Archive for the ‘USA’ Category

zz64c5954e1It’s difficult to avoid the influence of superheroes at the cinema today. The blockbuster comic book movies have become staples of not only the American box office, but international theatres as well. Despite the overwhelming visibility of comic book titans like Marvel and DC, many countries have put their own spin on the superhero movie. These are a few of the heroes that have had a lasting impact on the genre or are about to make their own splash.

Guardians

Russia is not one to be slept on when it comes to film. When they finally decided to try their hand at superheroes, the results did not disappoint. Guardians features a gigantic, musclebound, shirtless man with the head of a bear that fires a gatling gun—and makes American superhero films look positively tame by comparison. The movie focuses on a team of Soviet superheroes made during the Cold War who represent the different nationalities of the former USSR. And it manages to tap into the rich culture of the nation while besting the Americans at their own game for superhero spectacle. A recent trailer has the movie looking better than ever and it’s hard not to be excited for this level of cinematic extravagance. It’s officially being released on February 23, 2017 and promises to become an immediate cult hit, proving there’s more to superheroes than The Avengers.

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3 Dev Adam

Spider-Man

Spider-Man might be an American hero by origin but his popularity has spawned more than a few imitators throughout the world. Notable among these is the 1973 Turkish action movie, 3 Dev Adam, where Spider-Man is actually the bad guy and fights against Captain America and legendary Mexican luchador, El Santo. Other notable foreign takes on the beloved wall-crawler include the Japanese Spider-Man show where the hero is given his own giant robot and would go on to influence the show that would eventually become Power Rangers. The heroes from Marvel comics are famous worldwide and have long been ripe for licensing through various media, as evidenced through the varying Marvel titles detailed online that are available at popular casino sites. Comic book heroes are frequently used in games like this throughout the world, which only speaks to their incredible appeal. The fan-favourite continues to delight fans
in international markets and his upcoming film, Spider-Man: Homecoming, is sure to be another success.

Krrish

Of course Bollywood was eventually going to offer its own take on the superhero genre with its trademark flair—but it’s also amazing. The franchise has become the second-highest grossing film series in Bollywood (no small feat) with a fourth film set to come out in 2018. The series began with Koi…Mil Gaya in 2003 before going on to become the incredible franchise it is today. 2013’s Krrish 3 was praised for its spectacular visual effects and broke many box office records upon its release. Those records will likely be shattered upon the release of Krrish 4 as the series manages to combine the song and dance staples of Bollywood with the visual explosiveness of American superhero movies.

These are only a few of the heroes that have helped to showcase the international influence of superhero cinema, but there are many other countries that have offered their own unique spin on the genre. There’s far more to the genre than just what hits the American box office, and the trend of more films like this sprouting up around the world is likely to continue.

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2016 has been a strange year of film viewing for me (partly on account of getting married, which it turns out takes up a lot of time and energy.) I’m yet to watch a number of essentials (Toni Erdmann, PatersonSieranevada, I Am Not Your Negro, Elle), but I’ve also been plesantly suprised by films I might otherwise have missed. Here are the films that left an impression on me in this craziest of years.

1) ONE MORE TIME WITH FEELING (DIR. ANDREW DOMINIK, UK/FRANCE)

Of all the films I saw in 2016, none was more mesmerising than Andrew Dominik’s documentary following the recording process of Nick Cave’s excellent album Skeleton Tree. The film captures a terribly troubling time for the Cave family, following the loss of 15 year old Arthur Cave and this runs through the film making it feel like a painfully private affair. It is a testament to Dominik’s handling of the situation that the Cave family were willing to release the film and it is also the director’s best film next to sprawling epic The Assassination of Jesse James by the Coward Robert Ford.

2) THE QUEEN OF KATWE (DIR. MIRA NAIR, USA)
Mira Nair’s The Queen of Katwe is a film that sneaks up on you with an emotional undercurrent that pays off extraordinary well by the final sequence. Telling the story of Ugandan chess prodigy Phiona Mutesi, Mira Nair casts newcomer Madina Nalwanga in the central role and surrounds her with established talent David Oyelowo and Lupita Nyong’o, as well as numerous child actors. A potentially challenging production from Disney – shot on location with many non-actors – it succeeds thanks to the director’s talent for straddling different worlds of production. A big hearted film for all audiences.

3) INTO THE INFERNO (DIR. WERNER HERZOG, UK/GERMANY/CANADA)
Of the two documentaries released by Werner Herzog in 2016 (the other being internet doc Lo and Behold), Into The Inferno was the most cinematic and most truly Herzogian. In Inferno Herzog tackles volcanoes, not a new subject for him (see 1977’s La Soufrière), but here he expands the subject to explore North Korea, Ethiopia, Indonesia and Iceland. Along the way Herzog discovers some amazing civilisations and wonderfully eccentric characters, particularly the larger than life Paleoanthropologist Tim D. White. Herzog’s recent drone footage, as well as the archive of volcanologists Katia and Maurice Krafft make for majestic, frightening scenes.

4) CHI-RAQ (DIR. SPIKE LEE, USA)
One hell of a Spike Lee joint! Chi-Raq is an adaptation co-written by Lee and Kevin Willmott, based on Aristophanes’ Lysistrata, a Classical Greek play in which women withhold sex from their husbands as punishment for fighting. While the film was criticised by some (including Samuel L. Jackson at the Dubai Film Festival) for not dealing with America’s gun violence in a direct fashion, it is none-the-less one that frequently represents Lee at the height of his polemical powers. Teyonah Parris is a forceful presence as Lysistrata and appearances from Sam Jackson & Wesley Snipes are welcome, alongside John Cusack as a fiery white pastor.

