Saturday, February 24, 2024

THE WHITE DOVE

 
My love of Czechoslovakian cinema from the 1950's, 60's and 70's, also brings with it a lot of fear too. Due to the political situation these filmmakers were working in during these decades, they often told stories that were either full of symbolism or were allegories to the world they were currently living in, usually of a critical nature. As such, I often worry that I will not understand the full intent of these Czech films or by focusing too heavily on the symbolism, that I end up not paying attention to the narrative and find myself totally lost in the film altogether. Whilst I would never call myself an expert of Czechoslovakian cinema, I am also not a total novice either, thanks largely in part to Second Run DVD's very impressive roster of films from the former country. In fact, looking at the top ten list of greatest Czech films ever (chosen by Czech and Slovak critics in a 1998 poll), I am happy to say that I have seen them all. The film that came in at number one in that poll was Frantisek Vlacil's “Marketa Lazarova” (1967), which I must admit, was a film that I personally struggled with. No doubt from an artistic point of view, the film is stunning to behold, but like I mentioned above, I actually found myself lost in the film's narrative, and at times found it difficult to work out what was happening in the story. However, this wasn't the case with Vlacil's previous film, “The Devil''s Trap”, as I loved that from beginning to end. However, when I came across some stills of the film Vlacil made before “The Devil's Trap”, “The White Dove”, I just knew that this was a film screaming out to me to watch. Once I read the plot synopsis, I was totally sold on “The White Dove”.

The film is about a homing dove, who on her journey back to her owner on a Baltic island, gets caught in a storm and finds herself lost, ending up in Prague. Soon after landing in Prague, she is shot down by a disabled boy from an apartment window, using an air rifle. Immediately feeling regret over his actions, the young boy (along with an artist who lives upstairs) attempts to nurse the dove back to life, but will he able to set it free to be with its owner once it has the strength to go? Meanwhile, back on that Baltic island, the young dove's owner is distraught at the thought of never seeing her beloved bird again.

Oh my goodness, is this movie stunning! As you can see from the plot synopsis, “The White Dove” has the most beautiful story line to it, and once again it succeeds so well due to its simplicity. At only 66 minutes long, it is a tiny story, but it is packed full with emotion, and not one minute of it's running time is wasted. Even more impressive, is the fact that it is also done with very limited dialogue, meaning the film visuals do all the heavy lifting in terms of storytelling. Although using the term “heavy” in regards to “The White Dove” seems totally wrong, as the film feels so light, breezy and effortless. It is such a beautiful film.

The most impressive thing about “The White Dove” is, no doubt, the stunning visuals that director Vlacil and his cinematographer Jan Curik come up with. Some of the shots on display are simply spectacular and awe inspiring. Shot in gorgeous black and white, Vlacil and Curik come up with the most gorgeous images to tell their story. At times it is the simple use of montage to tell a moment perfectly (I'm thinking of the scene when the dove is shot and falls to the ground; we see a shot of glass breaking, then a feather falling, back to the glass which now has blood dripping from it, back to the body of the lifeless bird on the ground). Other times Vlacil uses these virtuoso camera moves that are so complex, particularly due to the timing of events happening within the frame, however they never feel like he is showing off. The shot is used in the best interest of the story. The very final shot of the film is the perfect example of this (seriously, pay attention to both how long the shot is, and how much happens within it). Vlacil also regularly uses frames within frames, which makes sense as he is dealing with an artist's life, but again, it is all done to perfection. There is one shot where he uses multiple mirrors which sees the artist walk directly towards himself, that really made me sit back and wonder how he did it. I would have to say though that the most impressive moment in “The White Dove” is Susanna's (she is the original owner of the dove) dream sequence. During her sleep, young Susanna hears the hushed voice of the dove calling her name. She awakens from her slumber, walks to the back door of her house and opens it, only to reveal the ocean literally on her doorstep, as she immediately steps outside and, like Jesus himself, walks on top of the water in search for her lost dove. How Vlacil and Curik pulled this moment off, I'll never know, but it is “the” highlight of a film filled with many. Even the way Vlacil shoots the apartment block that the young boy and the artist live in is amazing. He chooses the most unusual but spectacular angles that just give the film so much life. I quickly also want to mention that Jan Curik was also the cinematographer of “Valerie and her Week of Wonders”; another stunningly beautiful film, although this time in colour, that everyone should check out.

Another aspect of “The White Dove” that I loved was watching the artist hard at work on his art. He uses a number of different mediums in the film, from painting to sculpting, and they are all so interesting because they feel like they were actually done on camera for the film. Vlacil himself was an artist before becoming a filmmaker and it is no surprise, as he is able to really portray what the artist is doing in a very authentic manner. So often in films when art is shown being created onscreen, it feel like the artwork is already done with an actor just pretending by doing a few brushstrokes. Here we witness an entire painting, that is done on a mirror no less, from start to finish, and I was mesmerised by the whole thing. The pay off to that painting is also just perfect too.

