Amélie

courtesy of Curzon Films

 
Celebrating its 25th anniversary, Amélie was re-released in cinemas early this year by Curzon Film. Giving a chance for those who have adored this film since it was first released out into the world and ensnaring a whole new audience. It’s strange to think that Amélie was rejected by the Cannes Film Festival, despite director Jean-Pierre Jeunet having a prior connection with The City of Lost Children which opened the festival in 1995. There was also overwhelming support for the film from audiences, with near universal praise. This rejection caused quite a stir but nevertheless, Amélie has become synonymous with French cinema as well as breaking the barrier between arthouse and mainstream cinema audiences. What better time to celebrate the film’s anniversary with a new exquisite limited edition home entertainment release, while simultaneously commemorating Curzon’s own 50th anniversary.

Full review over at Filmhounds. 

Idiotka

courtesy of Utopia

 

How does one film embody the struggle of an artist, the very real crisis of trying to pay bills when you have no money, the bond of family, the repercussions of getting out of prison, and exposing the hypocrisy of reality TV while also not being able to stop watching. Idiotka is a fantastically concise film (82 mins) that manages to cover many topics, with different perspectives though this is Margarita’s (Anna Baryschinkov) journey and triumph.

Idiotka is Nastasya Popov’s debut feature film, as writer and director, she brings all her characters to life without turning them into caricatures despite the fact that the main plot is about Margarita trying to win a reality TV show so she can pay off her family’s debt and avoid eviction from their home.

There is no avoiding the reality TV stereotypes throughout the story but instead of making it feel like just another satire, these are embraced and used to mostly comedic perfection, including some of the bizarre outfits that the ‘celebrity’ judges wear. But to show that this making of is based in reality itself, Camila Mendes’ (who is making the balance between indie and blockbusters) TV producer Nicol is never outlandish, always dressed in muted tones and despite asking for ridiculous things from the contestants, also offers a few pieces of wisdom. It may just seem this is all for the benefit of the show, but she knows that Margarita really needs this break.

Alongside the reality TV show where Margarita gets to showcase her real talent for fashion, we see every other scene how close knit her family is. Her grandmother who inspires her, embarrasses her but knows exactly how to play off their situation in order to get attention from the cameras. Her brother who is working for free so their family can pay off some debt to the landlord, but also is a musician himself. And finally her father, a doctor who broke the rules and went to prison for fraud and can’t seem to get back to his own reality, dealing with the shame for not being able to provide for his family himself. Each family member has something to prove and gain. It all comes to a head in the form of a fashion show that will either make Margarita a star or empower her to do more.

Idiotka is a rare gem amongst other films that are too afraid to embrace the chaos, not wanting to be too abrasive and playing it safe with stereotypes and its funny while doing all of this.

Leviticus

 

Courtesy of Neon

It's bizarre to see that not all original or rather new stories within the horror-sphere have succeeded at the box office. So much has been said about Backrooms and Obsession and how well they have been received by critics and audience alike. But there were two other prominent horror genre related releases that came out over the summer, One premiered at Sundance, the other at Cannes, both important film festivals, both receiving high acclaim and favoured reviews from critics and the audience who has seen the films. But Leviticus and Teenage Sex and Death at Camp Miasma make under $9m each at the world wide box office. Of course these two films were both not sold or released in as many territories as Backrooms and Obsession, but they are also about LGBTQ+ characters and themes. These two observations may go hand in hand sadly. But it's still frustrating nonetheless, especially as both films are so spectacular in their own way.

With the simplest of hooks; Leviticus follows two teenage boys, Ryan and Naim, who must escape a violent entity that takes the form of the person they desire most - each other.

Leviticus had been on the radar of many leading up to and after its Sundance premiere. Reminiscent of other supernatural stories mixed in with religious cult tendencies, the film manages to generate real terrifying scenarios mirroring genuine experiences of fear. Some might say this film is just an allegory for conversion therapy but that selling the film short of all that it accomplishes. We witness these two boys’ real fear of their own desire, manifesting in the worst possible way.

Naim’s mum Arlene knowingly puts her son through this ritual saying it will keep him safe, yet she knows the ritual is irreversible and doesn’t ‘cure’ anything. This, aside from the violence, is the darkest revelation of the entire film. His own mother wanted him to be afraid, because fear will keep him from straying, fear will control him. Naim’s own fear and most likely confused jealousy put two others in fear and pain, but he didn’t know what would happen. A terrible mistake on his part, one he regretted, but Arlene knew exactly what she was doing.