5) ALI, THE GOAT AND IBRAHIM (DIR. SHERIF EL BENDARY, EGYPT/FRANCE)
One of the most refreshing films I saw this year was this tragicomic feature debut from emerging Egyptian director Sherif El Bendary. Set in contemporary Egypt and telling the story of two friends with different afflictions (one loves a goat, the other hears excruciating noises), Ali, The Goat and Ibrahim takes us across Egypt to its major water bodies as the characters attempt to remedy their problems. What exactly the film says about life in contemporary Egypt is hard to define, but its mischievous absurdity is pitch perfect for this most unusual of years.

6) NOCTURNAL ANIMALS (DIR. TOM FORD, USA)
For those in doubt of Tom Ford’s credentials as a film director, Nocturnal Animals goes some way towards quelling those feelings. This is a meta thriller, which makes fantastic use of Jake Gyllenhaal, Amy Adams and Michael Shannon, to explore a failed relationship (the main thread) through a violent fictional narrative written by Adams’ character. I am rarely a fan of duel narratives such as these – as often the intended effect simply falls flat – but in this case Ford creates a compelling, disturbing tapestry which is thoroughly gripping and emotionally complete.

7) A UNITED KINGDOM (DIR. AMMA ASANTE, USA/UK/CZECH REPUBLIC)
Amma Asante’s follow up to 2013’s excellent Belle is a very moving rendering of the true story of Sir Seretse Khama (David Oyelowo) – the first president of Botswana – and his English wife Ruth Williams Khama (Rosamund Pike), as they struggled with family, apartheid and the British empire to assume power after Botswana’s independence. Although the supporting characters are more swiftly sketched in, the film finds power in two highly impressive, emotionally engaging central performances by Oyelowo and Pike. With carefully crafted period visuals – contrasting a moody noir-esque London with the sun-kissed plains of Botswana – the film is a pleasure to watch, making Asante’s next film Where Hands Touch highly anticipated viewing.

8) HIGH-RISE (DIR. BEN WHEATLEY,  UK/BELGIUM)
Ben Wheatley’s most ambitious film so far is one that – once again – harks back to the psychedelic British cinema of Nicolas Roeg and Donald Cammell, perhaps more overtly than any other he has made. Taking JG Ballard’s original text and adapting it into a relatively plotless, decadent extravaganza, Wheatley gives us a film of surreal delights in which Tom James Bond Hiddlestone glides through sequences that would look at home in the films of Russell and Fellini. Wheatley’s body of work is one that feels organic, developing, never perfect, but always alive; more please.

9) THE HATEFUL EIGHT (DIR. QUENTIN TARANTINO, USA)
A troubling film. When I emerged from watching The Hateful Eight at the start of 2016, I didn’t know what to think, but I certainly felt pretty dirty. A parlour game in which nefarious characters engage with one another in the most base of terms; the film is an old style exploitation flick and Sergio Corbucci would surely be proud. Each scene plays out at a snails pace, the drama brimming with racism and women hating. It is the most disturbing film of Tarantino’s career. Now at the end of 2016 – having witnessing the politics of the last 12 months – I think I understand The Hateful Eight a bit more and I still feel dirty.

10) ONLY MEN GO TO THE GRAVE (DIR. ABDULLA AL KAABI, UAE/IRAN)
An intriguing discovery from the 2016 Dubai Film Festival: Abdulla Al Kaabi’s arthouse melodrama Only Men Go To The Grave is a film that evokes the genre works of Almodovar, Fassbinder and Douglas Sirk (a big influence on the Emirati director.) Telling the story of a group of women, struggling to deal with an undisclosed secret of their late mother, Al Kaabi uses the film as a vehicle to deal with taboos present in his culture and unite unlikely artistic collaborators from Iran, Iraq & the UAE. The film’s constantly inventive shooting style and compelling acting signpost Al Kaabi as a talent to watch in 2017.

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It’s been 15 years since the cult classic Donnie Darko was first released and the world has witnessed some seismic events in between; a litany of wars and conflicts, the financial crash and, of course, the emergence of Kim Kardashian’s derriere. Director Richard Kelly has unleashed two sci fi oddities in that time, but it’s the tale of a troubled teen and a 6ft bunny rabbit that really captured the hearts and minds of a generation (including the editors of this website.) Reflections sat down with Kelly to learn about the new restoration, the perils of Hollywood and the lyricism of Tears for Fears…

What’s it been like revisiting the film after 15 years?

It’s been great. Arrow Films contacted me and they said they wanted to do a 4K restoration. That was music to my ears because the film has never been properly maintained. I was never happy with the transfer, the Blu-ray or any of it. It just never looked right. So they gave us this great resource to go back to the original negative and use all of today’s technology to present the film in a whole new way. It was a lot of work and I had a window of time available with Steven Poster (Donnie Darko’s DoP) to go and do it. It’s great.

When the film first came out it took a little while to take flight. Do you think it caught on in the zeitgeist?

I think it really caught on here (in the UK) for whatever reason. It caught on in the US but not as quickly. When it came over in 2002, I was blown away by the response. I was overwhelmed, it gave me a second wind, you know. I can’t say why it was here. I think maybe it might have something to do with the music being all UK based pop songs. It’s an American story, but it’s universal and it translates into many languages and crosses many cultures. There is something universal about being a teenager and confronting big metaphysical ideas.