In regards to the story of “The White Dove”, it is beautiful to watch the young boy's recovery as it mirrors the doves. We learn in a flashback, that the boy's disability is more in his mind than physical after he injured himself in front of his friends whilst climbing a large fence at school. Traumatised by the incident, he is too scared to go back outside and play with his friends again, so is stuck in a wheelchair instead. However whilst looking after the dove, he too finds the strength to walk again and to take a chance on life once more. Initially, the artist from upstairs believes that the dove is a lost cause and should be put out of its misery, but through the boy's love he is able to perform a miracle, and bring the bird to full strength again. What is so beautiful about this story is the amount of life this dove brings to the people it inadvertently touches.

So what of the symbolism and potential allegory in “The White Dove” that I was fearing? To be honest, I am sure that the film is full of it, but I was determined not to search for it on my initial viewing for fear of tainting it. However, with the dove often used to symbolise peace, it is not a long bow to draw to think that Vlacil may be saying that through love and caring of one another, that the Czech people can once again find peace. There is also a scene of a clay sculpture having its face violently cut off of it, which seems to symbolise a loss of identity or something of the sort, but I would be lying if I said I had fully analysed the film with this gaze. Whilst I am sure that it is there, I can guarantee that even if you do not notice any of the potential symbolism, you will still be able to love and enjoy “The White Dove”.

Overall, I found Frantisek Vlacil's “The White Dove” to be a very special film indeed. It is such a simple story but packed full of emotion. Combined with it stunning visuals, it gives the film the quality of a visual poem. The complexity and precision of some of the shots on display cannot be overlooked, but what is most impressive about them is the way that Vlacil makes them feel so effortless and poetic. I loved this film so, so much, and think it is one of my most favourite cinematic discoveries since I found “The Cranes Are Flying” back during the covid lock-downs. One thing is for certain, it is a film I will revisit often, and one that makes me want to sit down and re-watch Vlacil's “Marketa Lazarova” as soon as possible.


4.5 Stars.

 

Tuesday, January 9, 2024

2023 - IN REVIEW: MOST ANTICIPATED FILMS OF 2024

Just like every year that has come before it, there are a plethora of new releases that are slated for release in 2024 that I am eagerly anticipating. From last year's list, I'm still waiting on releases for Tran Anh Hung's “The Taste of Things”, and Jeff Nicol's “Bikeriders”, so obviously these are still hugely anticipated and should be considered an extension of the below list (but I do not like including the same titles for multiple years). Besides the titles below that I am shining a spotlight on, 2024 will see a number of new and exciting films from talented directors, the likes of Yorgos Lanthimos (“Kinds of Kindness”), Steven Soderbergh (“Presence”), David Michod (“Wizards!”), Rose Glass (“Love Lies Bleeding”), Luca Guadgnino (“Challengers”), Ti West (“MaXXXine”), Denis Villeneuve (“Dune: Part Two”), Steve McQueen (“Blitz”), Ridley Scott (“Gladiator 2”), Francis Ford Coppola (“Megalopolis”), George Miller (“Furiosa”), Paul Schrader (“Oh, Canada”), Dea Kulumbegashvili (“Those Who Find Me”), Justin Kurzel (“The Order”), Roman Zurcher (“The Sparrow in the Chimney”), Jim Jarmusch (“Father Mother Sister Brother”), David Cronenberg (“The Shrouds”), David Lowery (“Mother Mary”), Bi Gan (“Resurrection”), Leos Carax (“It's Not Me”), Tom Tykwer (“The Light”), Paolo Sorrentino (“Parthenope”) Guy Maddin (“Rumors”), and maybe, just maybe, we will finally see Terrence Malick's latest (“The Way of the Wind”). All of the above I am looking forward to, but the below nine films are my most anticipated films of 2024:


JOKER: FOLIE A DEUX

It is rare that a film so mainstream is on my most anticipated list, but I really liked what Todd Phillips did with the original 2019 film, and his take on the clown prince of crime himself. Joaquin Phoenix was amazing in the title role too, so to have the two key creative personnel returning for this sequel has me optimistic. I am also under no illusions though that this could go down the route of so many other sequels by making it bigger and louder, and in the process losing what made the original film so great, and end up a total disaster. Whilst little is known in terms of the film's plot, what we have heard about the film has really got me thinking that the film could turn out to be a surprising gem. I love the title, first of all, and hearing it is meant to be some messed up kind of musical also warms my heart, but it was the casting of Lady Gaga as Harley Quinn that really made me sit up. It is perfect casting in my eyes, and as much as I love Margot Robbie's take on the character, her version would not work in the real world aesthetics of the “Joker” film. Succeed or fail, I am looking forward to how “Joker: Folie a Deux” will turn out.


