Alpha - BFI London Film Festival

 

We had all been waiting with bated breath to see what Julie Ducournau would create next. Beginning with her cannibalistic Raw and her unhinged Titane, her next film took a slightly different turn. Alpha is, like Ducournau’s previous films, a blend of genres. The body horror elements are truly disturbing, the coming of age and exploration of unbreakable bonds are blended into this relentless drama, as that is what the film is at its core, a drama.

When 13-year-old Alpha returns home after a party with a tattoo on her arm, her mother, a doctor becomes concerned that she may have contracted a blood born virus where its victims gradually turn to marble.

It has already been widely discussed that the virus in Alpha is reminiscent of the AIDS crisis and it is in no way subtle. From the cracked dust laid ground to the disturbing sandstorms that rage in the finale, there are meanings layered into this story. There are three key performances, with each relationship explored, sometimes even just through a devasting emotional scene where two characters embrace and breakdown crying, or through flashbacks which provide greater context and a better insight. There is the bond between brother and sister, one trying to desperately save the other, the strained relationship of a mother and daughter and the confusingly laid out story between uncle and niece. These isolated pairings, are harrowing and filled with pain and yes, to a point love. Each of the three leads are outstanding, packing in the emotional punches. But as a whole, the film crumbles with confusion and lack of understanding what we’re meant to be grasping at.

To call this a film a body horror cheapens the entire film, but to focus on the tragic elements would be the better focus and fairer way to describe it. Those suffering from the virus and seeing those care for loved ones without being able to do anything is as devasting as any other story featuring a horrific incurable disease. But while we watch Maman try to save Uncle Amin over and over, the film starts to slip past into stagnated territory. Thankfully the scenes with Alpha dealing with school, whether it’s the prejudice about her bleeding tattoo or her and her classmate sneaking away to make out in the toilets, the film takes a break from the confusing timeline Ducournau has created.

Though the emotional and devasting moments are the ones that stick with you, as well as the sight of someone’s crumbling back breaking, Alpha is feels like a very tone and overarching subject that Ducournau’s previous. Don’t go in expecting anything her previous films as you may be disappointed.

My Old Ass

 

Circumventing the typical coming of age cliches is a difficult task, the key is creating fun, refreshing characters and My Old Ass succeeds all round. Not only do we have a lead character on the brink of leaving for college, but she also has an existential meeting with her older self which throws curve balls in her plans she never would have expected.

Meeting your older self could be seen as one massive spoiler, but Elliott the younger is still able to have the same experiences as her older counterpart, most likely made richer after taking advice from Elliott the elder. Her rollercoaster of emotions and discovery, in such a short space of time, feels condensed and maybe too much is meant to happen, but in retrospect a lot can happen and change your life in just a few weeks. A strange dream like scenario, as who wouldn’t want to talk to their older selves, Elliott faces this truth and accepts the situation very quickly, a trait, she points out, that is of the young. As always Aubrey Plaza, as older Elliott, is a gift on screen and even though she is only on screen (voice for the most part) for a short time, she leaves a lasting impression. But this story belongs to Maisy Stella, who plays the younger Elliott and she displays a panache for the dramedy. Encapsulating the fun carefree side of Elliott but still able to display wisdom that her older self could also learn from, the balance is maintained.

My Old Ass, is a light hearted, unexpected twist on the coming-of-age genre with a little bit of something extra thrown in. Supposedly science fiction, but who knows!

Snack Shack

 

It may feel a little early for a teen summer comedy to be making a splash, but Snack Shack is ahead of the curve. With a great cast, in particular the two leads Conor Sherry as AJ and Gabriel LaBelle as Moose, and a fun vibe running throughout, there is more than meets the eye with this film from director Adam Rehmeier.

After being harangued into getting a job for the summer, teenage best friends AJ and Moose win a bid at their council to run the snack shack at the local swimming pool. Through their entrepreneurial spirit, they try to turn a profit and plan for future ventures. But when a new lifeguard, Brooke (Mika Abdalla), arrives on the scene, the boys' friendship and business are put to the test.

