Tag: Identity

“Sibyl” (2019) starring Virginie Efira, Adele Exarchopoulos, Gaspard Ulliel, & Sandra Huller

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This French film (made for ONLY 5M euros) from Justine Triet (director/co-writer) and partner, Arthur Harari (co-writer/supporting actor), follows a 30-something psychotherapist, Sibyl (Virginie Efira). She is also wife to Etienne (Paul Hamy) and mom to 2 young kids. Sibyl decides to return to writing (her 1st career), yet still keeps a few patients. Harari plays Dr. Katz (Sibyl’s therapist), as is required in the mental health profession. One night, while dealing w/ writer’s block, Sibyl gets a (frantic) call from 20-ish/up-and-coming actress, Margot (Adèle Exarchopoulos). As Sibyl becomes more… and more wrapped up in Margot’s (turbulent) life, she starts to blur her past from the present… and reality from fiction!

I became curious re: this (genre-defying) film b/c it involved Triet, Harari, and Huller; it was made before they achieved international fame/critical acclaim w/ Anatomy of a Fall (2023). This is the last film released during his lifetime for Gaspard Ulliel (who plays Igor); he died in a ski accident in 2022 at just age 38. I hadn’t seen Efira’s acting before; she hails from Belgian. Efira and Niels Schneider (who plays Gabriel) are a couple IRL w/ one child. Exarchopoulos (then only 26 y.o.) has a French mother and Greek father; she co-starred in several well-known indies. The movie w/in the movie (starring Margot and Igor) was shot on the island of Stromboli (a part of Sicily, Italy).

From the trailer, I was expecting the tone of a dark/thriller; however, there are funny moments! This is free on streaming, so check it out (if in the mood for something unusual). Some viewers wondered: “Who is the patient and who is the therapist?” Gathering from reviews (IMDb; Letterboxd)- ppl are conflicted re: on this movie. Some called it a “hot mess” w/ “hot people”- LOL! Some expected more, yet did enjoy Huller’s performance as a perfectionist/Type A director. As in Anatomy of a Fall, Huller speaks more in English than in French. How cool is it that she can act in 3 languages!?

[1] You have to suspend your disbelief quite a lot and go with the flow. Having a love for making movies and understanding what can go on behind the scenes (it almost feels like someone is doing their own curing by doing the movie – the writer, the director, producers … all of the above and more?)

[2] I can’t recall seeing a film with so many good and great elements: cinematography, acting, a good deal of great dialogue, that was assembled into such a let down of total experience.

[3] The most enjoyable scenes for me were those with Sandra Huller, playing a film director, especially her reactions to the difficulties the actors are creating on her set. Her sensible response to the psychotherapist’s behaviour is long awaited and ultimately very satisfying.

-Excerpts from IMDb reviews

“The Riot Club” (2014) starring Sam Claflin, Max Irons, & Douglas Booth

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Filthy. Rich. Spoilt. Rotten. -A tagline for the film

The Bullingdon Club (founded in 1780) was notorious for booking a restaurant, trashing it, then handing the owner a check for damages on the way out. The unofficial club (which still exists today) consists of a group of male elites at Oxford. This film is based on the play Posh (by Lauren Wade); it premiered at the Royal Court Theatre (2010), before transferring to the West End. The Danish director, Lone Scherfig, was at the helm of An Education (2009) and The Kindness of Strangers (2019). Alistair (Sam Claflin) and Miles (Max Irons: son of Jeremy Irons and Sinead Cusack), both come from the British aristocracy. They start their 1st (freshman) year at Oxford. Miles appears relaxed w/ a down-to-earth personality; he starts dating a (middle-class) student, Lauren (Holliday Grainger). Alistair is uptight and wants to emulate his uncle (played by Tom Hollander)- a Tory Minister of Parliament (MP). These two young men end up being tutor partners and pledge to join the Riot Club.

