Croat Director Nebojša Slijepčević lifter a page from a tragic event in his region’s history for the the short film “The Man Who Could Not Remain Silent“. The story of a train ride that turned into courage and loss during The 90’s Balkan War. This Chat Cinema Podcast talks to the Cannes Film Festival Palm d’ Or winner about the circumstances and speaking out in the face of brutality.
Do you need a few films to watch this Halloween? These are titles we recommend for night at home with popcorn.
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.
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.
4.5/5 stars or maybe 5/5 stars.
The rise and fall of fashion wonderkid John Galliano was a magical story of success. Championed by industry heavy weights as a visionary, Galliano gave the world frivolity on the runways of Dior. However, under the surface of smiles, showmanship and Champagne toasts lurked an individual coming off the rails.
Academy Award winning director Kevin Macdonald stripes away the gloss, putting the former Givenchy fashion house head front and center of a documentary film about a man trying to his road to redemption.
Check out the Before Tacky Podcast on the film.
When a campaign is out of the box, it should be appreciated. Normally, fashion brands employ the same template. How many expressionless face models have we seen peddling the latest expensive this or that in glossy images? For a creative business, the fashion industry can be numbing with the same staid images.
Brooklyn jewelry and handbag designer Alexis Bitter took a cue from different influences by imagining a universe with the cast of characters that border on tragic comedy, integrating branding and seeding with clever storytelling in short Instagram videos.
Old money maven Margaux and abused assistant Jules or Jules are the golden Manhattan team, a modern dysfunctional duo that makes the new Sex and the City reboot feel wooden.
Theresa is straight from the John Waters casting call. The fabulous Coney Island native has her seven teen fans on TikTok and a husband who loves Fox News.
The FLU newscasters, a bull eyes parody of modern journalism with serpentine smiles glossed over with high-tech graphics.
Alexis Bitter proves originality and risk can triumph.
Every father and son relationship is different. The “Ward Cleaver” image from 50’s American TV was a work of the Perfect Eisenhower era fiction. Father’s can show their love, sometimes in imperfect ways. TWO FOR THE RODE from Lochlainn McKenna is an award-winning short film about a parent and childhood bound manifesting itself in some irregular child rearing scenarios.
A Black and Paper interview with filmmaker Lochlainn McKenna.
The opening scene/shot sets the tone for the film and relationship, why did you choose this for the opening scene?
I used to spend the weekends driving all over Ireland with my Dad! I was in every county before I was 10. Ireland’s not a very big country but sometimes those drives might be 4 or 5 hours. He would pick me up on a Friday evening and then drive late into the night and stop somewhere secluded for us to sleep before morning. For me it made sense for the film to start on Saturday morning. I wanted the audience to wonder where this child was? Why is he asleep in a car? Who’s he with? It adds a sense of jeopardy to the story before we establish the narrative of the story.
What was the writing process like? Do you have any personal ties to the story line?
I wrote the original story ‘Guinness & Coke’ during the pandemic and that laid the foundations for the screenplay. It’s all based on my own childhood. There was certainly a lot of thought that went into the characters and the scenes and actions. I try to be as detail specific as possible in my filmmaking and I tried not to skimp on any details. The biggest difference between the short story and the film script is that, in the story, a lot of the dialogue is internal in Oscar’s head where as in the film there’s a lot more external dialogue. It was a case of using that external dialogue to better accentuate the narrative. That dialogue is necessary to push the story along.
Chaos, adventure, risking, experiencing life, I’m curious to know if this is how you would describe a weekend with your father?
I think you’ve hit the nail on the head. But there was also a lot of consistency, care, curiosity and companionship. Our weekends were always very physical. We were always doing. Whether that was exploring the countryside looking for old Celtic ruins or chasing thunderstorms… sometimes we’d traverse the coast looking for spider crabs. Other weekends we might be breaking rocks open looking for fossils. Some weekends we would play pool and go to the pub… sometimes motorbike rallies or airplane shows or go to the fair. It was very varied. There was a lot of camping.
There is the dynamic of the relationship switching to the son being the adult, looking after his father. Do you think the viewer has less sympathy for the father? My first thought was “Get that kid away from him”.
It’s always been my intention to make sure the father character isn’t vilified. I want the viewer to come out of the film feeling kinda conflicted. We should feel sympathy for the boy but also understand that the father is trying his best, despite wrestling with his own demons. There’s a lot of love between them, despite the obvious complexities. Naturally though, I think depending on people’s personal circumstances and their own relationships with their own parents or children, you’re going to have a strong reaction to it, right? And I think it’s great that you felt that strong a reaction. I don’t think anyone is watching the film and thinking, “ah, that’s fine, good for them”. But I think it’s a sliding scale as to how bad it all is really and I think that grey area is what makes the film intriguing.
How did you work with Eoin on the shooting style?
Eoin McLoughlin did such an outstanding job on this film, honestly. It just makes me so happy every time I watch it back, it’s exactly what I had hoped it would be. I always wanted the film to look and feel like a 90s memory. So the decision to shoot on 16mm was pretty much set from the outset. A big reference for me was Lynn Ramsey’s short film Gasman. There are these scenes in the pub where they use long lenses to pick off really natural moments of action which I just really loved and wanted to emulate. In general the thinking behind our approach was that whenever Oscar is feeling free and having fun we’re on long lenses. The camera is hand held, moving, roaming. When things get serious or dangerous for him, the camera is locked off, very static, very sharp and generally very wide.