Full review over at  Filmhounds

Are You There God? It's Me, Katie

Reading this iconic book by Judy Blume felt like a right of passage. My mum had bought it for my older sister originally and by the time I was 11 or 12, it was my turn to read it. At first it felt like a forbidden ‘grown up’ book but I soon realised it was for any pre-teen, or teenager to consume. Back in those days, I liked to read often and faster than I do now. True to my own personality, once I’d read one Judy Blume book, I had to read more. Books were also a lot cheaper in the late 90s/early 00s which meant I could pick up lots of books at a time. But unfortunately, I can’t remember much about any of the Judy Blume books I read, except for the seminal, Are You There God? It’s me Margaret. 

I thought it was odd that this book, which everyone seemed to know, whether they read it or not, had never been adapted into a film or TV series. But here we are 20 years after I read the book, a film has finally been made and its feels true to the book, as far as I can remember anyway. Originally the book met with controversy because the frank discussions about menstruation and the fact that Margaret is allowed to choose her own religion, because of course that’s controversial for the 70s. Only now are these kinds of discussions becoming more frequent and normalised. Though I never understood by Margaret and her friends desperately wanted their periods. The hell storm and pain that is causes many women; you would have thought you’d want that occurrence delayed as much as possible. 

Played by Abbey Ryder Fortson in the film, Margaret is as insecure and concerned about growing up as much as possible to fit in with her new friends. She has the contained, sometimes humorous conversations with God, wanting advice and wondering what religion she should choose. Her curious nature and her parents openness, allows her to explore the possibilities. I had forgotten how much religions plays a part in the story and how this choice Margaret feels she has to make weighs on her throughout the film (and book). The film differs from the book in concentrating on Margaret’s parents and her bellowed grandmother, which I was concerned would feel forced as these actors are the ‘famous’. But the scenes and storylines with the adult characters actually made the story more grounded and felt less like a pre-teen coming of age drama. The film felt more about family with Margaret at the centre. 

 

Judy Blume herself was one of the producers on the film, which probably meant, this was the right time to adapt this story. The author even said ‘the film is better than the book!’. For anyone who hasn’t read the book, its an enjoyable story with a talented new lead. For those who grew up with the book, it’ll take you back to when you first read it.

Egghead & Twinkie - BFI Flare

 
Egghead & Twinkie is nothing ground breaking, we’ve seen these characters many times before and seen this story play out with both tragic and happy endings. However, there is something very charming and blissfully idealistic about the two best friends’ journey. But this is primarily Twinkie’s story, despite the title suggesting otherwise. Wanting to meet the girl she’s been talking to online for months, Twinkie convinces her best friend Egghead, who may still harbour feelings for her, to come with her on a last-minute road trip. Along the way truths are shared, feelings are hurt and new friends found. A ‘classic’ road trip film for the Gen Z crowd.

Egghead & Twinkie will have it's International Premiere at BFI Flare 2023.  

Full review at Filmhounds HERE. 

Beautiful Beings

 

Following up on his 2016 feature film debut, Heartstone, writer and director Guðmundur Arnar Guðmundsson returns with Beautiful Beings, a story about boyhood and friendship, tilting on the edge of destruction and ultimately a vicious act of revenge. 

After being hospitalised from bullies at school, lonely Balli is tentatively befriended by the understanding Addi, the sarcastic Siggi and the short-tempered Konni. Together they carve out an existence, trying to have fun and escaping their home lives. But after Konni’s temper gets the group into trouble with older and more violent people and with the return of Balli’s abusive stepfather, the boys have to decide if revenge and retaliation is really the way to live.

Full review over at Filmhounds HERE.

Sharp Stick

Lena Dunham has been out of the mainstream since Girls ended in 2017. Much controversy and angst surrounded the TV series but didn’t capture the essence that her feature film, Tiny Furniture, had created. As this was the film that seem to be her breakthrough and what got her a blank deal with HBO, you would think the inspiration would leak through to the series. Now, 12 years after her last film, Dunham brings us Sharp Stick which actually has some of the same humour as her breakthrough. But it is clear Dunham has changed and developed over the years, reflected in this story and its characters.

Full review over at Filmhounds HERE.

Edinburgh International Film Festival - Stop-Zemlia

Sometimes the internet is so saturated that we don’t venture outside of our own bubble. We are given a stereotypical picture of what life is like elsewhere and we don’t try to seek out stories that we can relate to. Stop-Zemlia is a film that feels partly like a documentary and part teen drama that isn’t quite coming of age and isn’t the teen drama you imagine. There are moments of peace and tranquillity followed by reckless behaviour and words of wisdom shared between friends. Its feels like a scene from a film and from your own life.