This title came up as I was looking up films of Josh O’Connor; he plays Ed- goofy, naive, yet snobby. George (Jack Farthing- in his 1st movie) is quiet, wide-eyed, and eager to please. The president of the club is James (Freddie Fox: recently on S2 of House of the Dragon); the cast referred to him as “the most posh one” (in press interviews). Fox is the son of 2 veteran British character actors- Edward Fox and Joanna David. Harry (Douglas Booth) has a model-like face and eye for women; his family has a country estate (recently opened for tours). Hugo (Sam Reid- currently on Interview with the Vampire) is confident, titled, yet cash poor. Each of the young actors gets their moment to shine; all give believable performances.

This film could’ve been titled Toxic Masculinity: UK College Edition; it delves into issues which are timely and timeless. What happens when (rich/white) males grow-up w/ (unchecked) privilege? When any problem comes up, their 1st solution is to throw money at it! Women are seen as conquests, NOT friends or potential love interests. Isn’t the time of these type of clubs over? some may ask. Well, there are college boys who die still in hazing rituals at fraternities! College (late teens-early 20s) is time when we become adults (under the law), yet are still forming our identities (and susceptible to peer pressure). This story will take you on an emotional journey. At first, there are a LOT of laughs from witty one-liners; these kids are smart after all. Then, it becomes darker w/ some shocking scenes (which will make you tense/uncomfortable).

[1] As most will know, The Riot Club is inspired by the Bullingdon Club, an Oxford University dining society infamous for its destructive hedonism that boasts alumni such as David Cameron, Boris Johnson and George Osborne. The film’s main target of attack isn’t the purported anti-social behaviour of such people, the obnoxious decadence we witness is not endemic to the highly disagreeable “Riot Club,” what it attacks is rather the characters’ raging, blue-blooded superiority complexes that causes it.

[2] My only complaint about the movie would be the main character (Miles Richards) being a flawless Mary Sue – rich, handsome, witty, intelligent, kind and well meaning, as well as some of the other positive characters being presented as these morally superior beings. That felt very strange for a movie, the main idea of which is that not everything is as black and white as it seems, and we all just try to justify our own actions while doing what we feel (not think) is best.

-Excerpts from IMDb reviews

“Gladiator II” (2024) starring Paul Mescal, Denzel Washington, Pedro Pascal, Connie Nielsen, Joseph Quinn, & Fred Hechinger

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Gladiator II (available on VOD).

After his home is conquered by the tyrannical emperors who now lead Rome, Lucius is forced to enter the Colosseum and must look to his past to find strength to return the glory of Rome to its people. -Synopsis

This sequel directed by Ridley Scott (and one of the most anticipated movies of 2024) is a hot mess! As we saw in promos/trailers, Paul Mescal (who plays the lead- Lucius) and Pedro Pascal (Gen. Acacius) do indeed look hot (esp. w/ those added muscles). However, as time went on, I got worried; Napoleon (2023) was also written by David Scarpa (pls get a new job)! I saw Gladiator II about 2 wks after its theatrical release; I’d planned to go during Thanksgiving break (but screenings were mostly full).

I re-watched Gladiator (2000) in mid-NOV; I was entertained (joke intended), though the SFX didn’t hold up. Crowe owned that role, as a LOT of critics/viewers noted (over 20+ yrs). As Maximus, he had a movie star presence/charisma and confident line delivery. FYI: The script was weak when filming began and there was much improv from the actors. As for the baddie, Commodus (Joaquin Phoenix) was a strong foil to Maximus (the man he felt usurped his role and his father’s love).

Macrinus [to Lucius]: You will be my instrument!

IF you’re a big fan of Denzel Washington (like me), you MAY enjoy some of this movie; the veteran actor plays Macrinus (a wealthy/charming owner of gladiators). He’ll remind you somewhat of Proximo (Oliver Reed) from the 1st movie; the actor (an alcoholic) died before filming ended. Lucilla (Connie Nielsen) and Gracchus (Sir Derek Jacobi at aged 85- wow) are the only returning characters; Crowe appears in flashbacks (archive footage). Pascal and Joseph Quinn (Emperor Geta) will also be seen in MCU’s Fantastic Four as Reed Richards (Mr. Fantastic) and Johnny Storm (The Human Torch). Quinn was cast after Barry Keoghan dropped out to work on an indie film instead (smart move).