You use a lot of musical scenes, was there a big inspiration behind that?

I love incorporating music into my films, and it’s always by design. It’s often planned ahead of time, written into the script, choreographed into the script. The lyrical moments for me are the most cinematic. I always want to protect the lyricism. It’s sometimes a challenge to do because, like that Tears for Fears sequence in the movie, that’s at least two minutes long and no one is speaking dialogue. There’s a lot of story, there’s a lot of narrative in that sequence and it’s completely essential to the film. But when you’re dealing with financiers and with the studio and people want the running time shorter, they’re looking at that and thinking it’s superfluous, self indulgent lyricism and I’m like, ‘That’s why I’m doing this!’ For the lyricism, right? It becomes a real fight to protect this stuff.

How did you know that sequence was particularly precious to you?

From the very beginning. It was written in the script that when they jump out of the bus and Jake’s feet hit the pavement that the piano note begins. I was like, I saw it. That was it. It had to be this way. Like in Southland Tales with Justin Timberlake lip synching to The Killers, and there are all these dancers and he’s got a Budweiser. That guy (Timberlake) saw it. Then you’ve got to convince the producers to let you take a day of filming, when you don’t have the rights to the song and the producers were like, “We don’t have the song, we don’t even know if we can get the song, the song might cost up to $200,000 and this is crazy”. You’ve got to pick your battles, and those are some that I picked.

In all of your films you really portray the dark side of humanity. What draws you to these kinds of films?

I think the first three films that I have made are obviously dealing with some big apocalyptic themes. Literally apocalyptic themes. There is definitely a disturbing confrontation with a lot of dark stuff. For these three films they almost seem like a part of a bigger story. All my films are connected in ways that people don’t completely realise yet. I think they are more compelling stories. I don’t want to only make films that are dark, so to speak. I would love to make films that are more optimistic, that have a happy ending. I am capable of doing that! (laughs). I don’t always plan on killing everyone or blowing up the world. I’m not looking to continue being ‘apocalypse boy’.

How do you feel about the theatrical cut at the moment. Is it important to you that everyone understood how the parallel universe plot worked?

I don’t favour one cut over the other. The Director’s Cut is much more novelistic, sprawling and it’s got a lot more science fiction logic to it. I think both cuts have their virtues and I’m not really satisfied with either of them completely but they are what they are. With this restoration I was really grateful that we were able to go in and make the image look better. There is a lot of people who have never seen this movie on the big screen. It’s a significant improvement.

Re-watching the film I was really intrigued by the Patrick Swayze character. In light of some of the recent high profile sex scandals I wondered if you had any thoughts about his role in the film?

At the time we were trying to satirise the self help (gurus). When we made the film in 2000 there was never really any big high profile sex scandal involving big celebrity or whatever. I think we were just thinking, ‘OK we’re going to deconstruct this self help guy who sort of shows up in the town and is sort of a snake oil salesman’. He’s clearly full of shit and we kind of thought, ‘what could be the worst possible secret or sinister back story for this character?’. OK, well if he’s a child pornographer, let’s go with that. Then it really became just a twist in the movie and he became one of the multiple villains.

In regards to Jake Gyllenhaal’s performance, what were you looking for in Donnie?

I think that you know that a film is connecting if you can’t imagine anyone else in the lead role. It had to be Jake. We both spent a lot of time with the script going through every scene and he would ask me to make adjustments to the dialogue. It was a really delicate, emotional balancing act trying to modulate Donnie’s arc. So yesterday Donnie yelled at his gym teacher, tomorrow he’s going to be burning down a house. We had to map out the timeline to figure out where he was emotionally on every day of shooting and where he would be in the calendar of 28 days. So it was a big undertaking. We had to be very meticulous with mapping it all out.

If you had control over the timeline of your film career would you have liked the success of Donnie Darko to have come a few films later?

Hindsight is always 20/20, you know? I think the order was what it was meant to be. It was not a success until it came to the UK. It was actually a disaster at Sundance, it was a flop in the US. So all the movies take time. You can’t really control the wind. A movie, when it gets released, the wind is either blowing at your front or it’s blowing at your back. You can’t control the wind. I just try to follow my instincts. On the next film we’ve been really careful to make sure all the elements are going to be in place. I hope the wind will be at our back.

Are you going to change to another genre in future?

Yeah. I’m working on a lot of new stuff and I’m going to be moving in a lot of new directions. I don’t ever just want to be repeating myself. I don’t ever want to get complacent or surrender to the marketplace or become cynical. I just want to keep moving forward and exploring new kinds of stories and new ideas. You’re going to see me move in a lot of new directions.

DONNIE DARKO 15th Anniversary 4K Restoration will screen at the BFI from 17th December and in cinemas nationwide from 23rd December. BFI Tickets are on sale now: http://bit.ly/2eww8r3

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The Dubai Internatonal Film Festival begins on the 7th of December, running through to the 14th. This year features a lineup of 155 films (features and shorts), and the programme includes a VR selection, beach screenings and an extensive Cinema of the World category hosting a wide range of international hits from the year’s festival circuit. There is much to be excited about this year, particularly the World Premieres featured in the Muhr Feature and Muhr Emirati categories, as well as intriguing titles having their regional premiers such as unique Afghan film Wolf & Sheep in Cinema of the World, urgent Iraqi drama Reseba (The Dark Wind) in Muhr Feature and intimate Syrian documentary The War Show in Arabian Nights. Read on for the films we’re most excited about.

