Sunburn - BFI Flare

Hot Summer day, weekend break from city life, in the middle of nowhere. Four close friends drink, act merry until a mysterious person from their pasts sends word that he is on his way. Secrets will be revealed, whether they like it or not

Formally published on VultureHound HERE.

Not enough credit is given to the tried and true sub-genre of ‘friends/family take a weekend break and all their secrets are revealed’. The set up can literally be anywhere, as long as the drama takes place in a single location, with (usually) a small group of close friends. Over the course of the film, the friends’ bond, argue, betray as secrets come out of the woodwork. ‘Sunburn’ follows the same pattern, but instead of secrets being revealed to each other, it is us, the audience who are slowly fed information. What also sets the film apart from others that have come before it is the missing main character. The mysterious ‘other’ who was not invited to the weekend away, the person who everyone is connected to, they are the climax we won’t get to see but we’ll learn a great deal about, they are the plot.

Written and directed by Vicente Alves do Ó, the film takes place over the course of a beautiful sunny day in the Portuguese countryside. Four close friends gather to enjoy a weekend of drinks, food and fun but when they contacted by David, announcing he is on his way to join them, the light hearted mood vanishes as they await his arrival. The past is dredged up, secrets are revealed and old heartbreaks turn to fresh wounds as time goes by under the hot sun.

Secrets and lies are what holds films such as ‘Sunburn’ together but in this case, it is all just about one man, David. Never appearing on screen, only a voiceover speaking to one of the characters or possibly all of them. From the minute the four friends each receive a phone call from the mysterious David, each with a different reaction, at first hints how the story will play out. This is how the film builds its tension throughout, with hints, vague confirmation and most of the time, left to the audience to decide the true nature of each relationship, past and present. The group’s sexual fluidity is not a driving plot point, nor is it really the focus if the story, which is actually very refreshing. It is part of the characters, following their desires and is not even topic of their own conversations. The four friends each have their own problem to deal with but the final reveal of secrets is half-heartedly revealed, not paying off the tension created throughout, making this 82-minute-long film much longer. The atmosphere of the film doesn’t quite match the molasses slow pace.

The film at times feels as if it could have been a play. With four complex characters and a mysterious fifth who is heard, talked about constantly but never seen. Having a character such as David gives this sub-genre of film a new twist and the fact that sex is discussed and shown but sexuality is not the subject, sets ‘Sunburn’ apart. But ultimately, the not so shocking revelations make the this a drama without dramatics which is a shame after an intriguing beginning.

Giant Little Ones - BFI Flare

Exploring the damage and ignorance of homophobia as well as the heartbreak of betrayal and the yearning of for a connection and placing no labels on love. This isn't just an coming-of-age film hitting the same beats.

Formally published on VultureHound HERE.

The coming of age story is and can be over used to simplify what the characters in the story are experiencing. Usually set during high school/secondary school or during one summer, the characters go through life until something changes them. There are moments of heartache and pain as well as concentrated moments of ecstasy. Feelings are explored, realisations are met with further pain and sometimes regret. Friends, family, strangers have an impact but in the end its about one or a group’s time as they grow up. ‘Giant Little Ones’ is about more than just a coming of age story, there is no end, only a few moments of realisation and is more about consequences to unrealised truths and the lies that are told to hide, no matter who its affects.

Franky and Ballas have been best friends forever. They both have girlfriends, even though Franky isn’t quite sure about his relationship, Ballas encourages him to take things further and brags about his sexual exploits. The best friends are both on the swimming team and witness their teammate being degraded with homophobic slurs and threats. Franky’s home life has been different since he father left to be with another man, a situation he isn’t entirely comfortable with. After his birthday party and a night of drinking, Franky and Ballas share an encounter after which Ballas abruptly leaves. From this moment Franky’s world is shattered, which is made worse when Ballas claims it was Franky that came on to him. Alone and seeking friendship, he rekindles his with Natasha, Ballas’ sister. But with everyone so quick to put labels on each other and relationships, it’ll take more than a few days for Franky to figure what it all means.

The two elements to take from ‘Giant Little Ones’ is that secrets and lies have disastrous consequences and love should have no labels. The film explores the damaging effect homophobia and ignorance has, especially in schools. Athletes are made to think that they have to me masculine to the point of poisoning their views. Reputation in school is everything to teenagers and one small rumour can change everything, despite whether it is based on fact or not. A friendship as close as Franky and Ballas’ is shattered because one cannot talk to his friend, this belief that there is something wrong with him over shadows him and the only way out is to bring his friend down instead. The message of the film over all is also being used as the tagline and social media hashtag, love without labels is lesson that these teenagers almost learn towards the end, or at least they will take steps to understand, whereas Franky is already ahead and is open to more possibilities.

