OSCAR WATCH: Spotlight

The common campaign tactic "some movies make you feel" has been a staple of Oscar politics for some time now. When more cerebral films come up against broader crowd-pleasers, that extra emotional edge can make the difference. Other times however, it's a combination of smart writing and commercial entertainment that delivers the right stuff, as proven by our most recent Best Picture winners. It's a recipe for success that I certainly see in Thomas McCarthy's subtle, but powerful "Spotlight", a strong contender for the top honor come Oscar night.

"Spotlight" refers to the Spotlight team, a small group of dedicated reporters tasked with investigating major stories for The Boston Globe. Having reported on some of the biggest cases of their time, they were seasoned experts with the full support of their editorial staff. But nothing could have prepared them for their latest case, an investigation into a far-reaching sex abuse scandal in the hallowed institution of the Catholic Church. What started as one-off cases of child molestation by a few priests is gradually revealed to be a larger conspiracy designed to cover-up the shocking trend and protect the church's public image, at the expense of thousands of victims. But this skilled team of social justice warriors soon connect the dots, determined to end the corruption once and for all.

In a time when style often trumps substance, "Spotlight" feels almost like a relic of times gone by. When the film premiered at Venice last year, the most common comparison was to the nearly 40-year old film "All the President's Men", another straightforward drama about a high profile scandal. And indeed, both film share the same bare bones approach, gathering a talented ensemble to downplay their star personas in service of their roles as determined journalists simply doing their job and doing it well. In this instance, those roles belong to Michael Keaton, Mark Ruffalo, Rachel McAdams, Liev Schrieber, John Slattery and Brian d'Arcy James, in addition to many other fine performers in bit parts. Picking an MVP among them is a futile effort, as the film is as much about the power of teamwork as it is about the outcome of the case and its heroes.

The film's biggest strength lies in this lack of triumphalism, valuing the work over the end result. In doing so, the filmmaking is perfectly attuned to highlighting the discipline and dedication required to produce credible, influential journalism. Even as the film involves a lot of document review and interviews, McCarthy smartly ensures that the action is never static, often actively tracking each character as they hunt down their next piece of evidence. Likewise, the understated score acts as a ticking clock in the background, reminding you of the urgency of this crisis.

There were numerous other aspects I could list to show how Tom McCarthy has delivered a strong piece of cinema in "Spotlight", particularly when it comes to the Oscar-nominated screenplay. And likely there are even more to found as the film reveals even more depth and detail on repeat viewings. But in the spirit of the film's humble tone and filmmaking style, I'll simply say "good job". This film is deserving of all the acclaim and is one of 2015's must-see films.

Tweet

INTERVIEW: Ciro Guerra

From the Amazon jungle, to the Cannes red carpet and beyond, it has been a long but successful journey for Ciro Guerra and his Oscar-nominated film "Embrace of the Serpent". Now released in North American theaters and with the big Oscar night ahead, this magnificent film will surely captivate new audiences, as it did when I first saw it back at the Toronto International Film Festival. It was therefore a pleasure to get the chance to sit with Guerra last week in LA, where we discussed the making of the film, the Oscars and the recent surge of Colombian cinema.

Read more at The Awards Circuit

Tweet

MOVIE OF THE WEEK: Trumbo

There's a scene late in Jay Roach's lastest feature "Trumbo", where our title character Dalton Trumbo makes a speech in acceptance of a Lifetime Achievement award at the WGA's annual awards ceremony. In it, he explains how he had often felt like the "elephant in the room" in the film community, due to the controversial political beliefs which provoked much of the drama surrounding his biopic-worthy life. The analogy could easily be applied to the film itself. Largely ignored in general media coverage, it still managed to be a consistent presence throughout this year's awards season. And though the general consensus framed the film as bland Oscar bait engineered for AMPAS love, what I found was a harmless film that certainly wasn't as egregious as the critics would have you believe.

"Trumbo" chronicles the life and work of Dalton Trumbo, a talented screenwriter who's career was marred by unfortunate anti-Communist paranoia throughout much of the post-war 1950s. As one of the infamous "Hollywood Ten", he was blacklisted for his association with the Communist Party USA. But despite the aggressive backlash, lead by gossip columnist Hedda Hopper and her House Un-American Activities Committee, he managed to rise above it all, sacrificing his personal life and freedom. Throughout his ordeal, he found a way to keep writing under various aliases, delivering some of cinema's classic screenplays, including Oscar winners "Roman Holiday" and "The Brave One".

And of course, the usual triumph over adversity narrative unfolds, with Cranston leading a strong ensemble cast. Those seeking a more inventive style of storytelling will surely be repelled by this by-the-numbers plotting, and with good reason. But on the other hand, it tells an interesting, engaging story and crafts a fascinating central character through Cranston's compellingly self-aware performance. His Trumbo is as self-involved as so many other "great, but flawed" men we've seen on screen, but he has his own nonchalant sense of humor that sets him apart. Would I nominate him for an Oscar? Perhaps not. But it's more than capable acting considering the constraints of playing a real-life character.

In casting the other roles, the film has a few other standouts, notably Michael Stuhlbarg as the conflicted Edward G. Robinson. And it's understandable why Helen Mirren gained plaudits for her showy performance as Hedda Hopper, a real "piece of work" as they say. Most importantly, the cast deserves credit for avoiding mimicry, which could have easily cheapened the film (hey "Hitchcock"!) given some of the more dubious casting choices.

In summary, "Trumbo" doesn't do anything outstanding, but it's tastefully made and pleasantly entertaining. Sure, it could have taken a bit more risks, but I found more to like than not. And in a week of underwhelming films, that was good enough for me.

