriquand’s alternative list for the festival.

http://www.exberliner.com/blogs/the-berlinale-blog/the-berlinale-blog_2/

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Cinema Encore

Encore from France 24 Dr. Strange