Posts Tagged ‘Quentin Tarantino’

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.


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.

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.

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.

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.

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.

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.

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.

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.

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.

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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Cinema has not dealt well with slavery. In 1915 innovator D.W Griffith attempted to justify segregation in Birth of a Nation. Since then robust genres have formed chronicling human atrocities including the Vietnam War and the Holocaust, yet there is little of note on the trade of human flesh. Save from a small handful of films (Roots, Amistad, Goodbye Uncle Tom), we must admit that cinema is at a loss. It has failed to account for a historic subject that is loaded with revulsion and shame.

If shame is the reason for this inadequacy, then it takes an utterly shameless ego to change things. That ego is Quentin Tarantino. Igniting the issue of slavery with great vivacity, Tarantino has eschewed questions of taste and gone for the jugular; his take on slavery is a brutal homage to Sergio Corbucci’s 1966 Spaghetti Western Django. Spike Lee may have taken offence to Tarantino’s genre treatment, but Django Unchained is cinema at its most cathartic.

The film unfolds the story of Django (Jamie Foxx) a slave who is emancipated by Dr. King Schultz (Christoph Waltz), a flamboyant German bounty hunter masquerading as a dentist. Schultz liberates Django promising to free him, providing he helps locate three wanted men called the Brittle Brothers. Django grabs the opportunity with relish, as the Brothers sold his wife Broomhilda (Kerry Washington) to notorious slaver Candie (Leonardo DiCaprio). Broomhilda’s German name stirs Schultz’s noble soul and he, in turn, endeavors to aid Django in her liberation.

The challenge of tackling the material in Django Unchained pushes the cast to perform moments of brilliance. Foxx and Waltz’s rapport is fine tuned, with Foxx’s illiteracy playing counterpoint to Waltz’s wordy panache. Leonardo DiCaprio delivers a career best as Candie, the demented, incestuous slaver. Samuel L. Jackson, appearing as Candie’s self-hating right-hand-man Stephen, performs an extraordinary and troubling turn. Tarantino’s use of the n-word controversially abounds, but it is symptomatic of the characters and their time.

Tarantino’s much discussed use of violence is on show in Django Unchained, but it feels like something of a side note next to the violent verbal outbursts of his characters. Where Inglourious Basterds impressed largely due to Christoph Waltz’s scenes, Django Unchained is a tour-de-force across the board; as such is it by far the greater film. It also features moments of utter hilarity, particularly when a lynch mob discovers the tribulations of riding horses with bags on their heads (which prompts an ingenious cameo from the ever-bumbling Jonah Hill).

Cameos in Django Unchained are a prominent feature. Tarantino maintains a dialogue with film history, casting Franco Nero (the original Django from Corbucci’s film) as the only other white character of grace in the film. The moment where he and Foxx meet is inessential to the film’s narrative, but vital in Tarantino’s cinematic lineage. The one cameo that disappoints is Tarantino’s own turn as an Australian. It makes us wonder why Tarantino could not hold back, given the many great Australian actors currently working in Hollywood.

Minor gripes about length also aside, Django Unchained is Tarantino’s best film since Pulp Fiction. While Kill Bill was pure pulp and Inglourious Basterds was ultimately silly, Django Unchained feels like it has a place in the world. Tarantino has revived the excitement of the western genre (which has become somewhat serious of late), while giving slavery a prominent platform in popular culture with which to generate debate. When Django enacts vengeance on his white oppressors, Tarantino’s unapologetic style of filmmaking has never felt so justified.

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