Click the photos for trailers and clips:

ONLY MEN GO TO THE GRAVE (DIR. ABDULLA AL KAABI, UAE)
Muhr Emirati, World Premiere
Genre: Drama
After the Iraq-Iran war ended in 1988, a blind mother welcomes her estranged daughters to tell them a secret. Unfortunately, she accidentally dies while sharing it. During the funeral, the daughters try to deal with their mother’s sudden death and also work together to unveil her secret by looking for clues from visitors. Throughout the funeral, their own lives continue to unravel, giving room for buried family tensions to gradually surface, while struggling to deal with their own secrets and deep-rooted guilt. The daughters start to question everything about their mother’s life after a peculiar encounter…

MAWLANA / THE PREACHER (DIR. MAGDY AHMED ALI, EGYPT)
Muhr Feature, World Premire
Genre: Drama
Sheikh Hatem (Amr Saad) stands out in a society influenced by fundamentalist views. From leading the prayers at a government mosque to becoming a popular TV celebrity issuing fatwas that deviate from the traditional religious rhetoric, he has amassed millions of fans. His responses on TV reveal a witty and eloquent person against a backdrop of darkness, where power struggles rage. Hatem finds himself caught within a complex web of conflict – his personal life unravels and he tries to stay above the politics of institutions. When he is entangled in a delicate matter, he has to find a way to make a dent in the climate of hypocrisy and fear.

HONEY, RAIN & DUST (DIR. NUJOOM ALGHANEM, UAE)
Muhr Emirati, World Premiere
Genre: Documentary
Aisha, Fatima and Ghareeb are amongst the best known honey specialists in the northern parts of the UAE. Ghareeb is also considered a beekeeper because he established a sanctuary at the top of the mountains, where he can be in control of the surrounding environment and protect his honeybees. Fatima and Aisha prefer to roam the mountains freely to find the highest natural honey. Meanwhile, the bees are coping with climate change, survival challenges and the production of honey. Involuntarily, the bees have become integral to the lives of Aisha, Fatima and Ghareeb. But, for how long and to what extent can the bees keep providing?

WOLF & SHEEP (DIR. SHAHRBANOO SADAT, AFGHANISTAN)
Cinema of the World, Middle East Premiere
Genre: Drama
Writer/director Shahrbanoo Sadat’s acclaimed film, which won a prize at the Directors’ Fortnight in Cannes, shrewdly strikes a tonal balance between documentary and drama as it dwells on life in a small Afghan village, where little has changed over the years. Sadat’s camera and story focuses largely on the children of the village, weaving together a story that subtly tackles the importance of tradition and rituals in a community, where life is tough but also supportive, and where storytelling takes its place alongside life’s lessons. It may be simple in structure and tone, but its insight and sincerity shine through.

THE WORTHY (DIR. ALI F. MOSTAFA, UAE)
Muhr Emirati, MENA Premiere
Genre: Thriller
In a dystopian future, when the water supply has been poisoned, a group of unlikely survivors has taken refuge in an abandoned hangar. They struggle to stay alive and protect one of the last remaining sources of uncontaminated water. After a near-deadly altercation with bandits, who want to seize the water, two strangers appear to help fight off the bandits. The survivors’ leader agrees to host the strangers, as long as they conform to the camp’s rules. When one of the strangers betrays the group, the compound descends into madness, leaving only one question: who is worthy to live and to lead?

STILL BURNING (DIR. GEORGES HACHEM, LEBANON & UAE)
Muhr Feature, World Premiere
Genre: Drama
André, a Lebanese filmmaker, living and working in France unexpectedly meets Walid, a dear friend from his youth. During the Civil War, when they were in Beirut together, André and Walid were both driven by the same artistic vocation: cinema, and also by the same woman, Amira. Will their reunion – an all-nighter – revive repressed demons from their past?

76 MINUTES AND 15 SECONDS WITH ABBAS KIAROSTAMI (DIR. SEIFOLLAH SAMADIAN, IRAN)
Cinema of the World, MENA Premiere
Genre: Documentary
Photographer Seifollah Samadian (also a friend and collaborator of Abbas Kiarostami) put together this affectionate and insightful documentary after the death in Paris of the influential Iranian director and artist, utilising footage that takes in many phases of his busy artistic career. There are no interviews, which allows the footage to reflect Kiarostami’s own simplicity as a technical filmmaker and shows his sense of playfulness and embrace for the world around him, while the title reflects not only the running time but also that he died aged 76 and 15 days old.

ALI, THE GOAT, AND IBRAHIM (DIR. SHERIF EL BENDARY, EGYPT)
Muhr Feature, World Premiere
Genre: Drama
Ali falls in love with a goat, whom he names Nada. Ibrahim works at a recording studio and starts to hear voices that frighten him. Ali yields to his mother’s wish that he visit a healer, even though he doesn’t believe he is psychologically unstable. At the healer’s clinic, Ali meets Ibrahim. The healer diagnoses Ali and Ibrahim as “cursed” and prescribes a solution to break the spell; they must throw three “magic” stones in Egypt’s three water bodies. Ali, Ibrahim and Nada set off on an adventure that takes them to the Mediterranean, the Red Sea and the Nile in this touching tale of friendship, reconciliation, self-discovery and self-acceptance.