Full review is over at Filmhounds HERE.

My First Summer - BFI Flare

 

Having grown up in isolation, Claudia finds herself alone and scared after her mother suddenly dies. By chance Grace stumbles into her home and her life, igniting a friendship and special bond in both of them. But as the girls become closer, so do the police, trying find out what happened to the reclusive author who used to live in the middle of nowhere. With the threat of Claudia’s discovery coming ever closer, the girls try to make plan but can they’re new found love survive this?

 

Each of the girls crave something and when they find each other, a piece of them is found. Claudia, having grown up with just her mother and dog, Tobey for company, companionship, you can understand that she’ll behave slightly strangely towards anyone. She is both in shock and a state of grief throughout the film which is only paused once she gets used to having Grace around. Grace has a difficult home life and seeks companionship. With a neglectful mother and the uncomfortable presence of her boyfriend, she has no desire to be at home. She also doesn’t seem to have any friends. The girls give each other what they need. They’re slow and gentle cautious romance feels inevitable from the moment they meet and it unfolds at a pace befitting their characters. Nothing is done in haste, including the unfolding of what happened to Claudia’s mother. The realisation of her suicide is revealed in hazy sun-soaked flashbacks but doesn’t give much away as why she planned it out in this way. More back story for Claudia and her mother would have been helped explain a few things, including their relationship but as the focus is the girls, its given to us as an afterthought.

 

The scenes where the girls are just enjoying summer, playing, decorating Claudia’s room, eating fruit in the garden are full of joy. Even the tentative moments, as they kiss for the first time are treated with such care. It’s as if the delicate nature of which we find Claudia is expressed throughout the film. A tender first love, over the long hot summer story that weaves in elements of the coming of age genre, bringing hope that this genre can still offer up surprises.

Away

 

Rarely has a film intentionally silent film been ab keto capture the imagination without uttering a single word like Away does. There are animated films such as WALL-E where half the film is without a large amount of dialogue but incorporates different sounds and eventually robotic voices and noises before introducing characters that talk. Away shows us a world that looks like something we’ve seen somewhere and lands us immediately into a story that could be interpreted in a myriad of ways, which is, apart from the beautiful simplistic style of animation, is its key charm.

 

A young boy finds himself in a strange island after waking up suspended in a parachute. After narrowly escaping a strange entity, the boy ends up on a journey across the island. Along with a little bird as his companion, meeting other animals and encountering beautiful landscapes, they try to reach civilisation and out run the ominous entity that pursues them.

Director Gints Zilbalodis creatively constructs a world, its rules and brings us along for the ride through the boy in the story. By choosing no dialogue, there is no point of the film where you feel as if you’ve been removed from the world created. There are moments of pure bliss and freedom followed by those of ever closing despair that are all portrayed by creatures that show little emotion yet these immense feelings are manifested. At first glance is seems as if the film is not yet completed but the simplistic style of the animation strips back what is needed to enjoy the story being told. The scenes details, the landscapes are beautiful, in particular the mirror lakes. As the film doesn’t try to manipulate the audience into thinking how and why the boy ended up on the island, one interpretation is that it feels like a video game. As the boy collects items along the way, following a road that is mapped out with giant rings that signify a change in terrain, he also encounters different creatures, all the while checking where he is going according the postcard map, he finds with the backpack and motorbike he finds at the start of his journey. It’s as if he must complete levels at each chapter of the story.

 

It is indeed a beautifully formed film that feel unconventional and a style that needs to be used more in feature films. A journey story that is unlike any other, whether it is real, a dream or a game that one has to play, Away is the ultimate escapism that we all need right now.

 

 

Now available on Curzon Home Cinema and available to buy on all digital platforms

How to Build a Girl

When celebrated feminist writer Caitlin Moran wrote ‘How to Build a Girl’ her fictionalised true story, there was little doubt that this best seller would become an appealing film as well. Starring Beanie Feldstein as Johanna, a teenager who wants to be a writer from a working-class family living on an estate on Wolverhampton and directed by Coky Giedroy, script written by Moran herself, here was a hit in the making. Of course, no one expects the COVID-19, which meant the film getting picked up by Amazon and straight onto a streaming service. You have to wonder; how great this would have been to see in a cinema.

