Tuesday, October 3, 2017

REVIEW: Polina


In the world of ballet, elegance and grace is of the essence. The titular dancer of Valérie Müller and Angelin Preljocaj’s “Polina” knows this all too well, facing criticism at an early age for not being limber. But natural-born talent can only get you so far, as Polina proves in this captivating saga about a young woman who fearlessly chases her dreams.

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REVIEW: Gook


As decent Americans look on aghast after another incident of racially motivated violence in Charlottesville, films like “Gook” remain incredibly timely. Starring, written, and directed by Justin Chon, this drama relives the tense atmosphere of South Central Los Angeles in the wake of the infamous Rodney King verdict. Crafted carefully around those real life events, “Gook” delivers a rare, engaging Korean-American take on race relations in the early 90s.

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REVIEW: The Nile Hilton Incident


Corruption is a disease that plagues societies all over the world, particularly when under the rule of a dictatorship. Such a regime forms the background for “The Nile Hilton Incident” a crime drama directed by Tarik Saleh. Set in pre-revolution Egypt in 2011, this Sundance winner is a scathing indictment of corruption, as uncovered in the aftermath of a murder.

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Sunday, October 1, 2017

OSCAR WATCH: Battle of the Sexes


Before Serena, before Steffi, before Martina, there was one woman who changed women's tennis and paved the way for them all. Her name is Billie Jean King and her fight for equality revolutionized the sport forever. Unsurprisingly, she is now the subject of an inspiring Hollywood movie by Jonathan Dayton and Valerie Faris titled "Battle of the Sexes", chronicling a pivotal moment in her illustrious career.

That titular Battle of the Sexes refers to an exhibition match that became a turning point for women in sport. It was played between King (Emma Stone) and a retired male pro Bobby Riggs (Steve Carell), who posed the challenge to assert male superiority. In the lead-up to the battle, King was at the top of her game. But she was frustrated by the lack of respect shown to the women's players. Despite their ever-increasing popularity, they were awarded only a fraction of the prize money of their male counterparts. Taking a stand, she joined with fellow players to form their own Women's Tennis Association with their best interests at heart. Meanwhile, an unhappy ex-pro named Bobby Riggs saw their efforts and decided to take advantage of their media visibility. So he decides to propose a challenge match to prove that even an out of shape 55-year old man could beat the best women's player in the world. King was initially reluctant however, perceiving it a fiasco designed to humiliate her and the entire sisterhood of athletes. But she later realized the golden opportunity it presented to prove the value of the women's game and promote equality. And the rest is history.

Indeed, King's on-court achievements are well known. As with any biopic then, the challenge is to give deeper insight into the person. In that regard, Simon Beaufoy's script (a likely contender for Best Original Screenplay) mostly succeeds, delving intimately into King's personal life and public activism. And Beaufoy is commendably efficient in establishing King's character and the central conflict, setting things in motion with an early scene where King confronts the head of the US Lawn Tennis Association to put forth her case that women deserve equal prize money.

Of course, the times weren't as progressive as they are now and she was rebuked. But we soon learn that King is nothing if not a fighter. The storyline soon reveals her leadership qualities in establishing the WTA, her fierce work ethic and as a married woman, her personal struggle to hide her secret lesbian affair. But even as she was evidently an icon of women's rights, LGBT rights and an ambassador for the sport, one of her most winning traits is her humility. And this humility is shared between both the character and Emma Stone in her portrayal of her. While the role is easily Stone's most transformative, the performance is completely naturalistic and devoid of actorly showmanship. Her effortless warmth therefore creates a rooting factor that serves the film well and will surely gain her fans in the Best Actress Oscar race.

In contrast, Bobby Riggs is considerably less remarkable, which is no fault of Steve Carrell's enthusiastic performance. With the frequent reminders that he is a "self-proclaimed chauvinist" who is simply putting on a show, the script sometimes undermines the feminist intent of the film. Instead, his character is mainly just a moronic gambling addict craving the spotlight, making him a rather lame antagonist.

As the film engagingly builds towards its triumphant conclusion, the imbalance between the characters becomes ever clear. I therefore agree with others who believe that the film would be more interesting as a more fulsome biopic focused more on Billie Jean King. Still, the film is a perfectly solid "down the line" play, to use tennis terminology. But perhaps more significantly, it's a striking reminder of how this Battle of the Sexes mirrored the recent US Presidential election. This social relevance will surely give the film some lasting power and will likely resonate with Academy voters. And with Billie Jean sure to join in on the film's awards campaign, the Best Picture has a proven champ in its midst.

Sunday, September 24, 2017

TIFF: Wrapping up the festival


With the announcement of a surprise People’s Choice Award Winner that precious few predicted, the 2017 Toronto International Film Festival came to a close with less fanfare than previous years. The general consensus was that the festival lacked the slam dunk hits that Oscar dreams are made of. But on deeper reflection, there was much to appreciate from this year’s slate of films.