WÙLU (DIR. DAOUDA COULIBALY, FRANCE & SENEGAL)
Cinema of the World, Middle East Premiere
Genre: Drama / Thriller
A slick West African crime drama that follows Ladji (the impressive Ibrahim Koma), an ambitious 20-year-old bus driver in Mali, struggling to make the money he needs to prevent his older sister (singer Inna Modja) from prostituting herself. He decides to switch careers and becomes a drug runner and impresses the operation’s boss (Olivier Rabourdin) with his ingenuity. The film marks the feature debut of French-Malian director Daouda Coulibaly, who hits the right genre notes as Ladji’s life of crime heads into increasingly dark territory. The story is set alongside the run-up to the 2012 Mali Civil War, adding an extra intriguing political dimension.

THE WAR SHOW (DIR. OBAIDAH ZYTOON, ANDREAS DALSGAARD, SYRIA)
Arabian Nights, MENA Premiere
Genre: Documentary
In March 2011, radio host Obaidah Zytoon and her friends joined the street protests against the oppressive regime of Syrian President Bashar al-Assad. Knowing the Arab Spring would forever change their country, they began filming their lives and the events around them. However, as the regime’s violent response drove the country into a bloody civil war, their hopes for a better future are tested by violence, imprisonment and death. Obaidah leaves Damascus and journeys around the country. An intensely personal journey, THE WAR SHOW captures recent events in Syria through the intimate lens of a small group of friends.

RESEBA / THE DARK WIND (DIR. HUSSEIN HASSAN, IRAQ, GERMANY & QATAR)
Muhr Feature, MENA Premiere
Genre: Drama
Reko (33) and Pero (23) are a Yazidi couple preparing for their wedding, when ISIS fighters attack their village. Young Yazidi girls, including Pero, are sold as slaves and are tortured and raped. Reko, who escapes the attack as he was at work as a security guard at an American oil firm, is devastated by the attack. While searching for his family and Pero, he witnesses the tragic consequences of the attacks on the Yazidis. Eventually, he finds his family and Pero, who has been liberated and in a refugee camp. A sweeping narrative of love and courage against the backdrop of one of the most horrific war crimes of our time.

KHAREJ AL-ITAR AW THAWRA HATA EL NASSER / OFF FRAME AKA REVOLUTION UNTIL VICTORY (DIR. MOHANAD YAQUBI, FRANCE, PALESTINE, LEBANON & QATAR)
Muhr Feature, MENA Premiere
Genre: Documentary
OFF FRAME AKA REVOLUTION UNTIL VICTORY deals with the history and development of militant cinema in the Middle East. The film researches the motives and circumstances behind this genre and questions its dramatic end in 1982. In resurrecting a forgotten memory of struggle, OFF FRAME reanimates what is within the frame, but also weaves a critical reflection by looking for what is outside of it.

LAYLA M. (DIR. MIJKE DE JONG, NETHERLANDS, BELGIUM, GERMANY and JORDAN)
Arabian Nights, Middle East Premiere
Genre: Drama
Eighteen-year-old Layla, who was born and raised in Amsterdam, is smart, stubborn and of Moroccan origin. As she struggles with the increasing suspicion towards girls with headscarves and boys with beards, her faith intensifies. She joins a group of extremists who fight for their practice of Islam. She opts to marry a fellow extremist, Abdel, and together they travel and raise money for their causes. When they are involved in a shootout, they are forced to flee to the Middle East, where Layla encounters a world that initially nurtures her ideas, but finally confronts her with an impossible choice.

THE EAGLE HUNTRESS (DIR. OTTO BELL, USA)
Cinema of the World, UAE Premiere
Genre: Documentary
A young Mongolian girl fights against tradition in this delightful and absorbing documentary (narrated by Daisy Ridley) that delves into the rarely filmed nomad Mongolian Kazakh community and in particular their tradition of building a working relationship with golden eagles. The elders insist it is a male domain (apparently ‘women get cold’), but 13-year-old Aisholpan is the daughter of an eagle hunter and is determined to follow in her father’s footsteps. The film makes the most of spectacular backdrops, as she trains her eagle, eventually entering the community’s annual Golden Eagle competition.

GAZA SURF CLUB (DIR. PHILIP GNADT, MICKEY YAMINE, GERMANY)
Arabian Nights, MENA Premiere
Genre: Documentary
Gaza – a strip of land with 1.7 million citizens – has 26 miles of coastline, with a harbour that no longer services ships. Wedged between Israel and Egypt and isolated from the rest of the world, very little enters Gaza and even less leaves it. Trapped in “the world’s largest open-air prison” and ruled by war, a new generation is drawn to the beaches. Sick of occupation and political gridlock, they find their own personal freedom in the waves of the Mediterranean – they are the surfers of Gaza.

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It is not everyday you watch a female-centric biopic which does not reduce its protagonist to a mere appendix of the man her fame is indissolubly bound with. Jackie, Chilean Pablo Larraín’s latest work, is one of such rare cases. It is a superb character study which does not just show Jacqueline Kennedy as John Fitzgerald’s wife, but a strong-willed woman who both loved her husband and struggled to come to terms with the pressures that being a Kennedy entailed. A beautifully written and directed tale that Natalie Portman’s superb performance as the late first lady turns into an outstanding piece of work – amongst the very best of those presented at Venice’s 2016 Film Festival.