Are you planning on making a feature film on the same subject?
I am! I’m currently writing a book which will be based on a number of other weekends with my Dad across a number of years. I’m hoping this anthology of stories will be the basis for the feature film script in due course.
TWO FOR THE ROAD has qualified for the 2023 Academy Awards Best Live Action Short.
African stories are front and center from a Guardian story on untapped stories from the continent. African filmmakers have had success on the film festival circuit, now thanks to Netflix and other streaming services, there is wider distribution of works by Africa’s cinema creative community reaching global audiences.
Scavengers Reign, the new animated science fiction series on Max, goes the extra mile depicting life and survival on another planet. Creators Joseph Bennett and Charles Heuttner crafted an artwork of images bridged with guess the next moment storytelling.
After their space cargo ship is destroyed, three sets of survivors must figure out how to survive on an uncharted yet beautiful planet filled with perils.
Prometheus gave man fire, and the Gods were not happy. Oppenheimer, the latest Christopher Nolan Film, is a war drama based on the Los Alamos Project, the race to acquire the Atomic Bomb. Based on the book American Prometheus: The Triumph and Tragedy of Robert J. Oppenheimer, the $100 million production follows Oppenheimer and his science team’s development of the ultimate weapon.
Cillian Murphy gets promoted from Nolan supporting player to lead as the conflicted egocentric work driven project head. The Irish actor makes of the most of his screen time by playing the man on an intense mission, unheeding the future consequences until too late. Emily Brunt as the bottle dependent Mrs. Oppenheimer had to have watched Deborah Kerr’s 1953 perfromance in the film From Here to Eternity for reference, drawing on the cruelty of her marital situation.
Robert Downey Jr clearly has set his eyes on the Oscar Nomination playing Opeenheimer’s intellectual inferior yet cunning adversary Lewis Strauss. Mat Damon as General Lesile Groves comes across as forced, a blustering perfomance in a military uniform that was too big for the wearer.
What Actor would turn down a call from one of the top directors of his time? Clearly none. Nolan assembled top talent and names for the above the line ensemble, but there laid the problem. The key supporting characters intricately involved in the plot were overshadowed, forgotten. Bennie Safdie as a H-Bomb developer Edward Teller and Sadie Stratton as Mary Washburn had screen time, why? It is a case of wasting talent, not performances, rather, stock pieces.
Oppenheimer is dazzling film making on many levels, yet at times dazzling dullish, dazzling flawed and dazzling overwrought. At 180 minutes, Nolan’s screenplay kept the tension tight while seemingly going in small circles. Production values are top, camera work, editing and sound departments will certainly attend the upcoming technical awards ceremonies.
At a time when movie goers are experince super hero fatigue Oppenheimer shows audience want more than men in tights. Mr. Nolan gains praise for his work.
Instead of the giving Oppenheimer the title of Prometheus, perhaps Empimetheus, the God of Afterthought, would be a better. After all, The Greek Titan had the key to the Pandoras box. Look what happened we he gave it away.
Oppenheimer earns 3 out of 4 stars.
What is the expression? “Be careful what you wish for.” It might come true. CYPHER could be a cautionary work about modern fame and its downside. Tierra Whack from Philadelphia, found online fame rapping on the streets. Her journey to the top had a fairy-tale angle, a young lady from the wrong side of the tracks goes on to become famous. Director Chris Moukarbel observes the double edge of fame, from the adulation to the cra-cra. As the Cypher unfolds, rooting for the rapper suddenly goes to “Girl, you are in danger!”
Gentrification has hit every urban area in the world. Finding affordable housing in any city is the same as trying to guess seven winning lottery numbers. MOUNTAINS by Monica Sorelle tells the story of a Miami affordable neighborhood being gentrified. Atibon Nazaire stars as Haitian Xavier Sr., a man contemplating a foggy future for him and his family. Atibon strong presence balances subtle performance as a man looking at an oncoming storm.
Not that we needed a film about how strange the world was during Covid and the lockdowns. Brazil’s A STRANGE PATH captures the moment by showing the peculiar monotony of life of doing nothing and waiting with a feeling of fear and seeking out comfort. Lucas Limeira stars as a filmmaker returning home only to be confined to a dingy hotel room during the closures while a dysfunctional relationship with his father goes beyond repair.
Why was I drawn to IT’S BASIC? The political headlines of Dr. Cornel West announcement of his candidacy for president of the United States in 2024. As poverty and inequality grow in America, a desperate populace is looking for new answers. Marc Levin points his camera at subjects weighed down by an unsympathetic system. The “working poor” in the country have been ignored. Cities finding themselves unable to ignore the harsh realities of neo-liberal government policies have come up with new solutions to address the problem of an ever larger underclass: a basic income.
An honorable mention goes to DEEP SEA. China’s ambitious underwater animated adventure from Xiaopeng Tian. I had problems with the fast pacing and lack of sympathetic characters, but the visuals were top-notch.
Canada’s HEY VIKTOR got so silly I started to laugh out loud. Cody Lightning’s comedy about self-serving comeback while making a low or no budget film had moments.
Tribeca Film Festival runs until June 18th.