Writer and director Keith Behrman has created a complex character without the clichés of the coming-of-age genre tropes. Franky, played superbly by Josh Wiggins, is, from the start of the film, curious about his emotions and questions whether or not its right to be with his girlfriend simply because he doesn’t feel strongly about her. His feels guilty for something that he didn’t even do, he seeks out friendship without double intention and doesn’t want to hurt anyone. Only when he speaks with his father (a brilliantly turn from Kyle MacLachlan), after seeking reconciliation for his own actions, in a short touching scene does he start to mend himself, physically and emotionally. Here is a character that we can be sympathetic towards, suspicious of and hope that he is more than ‘ok’ by the end of the film.

Carmen & Lola - BFI Flare

Set in the close gypsy community where everyone knows each other's business, Lola wants to escape the strict rules and way of thinking. Carmen, newly engaged to Lola's cousin, is at first happy to go down the path that other women have done before. But when these two girls meet, there's no denying their chemistry or passion.

Formally published on VultureHound HERE.

There is always a story to tell when it comes to forbidden love. Even in this day and age, some love is treated as less than, not accepted and has the power to tear families apart, even communities. This is how a story goes when a new love blossoms but is kept secret. Secrets always come out and usually in cases of the heart, are always devastating. But ‘Carmen & Lola’ breathe life into this tale of love with a new setting and intriguing two leads.

Teenagers Lola and Carmen live in a gypsy community in a suburb of Madrid. They work at the market with their families and attend church each week, but are on very different paths. Lola, is just learning about her attraction to women and dreams of having a better life away. Carmen is getting engaged to Rafa, Lola’s cousin and seems content in living the same way as all the other women in her community. Getting married, having children and becoming a hairdresser. After a chance meeting and tentative friendship, the two girls are drawn to each other and gradually fall in love, not thinking about the consequences of their relationship and what their families will think of them.

From the start, Lola is already trying to explore her sexuality, whereas Lola, although sneaks a peek at her brother’s porn magazine, doesn’t give it a second thought until Lola takes an interest in her. They are both attracted to each other, even if Carmen is at first outraged by the thought. Theirs isn’t a no holds barred passion, they don’t flaunt their feelings in public, unless you count graffiti art, but a more conservative in how they conduct themselves. This is most likely due to the strict rules of their community that have been imposed on them. The two girls still seem rather innocent, which is something the families choose to ignore, focusing on the fact they love each other jus being a sin in their eyes.

The gypsy way of life is touched upon through rules, family dynamics and through celebrations. One aspect that of the girls’ lives is that school is not seen as a necessity for them. Lola values her education and what to study further whereas Carmen hasn’t even an interest in taking a course in hairdressing. The value of education in general doesn’t seem important to the families, just so long as they can read, write and count, skills needed at the market. The film does little to hide the fact that the gypsy community is very much a patriarchal society. Women are given very little choice and barely any freedom. Although this is a story about Carmen and Lola, we only see their experience and how they feel. Very little is seen of the families, particularly the men in the family unless as parties, church and at the market. It would be interesting to see if the boys, same age as Lola and Carmen behave and think, but that, might a whole different film.

On the whole, ‘Carmen & Lola’ isn’t a new story but it is a fresh perspective and a small insight into a tight knit community who isn’t open minded, or at least, is portrayed to be. The two leads, Zaira Romero (Lola) and Rosy Rodriguez (Carmen) are mesmerizing. In both their first feature roles, they ground the film into blossoming romantic drama that you can’t tear yourself away from.

Tell It To The Bees - BFI Flare

First film of BFI Flare and its a delicate romance in 1950s Scotland where two very different women find more than comfort with each other.

Formally posted on VultureHound HERE.

It’s not secret that bees are the key to our survival. If the bees were to die, we wouldn’t survive. We feel that way about people, if we were without the ones we loved, we might not cope, we might not be able to carry on. A new love isn’t quite unearthed in ‘Tell It To The Bees’ as it sometimes appears in romantic period dramas but is nurtured and gently formed. Seen from the point of a young boy at times as he witnesses his mother and the local doctor fall in love without realising that it is love, but instead a secret that he has not been part of.