The gates of hell are open night and day;

Smooth the descent, and easy is the way:

But to return, and view the cheerful skies,

In this the task and mighty labor lies.

-Lines from John Dryden’s 1697 English translation of Vergil’s epic poem Aeneid

The acting is ALL over the place; it’s as if Scott gave totally different guidance to each of the cast! Washington, Quinn, and Fred Hechinger (Caracalla- 2nd of the twin emperors) are having a fun time w/ their (scenery-chewing) acting. These twins don’t have strong motivations for why they act as they do (unlike Commodus); they act like crazed/drunken frat boys. Pascal is taking it all V seriously; Acacius comes off as weary, morose, and disillusioned w/ military life. I know some ppl liked his portrayal, BUT I wanted to see some charm. Nielsen doesn’t have a LOT to do (yet more than in original); I felt something was missing from Lucilla, though that mostly comes down to the writing. As for Mescal, it takes time for him to grow into his role, so that made me wonder ask: why didn’t Scott allow for more takes? As for the “rage” that Macrinus keeps mentioning, we don’t see much of that from Pascal. Was he miscast here (some have wondered)?

This sequel follows much too close to the original; there is even a graphic depicting key moments from that story in the opening credits. In the 3rd act, Maximus is referred to as Lucius’ father many times- I had to roll my eyes. Some fans wondered: since Maximus was so big on “honor,” why’d he cheat on his beloved wife (w/ whom he had a son nearly the same age as Lucius)!? For such a pricy movie, I expected the SFX to be much better! Many were cringing (or laughing) re: the (unrealistic) baboons, BUT that’s NOT the only case of shoddy effects work. The one-on-one fighting scenes, esp. the one w/ Mescal and the super-sized warrior in the emperors’ tent was V impressive. If anyone disses you for saying that The Last Duel was well-made, just point them to his epic disappointment!

Lucius: Know this: where death is, we are not. Where were are, death is not! By my sword, strength and honor!

There is some BTS controversy to explain, as those of you (like me) who’re always online MAY know. In May of 2023, Variety reported that Egyptian-Palestinian actress May Calamawy had been cast. Deadline Hollywood reported that Calamawy’s character would be V important to the story; Scott did a broad search before she was finally cast. She was featured in the official trailer, BUT for unknown reasons, she ended up w/ a non-speaking background role. Calamawy is NOT credited in the end credits and wasn’t part of the promo tour. Contrary to gossip on social media, she wasn’t replaced by Israeli actress Yuval Gonen, who plays Arishat (wife of Lucius).

[1] There seems to be a trend these days when making follow ups to beloved classics that you need to add more. More characters! More action! But that doesn’t always equal better. It’s almost like filmmakers these days think we’re stupid and want more of everything but all this does is sacrifice quality.

What made the original such a classic was the relatively simple plot, a protagonist you cared about and action that felt earned and impactful.

This one is so overstuffed it feels rushed. The plot feels like a lazy retread of the first but I didn’t care about any of the characters. Paul Mescal was so wooden it sounded like he was reading his lines. If this is how he acts, I really don’t see what all the fuss is about with him. Am I missing something?

[2] I approached this movie truly trying to give it a fair change on its own by not holding and comparing it too much to its original, But this movie just pulls of A Force Awakens and has 80% just recycled nostalgia bait its impossible to not compare them.

It recycles quotes, plot, narratives, even very same camera shots.

And yeah, alas, the first did absolutely everything, every single aspect better to much better and most definitely story/drama character wise. […]

This movie definitely looks glorious and expensive and had a big grandeur (although some CGI looked comically fake), but it fails to have a coherent driven plot.

