Tag: movie review

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Cinema

Is it worth a trip to the Cryptozoo?

I got a screener link straight from 2021 Sundance Film Festival. A nice surprise these days during a never ending lockdown to know filmmakers are still working. For some reason I did not receive the press release for Cryptozoa. The short description read “cryptozookeppers struggle to capture a baku,,, or should mystical creatures be displayed at a zoo or hidden”. An unusual premise to take in on first reading. The animated feature by Dash Shaw also came with a not so familiar but intriguing looking poster of characters standing in front of an entrance gate. Initial research on IMD found the film garnered nice reviews at the Utah Fest. 

Creatures and more

Taking the plunge, I clicked the link for the 90 minute film. Certainly after the first few minutes, Pixar was out the window. Dash decided to set himself apart. The director’s world is filled with well known and not so well known mystical creatures. Lauren and Joan have charged themselves with the task of finding all the crypts for safe keeping in a Zoo type amusement park. Also on the trail is Nick with the duty of securing the beings for military use.

The premise has a core moral message inside a story that gets tangled up with so much happening at once. However, the constant bombardment at times feels as though Mr. Shaw decided on the heavy handed approach to compensate for some short comings in his story telling ability. There was a not a single laugh in the Dash’s second feature film. Why the heavy dose of cynicism?

Cryptozoo offers some stunning visual renderings for the viewer. Taking a chance to challenge viewers on the definition of animation still does not compensate for a script that needed a smoother impetus.

3 stars out of 5. 

Running Time of 90 minutes

Premiered at the Sundance Film Festival from The Match Factory

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Cinema podcast

REVENGE

A preview if the short film The Women’s Revenge. Stay tuned for the Chat Cinema podcast from the IFFR.

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Cinema

Chat Cinema on Pebbles

From the International Film Festival Rotterdam, Chat Cinema interviews the creative team of the Award Winning film Pebbles. Director Vinothraq’s story inspires the spirit.

Part 1 of 2. Click the link.

Stay Tuned for Part 2 of the interview.

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Cinema podcast TV

Streaming NOW

Chat Cinema Streaming Now

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.

Click below to see the episode.

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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

Venice Film Festival-Length

Lengths 

One intriguing entry into the Venice competition program this year is Lahi, Hayop (Genus, Pan) by Lavrente Indico Diaz (better known as Lav Diaz). Those already familiar with the work of the Filipino director will know he is synonymous with slow contemplative cinema. His earlier films Evolution of a Filipino Family (2004) is ten hours long, one of the longest cinematic narrative films of all time. While some of his more recent prize-winning films, A Lullaby to the Sorrowful Mystery (2016), feature high on the longest ever films list. The director, a former film critic, drew from influences of work by the proponents of art cinema as Michangelo Antonioni and Robert Bresson. 

Lav Diaz is also no stranger to the Venice Film Festival. His 2016 filmThe Woman Who Left won the Golden Lion. Lahi, Hayop, for the director comparatively modest in length at just over two and a half hours, still contains his trademark allegories of human greed and brutality, shot in monochrome with long takes. Dismayed by the working conditions at a gold mine, three workers journey to their home village on foot through the isolated wilderness of the mythical island Hugaw.

The weariness creates a hallucinatory effect for the three main protagonists; two mature men and a younger more capricious colleague. From here, with money, envy, and narcissism as the central themes, their relationship and events become more unpredictable and dramatic. As the recent back story unfolds, with scenes  of contemporary Filipino society set against notions of the long-term effects of Japanese and American occupation. 

Still Developing 

Drawing allusions to the formal elements of Bertholt Brecht in its steady rhythm.   Lahi, Hayop consistently uses the static camera, and almost always films at the same distance. With virtually no reference to the present, the film could be set at any time in the last 50 years.  Given weight by the fact, when speaking of the film, the director’s inspiration came from a question asking him to define the human species. His urgent reply: “Despite being the better developed species, most of us still retain the demeanor and comportment of the chimpanzee or the genus Pan”.  Transposed to capitalist society, the film depicts the destructive effects of the human animal, not least through greed. However, the director also finds optimism because the human brain contintues to develop.  Diaz believes we will eventually become a self-actualized species, following the examples of Buddha or Gandhi. 

Lahi, Hayop has been playing in the final three days of the Venice program. It was in contention for the Main Competition (Orizzonti) prize. 

~ Steven Yates contributes to Black and Paper

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Cinema

Venice Film Fest 2020

The Shorts 

Along with the more high-profile feature films, we should not overlook the short film entries in Venice.  I commend those that have been selected.  The short film competition in Venice has programmed a total of twelve entries this year.  The selection represents all regions of the world except South America. 

Si 

Two further films selected are screening out of competition. One, an intriguing piece titled Si by Italian director Luca Ferri. Running at just under 20 minutes, it has a split screen effect; the left side for the visuals, the right for text. In his notes, the director talks of Si as the first of five planned films representing absence. Here, a man studies a series of encyclopedic images from the Prelinger Archives, illustrating the creation of the cosmos.

Si 

Humanity is conspicuously absent, represented only in its works and ruins. The man falls asleep and sinks into a nightmare of arctic hunters killing polar bears, while the compellingly melancholic soundtrack features two pieces of contemporary music by the composer Agazzi with the text linked to the director’s personal childhood memory of a suicide. Hope and redemption are also tellingly absent in this unique and pessimistic appraisal of the contemporary human condition.

The Shift 

The sole entry from the United Kingdom, a Scottish film called The Shift, directed by Laura Carreira. It is a candid snapshot of contemporary social dependency in an ever increasing insecure world of employment. A young woman called Anna takes her dog for a walk in the woods, then goes to the local supermarket. Waiting at the checkout, she gets a phone call telling her she has lost her shift as a temporary worker.

The Shift 

The director stated that he felt the need to represent this common but largely unaddressed social situation. The film conveys this poignant vulnerability as representation of an increasing amount of people. Shift,  represents the temporary shift work and also the poignant shift in personal situation and security, as a powerless young woman sees her life change spontaneously and inexorably.     

~ Steven Yates loves cinema. He is a frequent contributor to Black and Paper

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Cinema podcast

ON PAUL

 Director Paul Verhoeven made a certain film that has outlived the most savage reviews. Why? A bad film we love.  

Director Paul Verhoeven 

Stay Tuned for the next Chat Cinema Podcast.