 

‘How to Build a Girl’ catapults us straight into Johanna’s world. She’s just a normal teenager until her brother convinces her to apply to be a rock critic for a weekly national paper. After a few stumble blocks (she reviews the ‘Annie’ soundtrack trying to get the writing gig) and a complete personal make over, she transforms herself into Dolly Wilde and her career takes off.

 

Taking her new life in her stride, she makes friends with bands and charms her colleagues, even getting close to a famous singer, John Kite, who she does fall in love with, it’s inevitable, she is 16. At first she wants to expand and stretch her writing to include features, she wants to grow but her eagerness to appease and becomes famous overtakes this progress. Her behaviour getting erratic, so much so her laid family step in. But Dolly is force to be reckoned with. The fact that she can hide behind this new persona is her way of thinking she can do anything she wants, forgetting who she is leaving in her wake. Drinking and possible drug taking aren’t focus here. Sex is included but is not the main aim of Johanna’s game or rather Dolly’s, it is not priority but a perk of her new self and adventure. Coming of age is, in my opinion an overused description for whenever a teenager goes through ‘an experience’ signifying that they have grown up.

 

It’s been 20 years since Coky Giedroyc has directed a feature film and oh how I wish she’d made more films. The 20-year gap is insane, even if it has been filled with plenty of TV work, I just can’t believe is that long a gap, Coky Giedroyc has an eye for understated dramatics which matches the energy of this story so well. The film is set in the early 90s and just like that decade, you are aware of the time period but not left feeling like you’ve had an unwanted nostalgia trip which can be the case for some period films.

 

Giedroyc, Feldstein and Moran are a trio at work here, creating an enjoyable film with life lessons, familiar dilemmas and comedic moments of bliss and the best part is that yes, it is a story about a girl breaking into the male dominated music world. Its frustratingly believable and exactly what I wanted to see. So rare it is that there’s story featuring a female character where she’s trying to get into an industry where it isn’t about fashion, beauty or something to do with motherhood or childcare, THIS is kind of story should be seen more and normalised.

Like Something From A Novel

Often films about or centred around teenagers, are described as ‘coming of age’ which is a broad genre in itself, but this term is actually accurate and encompasses more than one way of coming of age for the main characters who each have their ‘demons’ to overcome, fears to face and strength to find.

 

Set in the 1960s, in a small, closed minded, religious town in Oklahoma, quiet, shy, introverted Iris is bullied by her peers on a daily basis as well as facing ridicule from her bitter mother. But when the charismatic Maggie joins her school, newly arrived from the city, the two soon becomes friends, giving Iris the courage, she needs. But a dark cloud hangs over Maggie’s head making her home life as well as her personal one difficult to control.

 

For a film that wasn’t adapted from a novel, the story really does play out and feel as if it were structured from a book first. Maybe it’s the setting, the period, the characters or the truth about why Maggie and her family had to move to a small town in the middle of nowhere. For a story that appears to be about people finding their voice or trying to accept who they are, there really is far more to unpack within the story. Even with the smallest of snippets from the ‘mean girls’ at the high school or from Iris’ mother getting drunk again and commenting spitefully on how her daughter looks, or when the town’s hairdresser, Hazel, reveals to have an equally mysterious past, they all piece together how the town perceives outsiders, as well as capturing the mindset of the time.

 

Although the town is filled with possible stereotypes, they are never over dramatized and equally give the main characters room to breathe. Both Kara Haywood and Liana Liberato as Iris and Maggie have great chemistry and each with their own individual character struggles bring a sense of innocence and wonder to the film. Lucas Jade Zumann as lone wolf and object of Iris’ desire, Jeff, deserves a special mention. He’s been racking up credits as the soulful genuine ‘good guy’ but isn’t getting the recognition you’d expect from his great performances.

 

Although this is director Martha Stephens’ fourth feature, it feels absurd that we haven’t heard more about her previous films. Premiering at Sundance last year, the film was set to be released this year but due to a world pandemic, that was changed, like so many other films. You can watch the trailer HERE and rent/buy the film on various different platforms, well worth the time and effort.

 

Unlike other stories in the coming of age drama, there is no solid conclusion, in fact there is further destruction and an open-ended mystery. Iris is given hope and we left feeling hopefully for hers and Maggie’s futures. If this was a novel, a possible sequel would be welcome.

To The Stars will be available on Digital Download from 1st June on iTunes, Amazon, Google Play, Sky, Virgin, Chili