[3] The “games” in the Colosseum are superbly presented and yes, exotic animals and water battles were really fought there in Roman times. The twin Emperors are superbly crazy… […] I was initially disappointed with Paul Mescal’s performance, but in hindsight I now wonder if it’s character rather than his performance that was disappointing. Hanno is no Maximus – no leader of men, no charismatic warrior – in fact he tells as much a number of times in the film. But maybe that’s Scott’s point this time? Even a simple soldier can achieve great things?

-Excerpts from IMDb reviews

Noir City DC 2024

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Introduction

Hey y’all, how is this Winter going (so far)? It’s NOT fun for me; I’m recovering from a bad cough/cold (after Thanksgiving). I’m also way behind on blog posts. As DC area noir-istas know, my local (AFI) theater had a festival in OCT; Eddie Muller (TCM) came to introduce the movies during the opening wknd. This yr, the festival had double features (2 movies) which revolved around the same themes; 5 out of the 6 noirs I saw were new to me.

Thanks for reading!

-EMMA

***

Union Station (1950) starring William Holden, Nancy Olsen, & Barry Fitzgerald

A secretary traveling from Connecticut to NYC, Joyce Willecombe (Nancy Olsen), grows suspicious of 2 men boarding her train. She is referred to Bill Calhoun (William Holden), head of the Union Station police; the no-nonsense Calhoun is initially skeptical, BUT the men (who escape) prove to be involved in a kidnapping case. Calhoun calls in his boss/mentor, Inspector Donnelly (Barry Fitzgerald), BUT the ruthless kidnappers stay one step ahead of them. Most of the action centers around busy/fast-paced Union Station.

Holden and Olson also co-starred in Sunset Boulevard in the same year- 1950. Joyce plays Calhoun’s conscience, concerned that the interests of the victim don’t get overlooked in the hunt for the criminals. This is a (lesser-known/low budget) film noir; Holden was on the cusp of stardom. This was Lyle Bettger’s 3rd film; he played a LOT of baddies in his career. The platinum-blonde/wide-eyed Jan Sterling has a small role as his (TOO loyal) gf. Fitzgerald (who always played Irish cops or priests) brings in the humor. You can find this noir on streaming services (or rent on YT).

Cairo Station (1958)

Qinawi (Youssef Chahine), a physically-challenged peddler who makes his living selling newspapers in the central Cairo train station, is obsessed w/ Hanuma (Hind Rustum), a curvy/pretty young woman who sells drinks. Hanuma treats Qinawi kindly and flirts w/ him re: a possible relationship. However, she’s already engaged to Abu Siri, a burly/macho porter struggling to unionize his fellow workers to combat their boss’ exploitative treatment. The movie has a large cast (portraying Egyptians of disparate classes) and does NOT fall easily into one genre. Some viewers commented that the climactic scenes reminded them of Hitchcock! Chahine (an Egyptian of Christian heritage) also wrote the story and served as director. If you’re familiar w/ the characterization, visual style, and themes often seen in Bollywood, you should check it out.

[1] The work sometimes recalls Jean Renoir’s “La Bete Humaine,” but with more attention to detail. […]

Let’s underline the importance of the wide screen, which makes the director look like an entomologist watching an ant hill with a magnifying glass…

[2] It’s not hard to see why “Cairo Station” was banned for 20 years in Egypt. It gained much recognition in Berlin, being nominated for the Golden Bear…

-Excerpts from IMDb reviews

***

Le Samourai (1967)

In Paris, Jef Costello (Alain Delon) is a solitary hit man who works under contract. He’s hired to kill the owner of a club, and soon becomes the prime suspect of that murder. His gf (Jane), one of her clients (Wiener), and the Black singer of the club (Valerie) are questioned by the police. Jef is chased by henchmen (sent by the same man who hired him) and by cops. He seeks out who has hired him to get revenge. There is NOT much of a plot, characters have little development, and there isn’t much dialogue. I heard of this film yrs. ago, BUT this was my 1st time seeing it. As Gen Z may say, this movie is “all about vibes.” Sorry IF you’re a fan of thing kind of stuff, BUT I didn’t connect w/ it.

