Turn Me On

 

The idea that supressing emotions would be the answer to all life’s problems and would solve conflicts, with people living harmoniously and being left, content, is plot device that seems to be cropping up more than expected. But thankfully each iteration focuses on certain aspects that at least has a familiar but different feel. Turn Me On offers something new, in losing your emotions, you also lose your memories when taking the magic pill, or in this case, vitamin. But there is more to this story that at first meets the eye. 

Living in a closed off community where residents take a daily vitamin which eradicates all emotions, Joy (Bel Powley) skips her daily dose. Going on an emotional journey of discovery, she convinces her partner William (Nick Robinson) to stop taking the vitamin. Together, their world opens up, but also exposes them to not only damage emotions can cause, but also leaves them in a precarious position within the community with strict rules.

Full review over at Filmhounds 

Anora - London Film Festival

 

After his previous critically acclaimed films, director Sean Baker has created a very different kind of story. Still exploring and highlighting the lives of sex workers, Baker chooses to go big, really big, this time round, not only in scope but with his characters. Ani, the eponymous Anora, is the definition of a larger-than-life personality. Her energy and enthusiasm is matched by Vanya and the two of them actually make an adorable, if naïve, couple for a short magical time. But faced with problems that seem out of their control, their lust for life turns bitter. The whirlwind romance, the comedic tone all but disappears swiftly becoming something darker, still sometimes amusing, but eventually a slap in the face. The condensed ‘happy’ period in both Ani and Vanya’s lives feels like a literal dream as reality sets in. Baker managed to cram several turning points (and genres) into the story that don’t feel overcrowded, but instead feel oddly realistic as the story flows easily and steadily towards a very depressing end. 

There are many things to take away from Anora, but the glaring obvious is the disparity of privilege. The disappointment hits differently for Ani and Vanya. The latter, a spoilt overgrown child who saw the whole experience as just that, with no remorse or care for anyone else who was involved. Vanya got what he wanted and though he tried desperately to hold on to his freedom, as he sees it, ultimately it breaks and gives up. Ani, however, a genuine person from start to finish, who seems to have very little, was given a new life, a love and all was taken away within minutes. Her world was turned upside down and dis-guarded as soon as she was no longer needed, or desired. 

Anora, as a film, is a force of nature. From dramedy to romance to dark comedy to harsh realism, the story takes you on journey and doesn’t miss an opportunity to gut you, whether you’re laughing and staring, with an empty feeling at the screen. Mikey Madison has been rightly praised for her performance as Ani, which really rides the wave of emotions. There will be surprises if Anora is picked up as a real contender during awards, this film has caught people’s attention and should hopefully hold the spotlight throughout the season.

The Balconettes - London Film Festival

 

Mixing genres in film is always an exciting approach, especially if the subject is darker and needs a fresh take. Director and co-writer Noémie Merlant said that she had originally set out to write a love story but ended up with The Balconettes. Though, she also pointed out, there is a love story within the film, one of female friendship. At its core, the film broaches a darker subject, but in order not to sink the characters into despair, comedy with a bit of supernatural weirdness balances the story and ultimately creates that fresh take that is needed. 

During a heatwave, three friends in living in Marseille find themselves cooped up in their apartment. Across the way, they observe a mysterious handsome man. Through a few dramatic and comedic errors, the three of them find themselves in the man’s apartment for drinks. But later that night, one of the friends returns home covered in blood and the three women find themselves living out a nightmare.

Full review over at Filmhounds.

Me, Myself & The Void

 

When a stand-up comedian, fresh from a difficult break up, finds himself staring at his unconscious body on the floor, he must work out how he got there and whether he can escape the void he’s ended up in. 

Me, Myself & The Void is an unusual film, featuring characters we have definitely seen before and story beats that are expected. But the void itself is something different and there is plenty of time given to explore it. There seems to be two sides to this self-examination, one is a well-timed comedy with a darker edge, the other is an intriguing idea that would have worked better as a short film. 

There’s no denying that Jack De Sena who plays our hero, Jack and Chris W. Smith who plays the best friend Chris, have excellent chemistry. Taking their comedic timing and entertaining banter from their TV show and bringing it into the film seemed quite seamless. The characters they both play also feel like a slight step away from themselves, enough to make it clear, their characters’ names are coincidental. Having Chris appear as Jack’s subconscious was also a narrative choice that made sense, Jack needs someone to bounce ideas off as well as a familiar face to help him through whatever it is he’s going through. Kelly Marie Tran as Jack’s fresh ex, Mia is also a welcome edition to the void as another part of Jack’s subconscious. She doesn’t upset the balance between the leads and holds her own, lighting up the flash backs with her vulnerability and her brand of charm. 

 

There is plenty to admire about Me, Myself & The Void, particularly, as pointed out by one of the characters, the Dogville style set up of the void. This separation from reality, essentially placing the real world in pieces set up like a stage making the obvious connection to Jack’s life on stage as apposed to how he is off. But there is also the nagging sensation that this exploration into the void, Jack’s version of the void, could have been resolved far quicker than it was. Part of the fun of the film is the mystery as how he ended up on the bathroom floor but this mystery is soon stripped away, leaving the again, obvious answers as why is Jack in this state. This could have been even more effective if condensed to a sharp short film, making the feature feel drawn out.

Overall, despite some narrative glitches, Me, Myself & The Void, boasts fun fresh performances from the leads.

Me Myself & The Void debuted worldwide on Digital VOD October 1, 2024, including Apple TV and Prime Video

The Surfer - London Film Festival

 

Though The Surfer is quite rightly a psychological thriller, there are elements of horror that creep in and feel all too like well-trodden tropes that are used time and time again in other films of the same genre. After the event, The Surfer seems oddly placed at Cannes, where it screened earlier this year. 

When a surfer (Nicolas Cage), hoping to buy a house in the desired location, Luna Bay, has an altercation with a group of aggressive locals, his situation begins to deteriorate rapidly.

Full review over at Filmhounds.

Conclave - London Film Festival

 

When it comes to stories set in or centred around the Catholic Church, there is an expectation. Either a horror, cheap or classy or a story about faith. Conclave touches upon the crisis of faith but it is never delves too deep. Instead, and most refreshingly, Conclave is a thriller with elements of a murder mystery, except with no murder, but intense one the less. 

When the Holy Father dies, there is a vacuum left behind. Cardinals scrabble to secure votes who they believe is the right candidate. It is left to Cardinal Lawrence, the Dean of the College, to organise Conclave, where all the cardinals are summoned to choose the next Pope. But through secrets and sabotage, Lawrence discovers the favourites each have something to hide. But will it be too late to before the wrong person to chosen to be Pope. 

From the very start, there is a sense of loss and ambition in the air. As some cardinals close to the late Pope grieve, others have already rallied votes in preparation of Conclave. This very clearly establishes the tone of the film, this is not about religion, thankfully. The intrigue and suspicion is set and it is left to Lawrence, played with absolute reverence and stability by Ralph Fiennes, to investigate along with his colleague, Monsignor Raymond O’Malley to find out exactly what the cardinals are planning. Each cardinal represents a faction of the church, each vying for control, wanting change or waiting to continue the late Pope’s work. It is continuously noted by several characters, these men are not perfect, they are all flawed.