Set in small village in Scotland in the 1950s, young mother, Lydia works at the local factory while caring for her 10 year old son, Charlie. Abandoned by her husband and ostracised by the village for being an outsider, she at first struggles to carry on. But when Dr Jean Markham returns home, despite rumours about circling the village, she finds a job as the housekeeper and a home for her and Charlie. At first a tender friendship is forged between the women and slowly they fall in love, while Charlie cares for the bees that Jean has looked after since she was young. But with the danger of Lydia’s husband returning to take away her son, her new love and the bond she shares with her son could be shattered at any moment.

At first glance, Annabel Jankel’s film, adapted from the novel of the same name by Fiona Shaw could be written off as any other period romance, but the two leads, Holliday Grainger and Anna Paquin share chemistry and understanding that the film becomes a precious moment in time. Each moulding their characters to two very different women, Lydia, a bring light in a dark time. She doesn’t play the broken woman like others have in her character position, she is open to possibilities and open to love. Jean, despite knowing who she is, she is still tortured by the past and is seems on edge about the truth coming out. Tired of running away from what she sees as an obstacle, returning home is her way of standing up to those who dislike her just for who she is. Together these two women don’t just find comfort but find a soulmate who they can be exactly who they want to be.

The recurring theme throughout the film is about secrets and bees. Charlie shares his secrets with the bees forming his bond and trusts with the creatures who ultimately protect him. Secrets can cause arguments and resentment, they can tear a family apart. Lydia and Jean’s secret relationship isn’t only threatened by society. Lydia’s cousin Annie becomes a victim of ignorance and prejudice in a horrific scene towards the end. Showing that anyone’s love can be seen as unsavoury to some. In the end, love does triumph but there is always a price for it, especially period dramas, that hammer home injustices of the past.

O Captain My Captain

There are hundreds of reviews floating round the internetsphere so I won't take up your time with mine, instead I'll share a few thoughts and then dive into, why the media circus?

SPOILERS AHEAD

I haven't read the comics. I should start that for every Marvel film I write about, although I used to read a bit of Xmen. Back to Capatin Marvel. Serving as an origin story for Captain Marvel aka Carol Danvers as well as side flashback to when Fury wasn't the head of S.H.I.E.L.D and was inpired by his encounter with Danvers and the all the other, aliens, to start his avengers inititive. This really makes Danvers the centre of of the whole universe so its only appropriate that shes there in Endgame to save it.

Starting with her day to day solidering with the Kree where they make sure she keeps her powers in check, answers to her superiors and encourage her to ignore her memory flashbacks, she is in deep with this life. Although their enemy are the shape shifting Skrulls, the Kree have never been the 'good guys' so it's not so difficult to see what comes later, despite the opening group banter, which was funny. Danvers or 'Vers' as she is affectionately known as literally crash land back home after escaping the sinister Skrulls ships and memory contraption. This is a homecoming that sets the whole 'but who am I' journey in motion, while at the same time uncovering the true deception of the Kree and switching the Skrulls to the innocent party.

Captain Marvel is a superhero film so it will hit the same beats as the films before it, but it also goes against the grain. She is superpowered thanks to an accident or rather act of bravery; trying to destroy technology that is literally from another planet and honour her mentor. The origin stories of Danvers have apparently been different and usually involving a man, soilder giving him her powers, BUT in this story, her mentor is Mar-Vell, a Kree scientist trying to stop war and its Annette Benning. Fantastic cast choice, in fact the Captain is surrounded by great characters/cast, which can make or break a film.
 
There were several times where I rolled my eyes but with homages to previous superhero films and even an Indiana Jones moment, the film was what I hoped to see. A fun, comic book film with an amazing and on point 90s soundtrack, featuring a fair amount of female artists and unexpected surprise in the form of a cat that provided comedic bits galore, I was entertained. It didn't excede my expectations but I enjoyed the outcome.

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There have been a great show of support between female film critics, sharing each others reviews on Twitter. I didn't read them all but the ones I did show a variety of reactions to the film. Some loved it, others didn't, some had strong feelings about different aspects surrounding the film, others championed it, and some, well, really hated it. Even amongst the positive praise and justified critiques, I was disappointed by the circus of attention that wasn't about the character and story.

The bigger picture is that, yes, there was quite a bit of the Marvel franchise riding on whether this film would be successful or not. But looking back at the previous films, there hasn't be a film thats been attacked (both positively and negatively) in this way before. I suppose there was a fair amount of speculation around the first Guardians of the Galaxy as it was purely space set and had three main characters that were CGI but that was because there hadn't be such a heavily sci-fi Marvel film, when really, if you strip it down, its a science fiction film with a great group of characters that just so happens to be within the Marvel universe. Also, its my favourite Marvel film. But apart from GOTG, the hype has been normal. I can't be the only person to have said this, but all this fuss is just because the main character, main superhero is female and to be honest, there shouldnt be this sort of hype just because of that fact. Extra pressure is mounted on this fact alone as to whether its good or not and if it isn't its because its a women front and centre and if its good, its only because theres finally a female superhero as the main character.