The darkness that overshadows the entire film is contrasted with the moments of hope and happiness. The use of light is carefully used to show throughout to show what Ryan and Naim are to each other. From their early encounters when Ryan seems genuinely shocked by Naim’s tenderness and responds, to the bus ride home together. After hearing there is possibly no hope of getting rid of the entities, they still take a moment to enjoy what they have. Their desire is used as a tool for fear but the acceptance of who they are and what they mean to each other is far more powerful than the fear that’s been forced on them.

Hopefully Leviticus will be given the appreciation it deserves, even if that means waiting a while for a wider audience to catch up with those who have been excited about its release for months. Same with Camp Miasma. All we can do is hope and wait.

Zip Wire - FrightFest

 

Having seen her mum die from lung cancer when she was 13 years old, Amy has been determined to find a cure. While working as a highly skilled researcher at a pharmaceutical company, she finally has a breakthrough. But no sooner has she made this discovery, her research is stolen, her partner murdered and she is left alone. Wanting to scatter his ashes in the Dolomite Mountains, she braves the trip only to be pursued by those who want her life’s work. With no escape, she finds herself on the dangerous aerial runway, in a desperate attempt to out run this mysterious enemy.

Full review over at Filmhounds. 

Buddy - FrightFest UK

 

We all know there is a sinister side to kids’ TV shows. It doesn’t matter what animal, creature, thing that leads the show, there’s always something new to learn in the episode, with a song and basic lesson learned. Buddy introduces us to the loveable orange unicorn and his group of friends who like to play, dance and sing all day. Though the intro seems normal enough, the minute the episode starts, something is not right. Just think Barney, Wizardora and the likes of Lazy Town with more blood and sharp objects.

A group of kids realise they are trapped inside a 90-style children’s television show, where their host, Buddy, an orange fluffy unicorn who slowly becomes more unhinged and violent.

Full review over at Filmhounds.

Teenage Sex and Death at Camp Miasma

Courtesy of Mubi

 

Its been an interesting year for horror so far with two unknowns crashing onto the scene with stories that haunt us in familiar and terrifying ways. Exploring liminal spaces and the dangers that one selfish wish can bring. The other two big horror films, yet to grace the UK screens but have been talked about extensively, that explore dark entities that take the form of those you desire the most and the film about horror remakes that step way beyond the realms of reality. Teenage Sex and Death at Camp Miasma, the third feature from Jane Schoenbrun is, much like their previous films, is a film that defies the one genre of horror. And they certainly have a way with coming up with fantastic titles. Camp Miasma has horror elements, but there is more of a mystery and magic to the storytelling throughout.

Queer filmmaker Kris is hired to shoot another reboot of the cult slasher, Camp Miasma. She becomes hyper focused on casting Billy Presley, the star of the original film. As the two women becomes closer and work together, they descends into a frenzied world where their reality melds with the film series itself.

There is an urgency, an explosion of queer love and passion all while looking at this through a slasher lens. Camp Miasma is a film that needs to be experienced rather than just watched casually. Miss and details, as layered as they become and you may just lose your way. Our guide through this maze of memories is Kris, who feels like she was created a little too close to the heart of Schoenbrun, played by Hannah Einbinder, who anchors the film and therefore a safe pair of hands to be in. Gillian Anderson is mesmerising as the mysterious movie star and final girl of the original film, Billy. Playing it off as a much more fun Norma Desmond, residing in the original film set of the original film, oozing sexuality with every word.

Having a new voice direct another reboot in an age-old franchise, as pointed out in the film, is a trick studios pull all the time. But Kris is not going to just make any old film, this franchise, these characters are special to her and she wants to honour them. The layers of homage within the film for a series of films we haven’t seen, doesn’t matter, we already feel like we lived through and say through all the iterations and sequels of Camp Miasma that have come before. Schoenbrun makes us yearn for films and a place that doesn’t exist. But seeing Kris frolic with Billy through the snow, covered in blood is strangely magical rather than terrifying. We welcome the famous icon we’ve never seen, Little Death with open arms. We want more Camp MIasma and we want to see Kris create her vision.