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REVIEW: A Ghost Story


The only certainty in life is death. But what comes after? With his latest film, David Lowery poses an answer to this question that provides even more room for thought. It may be titled "A Ghost Story", but it's also a love story and so much more.

Casey Affleck and Rooney Mara play a couple simply known as C and M. They live in a quaint suburban home as C tries to make a living as a musician. But one day, he dies tragically in a car accident just outside their home. M is distraught, consumed by her grief and loneliness. C returns home in spectral form however, hoping to re-connect with his wife. She can't see him however, though she senses his presence. Unfortunately, the pain and memories are too much to bear. M plans to move out of their home, leaving C desperate to break through to her before it's too late.

The experience of watching C's subsequent odyssey is one that delivers endless surprises. In the first act, the heartbreaking tragedy of its love story is presented with stark austerity, emphasizing the quiet solitude of loss and the overwhelming impact of grief. Free from hysterics, Lowery instead channels these feelings through his evocative use of music and Rooney Mara's delicate performance.

But Lowery does an interesting thing with this heartbreak, turning the focus towards C's ghost in the most fascinating of ways. It truly becomes "A Ghost Story" of unusual depth, gradually evolving into a bleak contemplation of the meaning of life and the afterlife. If Lowery's "Ain't Them Bodies Saints" was his faithful homage to the master Terrence Malick, then "A Ghost Story" is his graduation from his apprenticeship. With this effort he has truly found his voice, exploring an inspired take on cosmic existentialism to rival "The Tree of Life".

Indeed, "A Ghost Story" gets deeply philosophical - with a strikingly nihilistic outlook - but there's also an immediacy to the emotions that comes from his experimentation with recognizable genre tropes. Our protagonists' home is essentially a haunted house for example. But the haunting invokes despair rather than fear, as it plays off the "unfinished business" concept. Additionally, the film confronts the cruelty of time in a manner typical of sci-fi films. And these moments are so visceral that they put every 2017 film I've described as "profound" or "breathtaking" to shame.

In essence, "A Ghost Story is very sad, but it's also richly satisfying. Few filmmakers could take such a potentially comical premise (Casey Affleck haunts Rooney Mara dressed in a sheet with two holes for eyes) and make something so stunning. "A Ghost Story" is therefore a testament to the unlimited potential of a resourceful, visionary director. With minimalist production design, unshowy cinematography (i.e. a modest 1.33:1 aspect ratio) and little dialogue, Lowery conveys a story of tremendous beauty and power. "A Ghost Story" is a little film with grand ambitions. And it's easily one of the year's best.

Friday, September 22, 2017

INTERVIEW: Ruben Östlund and Terry Notary


On the basis of his first 4 features, writer-director Ruben Östlund has established himself as one of the most exciting voices of world cinema. His work is often mischievously satirical, giving him a reputation as the “Master of Discomfort.” With his latest film “The Square“, he soars to new heights with a brilliantly absurd comedy centered around the world of modern art. In celebration of the film’s TIFF premiere and its recent selection as Sweden’s Oscar submission, I sat down with Ostlund and actor Terry Notary for a discussion on pretension in art, the value in making mistakes and the gratifying feeling of awards recognition. Below is an edited version of our conversation:

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INTERVIEW: Sebastián Lelio


It feels like every few months we get an article decrying the paltry numbers of speaking roles for women in contemporary cinema. With his recent string of in-depth portraits of a diverse range of heroines, Chilean filmmaker Sebastián Lelio, therefore, feels like a rebel against the status quo. True to form, he brought not one, but two unconventional female-centric films to the 2017 Toronto International Film Festival. In “A Fantastic Woman“, a transgender woman copes with an intolerant society in the traumatic aftermath of her boyfriend’s untimely death. For “Disobedience” he made his English-language debut, with Rachel Weisz and Rachel McAdams starring as Jewish women harboring mutual feelings of forbidden love.

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Sunday, September 17, 2017

TIFF: In The Fade


When we first meet Katja (Diane Kruger), the protagonist of “In The Fade” she seems to have it all. Living a comfortable lifestyle in Hamburg with her loving husband and son, she has no worries. In the blink of an eye, all that is taken away in this gut-wrenching revenge thriller from Fatih Akin.

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TIFF: Wajib & Sheikh Jackson


In a pair of TIFF films set in the Arab world, the tensions between Eastern and Western culture take on personal implications. Both are Oscar submissions for their respective countries, with “Wajib” and “Sheikh Jackson” representing Palestine and Egypt respectively. They also share similarities in their focus on father-son relationships, through which they discuss cultural differences surrounding religion, ancient traditions, and individual freedom.

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