This Gun for Hire (1942)

Hit man Philip Raven (Alan Ladd), is kind to kids and feeds stray cats. He kills a blackmailer and is paid off by Willard Gates (Laird Cregar) in “hot” (marked) money. Meanwhile, a young/blonde entertainer, Ellen Graham (Veronica Lake), gf of police Lt. Michael Crane (Robert Preston) is enlisted by a Senator to help investigate Gates. Raven, while seeking Gates, meets Ellen on a train. Their relationship gradually evolves from that of killer and (potential) victim to an uneasy alliance against a common enemy. This is a well-known/low budget noir which I’ve seen before (on the small screen); it’s a quick/well-paced watch.

***

They Made Me a Fugitive (1947)

In this British noir (from Brazilian director Alberto Cavalcanti), a frustrated/cynical former RAF pilot, Clem Morgan (Trevor Howard), joins a criminal gang led by a nasty character nicknamed Narcy (Griffith Jones). On his 1st break-in job, the getaway car crashes and ends up killing a cop. Quickly, Clem is framed as the driver and sent to jail. Seeking revenge, he escapes prison and heads for London. Along the way, he breaks into a suburban home; a housewife named Mrs. Fenshaw (Veda Hope) helps him out, then asks him to murder her husband. Upon reaching London, Clem is sheltered by a blonde/petite dancer named Sally Connor (Sally Gray), who falls for him. He confronts Narcy and the gang in an abandoned warehouse.

[1] There is more attention to sound and camera-work than I’ve noticed in most British movies from the end of the war until about 1956 or so. Warner Brothers gets a huge credit at the start… So, it’s British, but it has American and continental style. […]

It’s scarier than the American gangster movies of the late forties.

[2] The general gloominess (a mainstay of thrillers emanating from the post-war era) is leavened somewhat by its constant flurry of hard-boiled dialogue courtesy of screenwriter Noel Langley. […]

Still, perhaps my favorite scene in the entire film is Howard’s surreal encounter with the zombie-like Vida Hope – in whose household he stumbles while on the run; she turns out to be deranged, and even tries to talk our hero into murdering her alcoholic husband (Maurice Denham)!

-Excerpts from IMDb reviews

Aimless Bullet (1961)

A couple of yrs. after the war in Seoul, a 30-something accountant’s salary is TOO small for him to even get his cavity fixed. He must somehow provide for his PTSD-affected mother, his pregnant wife, a younger brother (who can’t get work after serving in the army), a younger sister (who sneaks out at night to sell herself to American GIs), and 2 young children. This movie was banned in Korea b/c it was so realistically stark in it’s post- war depiction. You could tell that the locations were real; we see urban offices, outdoor cafes (for tea and drinking away sorrows), slums (located on the hilly areas near the city). The character development was V good, though the pacing felt a bit slow at times.

This film is depressing and it drives slowly towards its conclusion. On the other hand, compared to the often over-the-top melodrama present in other films I’ve seen from the era, Obaltan is a stark contrast. Owing more to Italian Neorealism than Hollywood, the film has many moments of mundaneness and potentially existentialist commentary. That Obaltan means “the aimless bullet” should give that away from the start.