Tweet

PAFF: The Unseen

The notion of Africa as a singular country has long perpetuated throughout Western society. Sometimes it's due to willful ignorance, for others it's sometimes inadvertent misunderstanding. But even for the more enlightened citizens of this vast continent's 54 nations, pinning down their own definitive individuality can be a challenge. It's no wonder then, that existentialist narratives like Perivi Katjavivi's "The Unseen" are becoming more commonplace in African cinema.

"The Unseen" is a contemporary look at Namibia, through the eyes of 3 different individuals from various backgrounds. The first is Marcus (Antonio David Lyons), an African-American actor who is visiting to play the role of one of the country's historical leaders. With little guidance from his director, he's left to research the role on his own, hoping to find the "truth" in this unfamiliar landscape. Honesty is also a major concern for our second character Anu (Mathew Ishitile), an aspiring local musician who struggles to find his voice out of his muddled Western and traditional influences. As he looks to more mystical sources for answers, he becomes increasingly isolated from those around him. And finally, the film also follows Sara (Senga Brockerhoff), a disillusioned young woman who returns home harboring thoughts of suicide. As all three of them go about their daily lives, an open-ended essay film emerges on what Katjavivi describes as "what it means to be alive in independent Namibia".

Indeed, "The Unseen" unfolds more like a conversation than a defined narrative. One scene particularly stands out, where Marcus is in a press conference to promote the film and gets into a discussion with a white Namibian about reverence and ownership of indigenous characters/stories. While the white Namibian claims it is his right to play this tribal chief (justified by the "we're all African" argument"), Marcus asserts that a black man would be more appropriate.

The film is at its most resonant when it actively engages with such questions of postcolonial identity. The more esoteric storyline involving Sara on the other hand, keeps the audience at distance. At times frustratingly vague and lacking insight into her inexplicable depression, the character feels inessential to the overall narrative. Ironically, she herself states "I've always had these doubts about whether I ever really existed".

Anu however, is a man of many words, convincingly delivered by Mathew Ishitile. Through a series of conversations with various acquaintances, the actor conveys the internal conflict of a philosophical mind. It's a testament to his acting ability that his musings on teleportation and Greek mythology feel sincere rather than pretentious. And when he talks about his struggles in rejecting/embracing his African heritage through his music, he becomes instantly relatable.

But ultimately, "The Unseen" is less about finding resolutions for these characters as it is about evoking atmosphere. As such, the black and white cinematography plays a big part, perfectly speaking to the central themes with its interplay between shadow and light. In addition, the intermittent use of archival photos provide a welcome geographical and cultural context. But most of all, I'll take with me the images of Namibia's natural beauty, whether it's the trees blowing in the wind, or a shot of giraffes cantering through the savanna. It's therefore completely understandable that these characters feel so lost in this environment, which almost defies comprehension. And for the audience, like the characters, the film's appeal lies as much in this mystery of the sublime unknown as it does in the unseen.

Tweet

The Biggest Oscars Surprises This Century

This year's Oscars might be the trickiest to predict in recent memory. Sure there are some expectations, such Leonardo DiCaprio finally winning Best Actor or relative newcomer Brie Larson taking Best Actress. But these don't seem to be as thoroughly set in stone as some favorites in years past, and other major categories appear to be wide open.

However, even if the coming days between this writing and the Academy Awards do bring about some clearer favorites, it's important to remember that the Oscars have always held the capability to surprise us. To illustrate this fact, here's a quick look back at some of the biggest surprises we've seen at the awards so far this century.

Tweet

PAFF: iNumber Number

Corrupt cops? Check. Heist plot? Check. Morally conflicted undercover detective? Check. The formula for the crime thriller hasn’t changed much over the years and with good reason. Donovan Marsh’s "iNumber Number" is a testament to the genre’s power, providing slick entertainment with his South African take on the ever popular cops and robbers tropes.

Read more at The Awards Circuit

Tweet

PAFF: Lamb

In an era where “bigger is better”, it’s always refreshing to see a simple story that’s well told. Such is the case with Yared Zeleke’s debut feature "Lamb", Ethiopia’s official selection for this year’s Oscars. This tenderly wrought tale follows a young boy and his lamb, growing up in a world that threatens to tear them apart.

Read more at The Awards Circuit

Tweet

PAFF: Necktie Youth

Back in 1994, South Africans went to the polls to vote for their first democratically elected president Nelson Mandela. After many years of apartheid rule, there was renewed hope among the people, especially those who had previously suffered. Sibs Shongwe-La Mer’s "Necktie Youth" takes place in this new post-apartheid era, focusing on a group of privileged youth who benefited from the new paradigm. But far from the enthusiastic cries of “Amandla!” heard throughout the years of struggle, this contemporary piece presents a more dismal outlook, framed by a pair of suicides which seem to reflect a pervading feeling of discontent.

Read more at The Awards Circuit

Tweet

PAFF: Stories of Our Lives

One of the films that best embodies the ethos of the Pan African Film Festival this year is "Stories of Our Lives", an anthology film directed Jim Chuchu. Reenacting personal stories from the lives of various members of the oppressed LGBT community in Kenya, this stirring film gives a voice to those who have been silenced. Indeed, while the film has banned in its home country, its important message has deservedly been given a platform at various festivals around the world.

Read more at The Awards Circuit

Tweet

PAFF: Where Children Play

After blazing the screen in "Dear White People" and "Chi-Raq", Teyonah Parris adds another compelling performance to her growing resume through "Where Children Play". In this new drama from Leila Djansi, Parris plays the lead role of a woman who is forced to face a tragic past. And as she digs through her character’s scars, this rising actress proves her ability to elevate even the most conventional narratives.

Read more at The Awards Circuit

Tweet