This is the death that practically killed Ghostbusters back in 2016. This is the death that buried Oceans 8, although granted the hype was not big for this film, which I don't understand, that film is amazing and I'm just saying that because I watched it 5 times in a row (no joke). This the possible death that Wonder Woman defeated, but because the rest of the DC films sunk (apart from Aquaman I hear) after the sequel, who knows what will happen to her. All these film were built up with everyone half hoping they'll fail. The malicious half anyway.

There has also been a cloud of disgust surrounding critics. A barrage of outraged critics who believe what they have to say is more important. Then the backlash that women only like the film because there's a woman in it! Its reached ridiculous heights. But, again, seeing the threads of female critics sharing each others work, no judgement, no arguments, just sharing and championing each other, gives me hope that we can do this for any film and not just when there a female superheo on the poster, alone.

The Young Poet

 Two films are being released this weekend that will and should spark conversation. One is of course is Captain Marvel herself, Marvel's first film with a lead female superhero, the other, The Kindergarten Teacher written and directed by Sara Colangelo about the teacher of the title who discovers that one of her 5 year old students is a gifted poet. One of these films will be in cinemas for weeks, the other might not be. The latter deserves your attention.

Lisa is a kindergarten teacher who spends her days with her young students, teachers them the alphabet and playing games. She takes poerty classes but her work is usually critiqued harshly by her classmates. She has little chemistry with her husband and is disappointed in her children who don't share her ideals of them having an intellectual or creative life. One day she hears one of her 5 year old students recite a poem. Finding out from his nanny that he does this quite often and upon hearing more of his poetry, she believes that Jimmy is a gifted prodigy. She becomes determined to nuture his talent even at the disapproval of his family and lack of support from own home. Her actions turning to desparate attempts to keep Jimmy's poems alive, she spirals out of control.

Part of the 'Reclaim the Frame' project which was started by Birds' Eye View who wanted to bring greater audiences to see films by women. This year kicked off with 'The Kindergarten Teacher' and a fantastic panel of speakers; a neuro-psychologist, a poet and filmmaker and founder of the Bechdel Test Fest.

The film poses the question about whether Lisa is a bad person or not. The decisions made by Lisa are unethical, especially considering the position of trust she is in. But she could also be right in wanting to nurture Jimmy's talent because as he gets older, this guft will be crushed by what's expected of him and what his family want from him.

As someone who feels starved of creativity from her work and home life, her poetry classes act as a sanctum, even though her own poetry doesn't inspire anyone in her class, including the teacher. She is openly disappointed with her two teenage kinds who don't want to follow in her so called intellectual footsteps. Her husband doesn't have much input in her life and barely registers with her once she becomes focused on Jimmy. Her desparate need for creative output is almost shunned before it can even becomes more than a few dull sentences on a page, but she finds peace with Jimmy, living vicariously through him and his poetry. To her, she is doing the right thing by pushing him to work, practice reciting his work and writing all his work down. By the end of the film, she accepts that the lenghths she has gone to to 'protect' Jimmy and his gift is too far and she has lost control. However, her fear that no one by her cares about his gift, is proved to be very real. The fact that his father doesn't care about his poetic talent, caring only whether he can make money or not aside, just from the last few moments in the film, Jimmy says he has a poem, but he is ignored, predicting exactly what society will do with him as he ages. No one cares about your poetry when you get older.

If the film has a genre, it would be a thriller in some ways, but one that is hightened not by the actions and soundtrack but by its delicacy, small actions and expressions which director Sara Colangelo brings through her own touch and gaze to the story. Maggie Gyllenhaal gives a brilliant complexity to her character, creatineg sympathy as well as anger, she makes you want to side with her and at the same time question her actions, a fantastic performance.

If you're looking for a film that will spark debate and discussion, The Kindergarten Teacher is out now, go see it and get others to join you.

#ReclaimtheFrame

@BirdsEyeViewFF ‏  

January/February Watch List

Stan & Ollie

A story of legends and one of the greatest love stories ever told. 4/5 My post about the film is HERE for your reading pleasure.