Larraín employs several different narrative devices to reveal Jackie’s persona. We first meet Jackie shortly after John Fitzgerald Kennedy’s death. She is furious at the way the press is handling the story and invites a journalist to her house to give her version of the facts. The interview is the first entry into Jackie’s world, and also a great vantage point to understand the conflict between her tormented private life and public figure. The journalist recalls an old White House TV tour Jackie starred in, and Larraín intelligently juxtaposes the smiley debutant-esque TV version of Jackie with the bitter one she shows to the journalist. But the interview must eventually be published, and Jackie can only reveal a small fraction of the traumas she has suffered. She does so with a priest, whose exchanges with the first lady are among the film’s most touching moments.

Noah Oppenheim’s screenplay is a true gem. The film seamlessly shifts from Jackie’s heart-breaking memories to Bob Kennedy’s frustration with the way the Johnson administration will sideline the Kennedys, while the different entry points into Jackie’s life (the interview, the old TV show and the chats with the priest) help building a multifaceted and magnetic character.

Larraín staggers Jackie with old-looking footage that reconstructs the White House tour she gave as well as some original material from the early 1960s, mimicking a strategy he had already successfully adopted with his best foreign feature Oscar-nominee No (2012).

Yet Jackie is also a testament of Natalie Portman’s talent. Watching the real footage of the White House Tour the first lady gave in 1962, one realises how spot-on Portman’s accent, facial expressions and gestures are. Her moving performance adds strength and credibility to the drama, and the way she becomes Jackie leaves one speechless.

Jackie is not a hagiography of the woman who survived John Fitzgerald Kennedy’s assassination. It is much more than that. It is the vivid and poignant story of a lady whose entry into one of the world’s most powerful families was both a blessing and a curse. It is a tale so exquisitely written and directed that it will move many to tears. It is, above all, a memorable film.

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If there were any questions left on Tom Ford’s directorial skills, Nocturnal Animals has answered them all. After his 2009 debut, A Single Man, the 55-year old fashion designer-turned-director comes back to Venice with Nocturnal Animals, a poignant and gripping tale that feels like something in between a thriller and a brutal satire of modern-day Los-Angeles’ socialites, shot with a confidence one would hardly expect from a director’s second feature.

But Ford is known for his ability to take everyone by surprise, and after his memorable entry into the world of film-making, he writes, directs and produces yet another visually mesmerising film that conveys a mixture of angst and nostalgia that stays with the viewer until the very last shot.

Susan (Amy Adams) is a Texas-born thirty-something year-old who works in an art gallery in LA. She is married to a successful business man (Armie Hammer) and lives in a dream-house overlooking Los Angeles’ skyline. Yet we know from the start hers is not a happy life. She hobnobs with LA artists who appear to be more concerned with their latest plastic surgeries than the art they make, a world which, in the memorable words of a colleague of hers, may be empty, but surely feels a lot less painful than the real one. Things change the day she receives a gruesome thriller freshly written by her former husband Tony (Jake Gyllenhaal), and the novel makes her realise just how much she gave up to live the comfortable existence she now enjoys.

To some extent, Nocturnal Animals is neither revolutionary nor experimental. There are countless of films that deploy the catalyst which Ford uses to set the drama in motion: someone writes a book, that book becomes part of the film, and eventually the characters on the big screen end up relating with what was written, so that the book and the film become two intertwined worlds. But we do not know, and will only found out as the movie goes on, whether the book tells a story that Susan and Tony lived through during their years together. We do not know just what it is that attracts Susan so spasmodically about the novel and whether the book will reveal an abominable truth about her own life.

Ford is deliberately elusive about the subject, and this helps to keep the audience stuck to their seat until the film’s heart breaking ending. The camera shifts from the book to the movie effortlessly, and the transitions make for some visually stunning shots. All throughout Nocturnal Animals, Ford skilfully plays with the geometry of each scene, so much so that there are some that feel like movable paintings, in which the characters’ bodies look like perfectly crafted statues in a museum.

But this does not turn Nocturnal Animals into a collection of beautifully designed images, or – worse still – a celebration of the artificial world Susan inhabits. Far from it, LA’s arts scene and its inhabitants are constantly mocked, as Ford’s screenplay shifts back and forth from thriller to satire, ridiculing the junk-culture which Susan and her colleagues feed upon. It is this eclecticism that helps turning Nocturnal Animals into a remarkable film. Ford has written, produced and directed a film that is a joy to watch, and leaves you longing for more. It took him seven years to come back to Venice with his second feature. Hopefully the third will arrive much quicker.

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Seven years after his debut, Guy and Madeline on a Park Bench (2009), and only two after the international success of Whiplash (2014), Chazelle writes and directs yet another story where film and music are indissolubly tied together, and sets it in a colourful Los Angeles, the city of stars filled with people who dream of becoming someone they are not.

Sebastian (Gosling) is a thirty-something-year-old piano bar player obsessed with jazz, but forced to play the same repetitive tunes before crowds of vaguely interested customers. Mia (Stone) a girl about the same age who works as a waitress but dreams of becoming an actress. We meet both in a scene that mimics the beginning of Fellini’s 8 and ½. It’s Los Angeles, it’s rush hour, and cars are stuck in traffic. The only way people can escape the jam is dreaming, and dream they do: a jammed bridge turns into a carnival where drivers leave their seats, jump, dance and play around their vehicles. It’s a brilliant choreography, and a faithful summary of what the rest of the movie will be: explosive, vibrant and delightful. The camera follows the drivers-turned-dancers and the whole take feels like a wave of energy and colours that lingers long after the dream ends and people return to their seats.