-Excerpt from IMDb review

“Port Authority” (2019): From Executive Producer Martin Scorsese

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Port Authority is a love story set in New York’s ballroom scene, and follows Paul, a 20 y.o. from Pittsburgh, who arrives at the central bus station and quickly catches eyes w/ Wye, a 22 y.o. voguing on the sidewalk. After Paul seeks her out in secret, an intense love btwn them blossoms. But when Paul discovers Wye is trans, he is forced to confront his own identity and what it means to belong. -Synopsis (Variety)

Here is a brief description of Ball culture (via Wikipedia): The Ballroom scene (AKA Ballroom community, Ballroom culture, or just Ballroom) is an African-American and Latino underground LGBTQ+ subculture. Its origins can be found in drag balls of the mid-19th C. US, such as those hosted by William Dorsey Swann, a formerly enslaved Black man in D.C. By the early 20th C, integrated drag balls were popular in cities such as New York, Chicago, New Orleans, Baltimore, and Philadelphia. In the mid-20th C, as a response to racism in integrated drag spaces, the balls evolved into house ballroom, where Black and Latino attendees could “walk” in a variety of categories for trophies and cash prizes. Most participants in ballroom belong to groups known as “houses”, where chosen families of friends form relationships and communities separate from their families of origin, from which they may be estranged.

This coming-of-age drama is the directorial debut of Danielle Lessovitz; she made the movie w/ grants from the Torino Film Lab, CNC Cinema du Monde (France), and New York Council of the Arts. Paul is played by Fionn Whitehead, a dark-haired/brown-eyed Brit who was cast (at just 19 y.o.) in Dunkirk (2017) directed by Christopher Nolan. Whitehead began acting at 13 in youth theaters in his native London; he hails from a family of creatives. He is also the lead in Black Mirror: Bandersnatch; I haven’t seen this movie yet (though do like the Black Mirror streaming series). Wye is played by Leyna Bloom (a trans model/actress) who appeared in the FX series Pose; I’ve seen S1 (so far). Bloom hails from Chicago; she has a Black American father and Filipina mother. She trained in various styles of dance since 6th grade; at only 14 y.o. – she performed at the American Ballet Theater w/ Misty Copeland.

Martin Scorsese served as one of the executive producers; I learned this while listening to a Screen Drafts podcast ep on his work. Why would Scorsese be interested in this particular story, some may wonder? Well, this film is set in NYC and delves into group dynamics, power, violence, and masculinity (common in his directorial work). The group of young/white men that Paul comes to live/work w/ is led by Lee (McCaul Lombardi), who is handsome, street-smart, and a bit older (mid-20s) than the others. Late one night on the subway, Lee helps Paul out after the newcomer beaten up by thugs. Lombardi hails from Baltimore, is of Italian-American heritage, and appeared in American Honey (2016) directed by Andrea Arnold (a Cannes selection).

Our early 20s can be a challenging time; perhaps we go away from parents/home, attend college, enter the “adult”/work world, make new friends, etc. The characters here are facing poverty, housing insecurity, and violence on the streets (incl. for things they can’t control- race and physical presentation). Lee and his followers at the shelter hustle to make money by procuring/ selling furniture, electronics, etc, using their race privilege against poor POC/immigrants. Paul goes along w/ them, BUT gets more and more uncomfortable w/ their pushy tactics. On the other hand, Wye and her ball community are focused on self-expression, acceptance, and supporting each other.

Some critics liked the movie, BUT were disappointed that it was told from the POV of the cis/white man. Paul doesn’t feel like he has power over his life; we explains to Wye that he was in foster care and has “anger issues.” Falling in love opens Paul’s eyes up to a wider world; he’s in awe of his new feelings (and the filmmakers depict that well). Unlike him, Wye is comfortable in her own skin, moves gracefully, and has a found family in her “house” (where the young men are her “brothers”). I wanted to see more of the house “mother” (who had 2 good scenes). If you like gritty/realistic and intimate character stories, you can check this out on streaming (for free).

[1] The choice of close-up which make majority of the movie, makes it personal. You feel what the characters are feeling. Watch this movie if you like character driven dramas.

[2] I had the extraordinary opportunity to meet the director back in late 2019, in a Q&A that took place in the Official Language School right after the screening in Gijon’s Film Festival where I first saw the movie. She was so kind and committed to direct the film with heart and mind in the right place, taking a complex thematic involving the identity (in more ways than one) and staying true to the roots.

-Excerpts from IMDb reviews