Spider-Man: Into the Spiderverse

This one crept up and made a huge impact on all comic book fans. Its the best comic book film I've seen, maybe even better than my beloved Guardians of the Galaxy. This Spider-Man film not only manages to side step some of the terrible films that came out, it even pokes fun at them. The fact that there are multiple universes and each one there is a Spider-Person must mean that there are multiple versions of all the Marvel characters. In this film, this is Miles' time to shine. The film introduces a new Spider-Man, passes the baton, gives him a worthy story to work with, gives him THE best mentor a would be hero could ask (Peter B. Parker perfectly cast/voiced by Jake Johnson) for AND even has time to introduce 4 other great Spider characters from multiple universes AND bring villain King Pin back to his original place, fighting Spidey as well make Dr Oct a woman voiced by the amazing Kathryn Hahn, literally all my dreams came true with this film. Story and characters aside, the film is brilliantly animated, making it look like a comic literally came to life, with the voiceover, speech bubbles, the black lines of the panels. This film is so brilliantly constructed, it shows up all the previous efforts, this film is pure comic book heart. 5/5

How to Train Your Dragon: The Hidden Kingdom

A satisfying and emotional close on a fantastic franchise. My review is over at VultureHound and can be read HERE 4/5

Hush Hush Sweet Charlotte

Whatever happened to Baby Jane? Well, she made this film with the bare bones similarities but then her sister left the set so Olivia De Havilland stepped in. 3/5 My review is over at VultureHound and can be read HERE. 

The Lady Eve

One the best screwball comedies, I laughed so much out loud. They really don't make 'em like they used to. 5/5 My review is over at VultureHound and can he read HERE.

Burning

 I missed this at LFF due to scheduling clashes BUT with the hype that grew during and after the festival, I knew I couldn't miss it again. With a pace slower than pain drying, this thriller doesn't have any scare moments, there are no 'big reveals' but instead plagues your mind as you try to put the very few clues together. Lonely would be writer Lee Jong-su bumps into old school fellow Shin Hae-mi after years. At first it seems this is going to be a not so romantic story about two lonely people who used to know each other but instead flips what you except of this mysterious story. She leaves for a trip and returns with the mysterious, handsome and wealthy Ben. Jong-su ends being the third wheel to the couple. He observes them, suspicous of Ben and his beahviour, remarking that Ben is a Gatsby. No one knows how he makes his money or where it comes from. A mystery unfolds as pieces start to fall into place, we are left to draw our own conclusions despite what happens on screen. The story unpeels itself, creating unease from the moment Ben is introduced, giving a whole new meaning to a slow burner thriller. 4/5

Can You Ever Forgive Me?

Amongst the Oscar darlings there was a hidden gem directed by Marielle Heller, based on the true story of how literally down on her luck writer Lee Israel forged thousands of letters from famous writers. It takes a while for Lee to get going in her new venture which proves to be lucrative and along with her down his luck friend Jack, they live a little, that is, until they are found out. The story isn't a huge story as in there is no over the top dramatics, except from Richard E. Grant as Jack but that's who he is. Deservingly so, both Grant and Melissa McCarthy were nominated at the Oscars. Both great roles in what I'd describe as a quiet film which reflects on how far you'd go to pay the bills and be able to sleep at night. 3/5

Polar

I love a good hitman story and even more so when its crazy and ridiculous, think Smokin' Aces but without the police side plot and undercover bit. The infamous Black Kaiser is about to retire which means the company he works for, even hitmen have a boss, will owe him 8 million, which they clearly don't want to pay so his wacky clothed boss gets his hit sqaud out to kill him. In the meantime hes settled into a cabin and even made friends with his neighbour. What follows is a spectacular bloodbath of bullets and mayhem and Mads Mikkelsen, the Kaiser himself, barely flinches. 3/5

Velvet Buzzsaw

There was little hype except for a trailer that arrived a month before it appeared on Netflix but since there was so much hate and misunderstanding about this film, it deserves a post of its own. 4/5

Piercing

What the hell was that? I asked myself throughout this film even though I knew exactly what I was walking into. A man who has the desire to kill someone with an ice pick casually books a hotel room and arranges for a call girl who does S&M to come to his room where he plans to kill her. He has it all sorted and written in detail in his notebook. BUT when she shows up, she's even crazier than he is. A brilliant two hander from the very beautiful Christopher Abbott and the fascinating as ever Mia Wasikowska who dance around each other is a strange and sometimes even erotic way. Biazrre to say the least but again, expected as the film is based on a novel written by the same guy who wrote Audition, which the film was based on. There's something so desparate and immaculate about the two characters and in another time and place, they could have made each other so happy, if they weren't so deranged. 3/5

The Guilty

This is one of those, just one person on screen throughout the film while he makes lots of calls and like the others, its one hell of a suspensful thriller. 4/5 My review is over VultureHound and can be read HERE.