Stuck amongst them are Sebastian and Amy. They meet when she fails to start her car, they honk and insult each other, then they meet again, they flirt, begin to go out, fall in love. It’s a standard love story, and yet it isn’t: Chazelle divides it into four seasons, and the love unfolds like the weather: it sprouts, blossoms, grows old, fades away. But the director seems to fall in love with them as much as they do with each other, and this is what gives to La La Land the sense of delicacy and empathy which makes it stand out as a love story that not only works – it sticks with you.

Amy and Sebastian’s romance is scattered with moments of sadness, joy, explosive choreographies and tip-tap moves. They are both romantic, and try to find their place in worlds where being so is almost looked down upon. We see Amy coming in and out of auditions where she gets repeatedly humiliated, and there is a scene where Sebastian is told jazz is dying because of nostalgic people like him are killing it.

Chazelle is, implicitly, just as romantic as the two of them. He chose to direct a movie that speaks of an art form which its own performers claim to be decaying, jazz, and did it through a medium which hardly many people would have used, a musical. Yet the experiment works. La La Land is as a film that is danced just as much as it is sung, and the choreographies, as well as the duo’s contagious energy and chemistry, add rhythm to the film as if crescendos in a musical piece.

In a sea where everyone plays the same thing, Chazelle has managed to sing his own melody, the same way Sebastian and Amy tried to create their own. The warm applause La La Land received at the end of his premiere at Venice’s 73rd Film Festival is a deserved prelude to the awards the film will hopefully receive in the days and months to come.

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‘It’s possible, in a poem or short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things—a chair, a window curtain, a fork, a stone, a woman’s earring—with immense, even startling power.’

This quote from the writer Raymond Carver seems very apt when we approach the work of Terrence Malick. Malick has a way of drawing attention to somewhat ordinary things, fragments of everyday life, and making them seem wondrous. After watching his latest film, my path home through London took on a different feeling; the tiled skyscrapers appeared majestic and untouchable, the empty tube and escalators eerie and mysterious. Even with a lesser work as Knight of Cups, Malick has the ability to make the audience see the world in a different way.

Christian Bale plays Rick, the jaded Hollywood screenwriter at the heart of the film, a stoic, passive observer of the insanity around him. His world is full of lavish, hedonistic parties at picturebook mansions and an endless stream of wild beauties. People seem to flow in and out of his life like ocean waves; his tyrannical father (Brian Dennehy), his errant brother (Wes Bentley) and saintly ex-wife (Cate Blanchett). There is a portentous voiceover by Ben Kingsley, reciting The Pilgrim’s Progress by John Bunyan, detailing a man’s descent into hell and ultimate salvation.

Continuing on from the improvisation of To the Wonder, Malick has appeared to strip away all forms of conventional storytelling, relying on sound and image to conjure a mood. Rick is near mute throughout the film, with snippets of breathless narration the only illumination of his character. It is somewhat sad how the last two films in Malick’s oeuvre have progressed. He was once noted for his ability to illicit strong, memorable performances from his actors, yet now he seems to use them as mere floating, emoting mannequins. The pompous narration does little to assuage this disconnect; it is difficult to feel anything for these characters.

What is frustrating about Knight of Cups is that it is a genuinely beautiful film. There are countless images that other film makers scrabble their whole lives for, yet there is an overwhelming feeling of emptiness, of banality. The relentless beauty becomes dulling, and because there is no emotional connection with the characters or the story, they become shallow. I never thought I would use ‘shallow’ to describe a Malick film, but there we are. DOP Emmanuel Lubezki’s camerawork is again astounding, roaming and swooping, ducking and diving, swirling and twirling, but we may have come to a point when it might actually be a hindrance to Malick.

Lubezki’s collaboration with Malick has been the most notable change in his recent career, and it has been an exceedingly rich meeting of minds. However, Lubezki’s eye is beginning to overpower the story, or what little there is of it. The sprawling improvisation that Lubezki has allowed Malick seems to have dulled his senses- perhaps Malick needs to go back to basics for his next one. The still framing of Badlands and Days of Heaven, a more linear structure, more causal development of characters. In Knight of Cups, there is a feeling that Malick has indulged himself too much, much like the central protagonist Rick.

There are some redeeming points to the film. Hanan Townshend’s score is playful and nuanced, giving this contemporary story a classical, mythical grounding. Some images will linger in the mind, even if they are somewhat literal, such as the canine diving into the luminescent pool, yearning to gets its jaws around an elusive ball. It is an obvious metaphor for Rick’s own struggle to find meaning, always clutching out for something more. Sadly, we find Malick in a similar mode, reaching out for greatness and falling at the last moment.

 

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Image: No One Knows About Persian Cats (Dir. Bahman Ghobadi, Iran, 2009)

The importance of music in film is undeniable, but there are certain film makers who take this relationship to another level. Nicholas Winding Refn, for example, seems to use music as a guiding force when coming to conceive of his films, and his long running collaboration with Johnny Jewel of Chromatics fame is a match made in heaven. The French director Claire Denis has utilised the English band Tindersticks’ music for many of her films, their low key, brooding atmospherics an apt compliment to her intense filmography.

We also have the musicians who seem to be inspired by cinema; Dirty Beaches is one of the strongest examples in recent memory. His eclectic style is in debt to his love of world cinema, particularly film makers like Wong Kar Wai and Theo Angelopolous (one song is named after the film Landscapes in the Mist). There are countless other cases of this creative flow between two mediums, but here we try and give a few of our own suggestions for potential collaborations:

Arthur Russell-Being It = Harmony Korine

This song is both bleak and beautiful, distorted yet poetic. Would perfectly frame a set of misfit loners roaming through decaying suburbia. Arthur Russell was of course somewhat of an outsider himself, tragically never gaining huge acclaim while he was alive. Like Korine he straddled high and low pop culture, creating something otherworldly and timeless.

 

Karen Dalton-Something on your mind = Wes Anderson

Perhaps controversial, some might say that Anderson doesn’t deserve a song of this beauty but he’s proved capable of perfectly integrating 60’s folk songs into his work at emotional peaks. He might even throw a bit of slo-mo in for this one! But seriously, a beautiful song for people who might not even like folk music that much. Dalton’s vocals are effortlessly heartbreaking, and the guitar is rusty and melancholic.

 

Lizzy Mercier Descloux- Rosa Vertov = Leos Carax

Hip, dark and urgent, this track by the 80’s chanteusse would be perfect for one of Leos Carax’s earlier films. I could just imagine Denis Lavant breaking into a feverish, explosive dance along the streets of Paris to this. Lizzy Mercier Descloux died relatively young leaving behind some startling work, and like the characters in Carax’s films, lived life at full tilt.

 

Mark McGuire- A matter of time =Michael Mann

Mann specialises in moody, neon lit cityscapes, and I think this track would be a great backdrop for one of those scenes. This is by the Emerald’s guitarist Mark McGuire and it’s hypnotic and beautiful. Just imagine a tortured cop looking out across a rooftop onto an indigo sky, with this playing in the background.

 

Beat Happening-Our Secret =Terry Malick

Yeah, it probably wouldn’t fit into any of his films, but this always reminds a lot of Badlands. Firstly, it’s really gorgeous and has a rural feel to it, and secondly, it talks about two young lovers fleeing from their parents. Sound familiar?

 

Buffy Saint Marie- God is alive, magic is afoot = Nic Roeg

Buffy Saint Marie’s earlier music is trippy and magical, so fits right in with Nic Roeg’s hallucinatory visuals. This particularly song is carried by lullaby guitar plucking and woozy reverberating vocals. Spooky.

 

Broadcast- You and me in time = Jaromil Jires

Broadcast were noted fans of ‘Valerie and her week of wonders’, so this selection is cheating a bit. Keenan’s soft cooing and the delicate, dreamlike xylophone notes instantly finding kinship with the childlike, pastoral wonder of Jires’ film.

 

Dirty Beaches- True Blue/Lord Knows Best = Wong Kar Wai

Dirty Beaches is a noted cinephile and this is clearly, CLEARLY influenced by Wong Kar Wai’s movies. Could see either of these songs set to a ballroom dance scene, ill fated lovers having their last dance together. Sad and sultry.

 

PJ Harvey- To talk to you= Jane Campion

National treasure PJ Harvey took a left turn with her 2007 album White Chalk- it was downbeat, mournful and seemed to arrive from another time. The parallels with Jane Campion’s film The Piano are clear, as we Polly Jean dressed in an ethereal white period dress on the front cover. The music is, as you might have guessed, mostly focused around Harvey’s piano and the haunting mixture of repression and desire coming through, much like in the film.

 

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With the cinema year well and truly underway, and Cannes just around the corner, here’s a month-by-month rundown of the films we’re (already) looking forward to seeing on British cinema screens in 2016. Featuring art-house darlings, bold remakes of movie classics, timely re-releases, as well as an abundance of strong docs and enticing oddities, there is plenty to keep your Cineworld Unlimited Card busy (for those of you who don’t have one, it entitles you to see as many movies as you want for £16.90 a month) and your mind thoroughly occupied throughout the year:

April:
Eisenstein In Guanajuato (Dir. Peter Greenaway)
Louder Than Bombs (Dir. Joachim Trier)
Mapplethorpe: Look at the Pictures (Dir. Randy Barbato, Fenton Bailey)
Son of Saul (Dir. Son of Saul)

May:
Johnny Guitar (Dir. Nicholas Ray, re-release)
Knight of Cups (Dir. Terrence Malick)
Green Room (Dir. Jeremy Saulnier)
Mustang (Dir. Deniz Gamze Ergüven)

June:
Where to Invade Next (Dir. Michael Moore)
No Home Movie (Dir. Chantal Akerman)
Blood Orange (Dir. Toby Tobias) [Pictured above: featuring Iggy Pop]
Embrace Of The Serpent (Dir. Ciro Guerra)

July:
Notes on Blindness (Dir. Peter Middleton, James Spinney)
The Neon Demon (Dir. Nicolas Winding Refn)
Weiner (Dir. Elyse Steinberg, Josh Kriegman)
Author: The JT LeRoy Story (Dir. Jeff Feuerzeig)

August:
David Brent: Life On The Road (Dir. Ricky Gervais)
Ben-Hur (Dir. William Wyler, re-release)
Julieta (Dir. Pedro Almodóvar)

September:
The Magnificent Seven (Dir. Antoine Fuqua)
The Man Who Fell To Earth (Dir. Nicolas Roeg, re-release)

October:
Lo And Behold, Reveries Of The Connected World (Dir. Werner Herzog)
Kate Plays Christine (Dir. Robert Greene)

November:
Bad Santa 2 (Dir. Mark Waters)
Richard Linklater: Dream is Destiny (Dir. Louis Black, Karen Bernstein)

December:
Life, Animated (Dir. Roger Ross Williams)
Star Wars: Rogue One (Dir. Gareth Edwards)

This is a sponsored post for Cineworld.

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