EMMANUELLE

The inclusion of “Emmanuelle” on this list is solely due to how great director Audrey Diwan's previous film, “Happening”, was. “Happening” topped my top twenty list from last year, so no matter what Diwan did next, I was always going to be anticipating it. I have never seen the original “Emmanuelle” films starring Sylvia Kristel, but from reputation alone I just assumed that they were smutty lowbrow entertainment. However, Diwan's interest in adapting the story once again makes me feel that there is more to it than what I assumed, as I couldn't imagine a talent like hers would be interested in making what I thought was one dimensional smut. Anyway, Diwan has cast the lovely Noemie Merlant in the title role, and I have just noticed that Naomi Watts is in the film now too. The film has already finished shooting which seems to suggest that a Cannes premiere is on the cards meaning we only have to wait until May to see “a woman and the series of erotic fantasises that she entertains”.


MARIA

For the second year in a row, director Pablo Larrain has made it onto my most anticipated list with his newest film. While “El Conde” didn't quite reach the heights I was hoping for (the film is still pretty entertaining), it has not cooled me on Larrain's next effort, “Maria”, which is a biopic on the world's greatest opera singer, Maria Callas. This will surprise no-one when I say that I know nothing about opera, so it may seem a strange film to be looking so forward to, but the reason for this has to do with the strength of the two previous female bio-pics Pablo Larrain made, namely “Jackie” and “Spencer”, both of which were phenomenal. Apparently the film follows the life of Callas from the mid-1950s until her final days in 1970's Paris. Larrain has cast Angelina Jolie in the lead role, and has re-teamed with cinematographer Edward Lachmann who also shot “El Conde”. The film has already finished shooting, and the big news for me was that “Maria” was shot on film, as Larrain and Lachmann decided that this was the way that Callas would have been seen at the time.


LONGLEGS

This is the fourth film directed by Oz Perkins, with the previous three being outstanding, and deserving of more attention than they got. His latest, “Longlegs” is a serial killer thriller that the imdb describes like so: “FBI Agent Lee Harker is assigned to an unsolved serial killer case that takes unexpected turns, revealing evidence of the occult. Harker discovers a personal connection to the killer and must stop him before he strikes again.”. While it does have a generic sounding plot, none of Perkins' films before would ever be called generic, even though they mine material of well worn genres. Like Perkins himself, the much under-appreciated Maika Monroe stars as Agent Harker, with Nicolas Cage apparently playing the killer. Monroe has excellent taste when picking horror projects to be a part of, while Cage has recently come out stating that he will be very frugal in the roles he plays now, only choosing to do something if he thinks the project is really special. The film has been fully completed and even has an MPA rating, so I am sure it will not be long until we see a trailer or at least a release date for “Longlegs” soon.


SHADOW OF FIRE

While technically a 2023 release in Japan, the rest of the world will finally get to see director Shinya Tsukamoto's latest film, “Shadow of Fire” in 2024. The film is apparently about the immediate aftermath of WWII, and the struggles of the Japanese people to move on and live after the events of the war, particularly focusing on a young boy orphaned during the war, and a woman forced to sell her body in an attempt to keep on living, and fight the crushing despair within her. As you can see, it sounds like it will be quite intense and very confronting, but I have total faith in whatever Tsukamoto comes up with, as he is a true original in today's cinema landscape. Through interviews I have seen with Tsukamoto in the past, he is particular struck by war and the fact that his generation never went through it, fearing that lessons learnt from these past wars may end up being repeated due to how little today's generations know about the war, so I am sure it will be a very personal film for Shinya Tsukamoto, and one that I cannot wait to see, as I have been thoroughly impressed by the already released trailer for “Shadow of Fire”.


LE CHEMIN DU SERPENT / CHIME

2024 has the rare distinction of having two new films by Japanese director Kiyoshi Kurosawa ready to be released. The first, “Le Chemin du Serpent”, is actually a French language remake of “Serpent's Path”, which Kurosawa made in Japan back in 1997. The new film is described like so: “A mysterious woman team up with a man whose daughter was killed and who is now seeking revenge. Together they kidnap members of an organisation and torture them to find out what really happened.” This sounds pretty close to the original although it appears that one of the characters has now been changed to a woman, which will be interesting to see how that changes the story's dynamics. I was happy to see Kurosawa reuniting with cinematographer Alexis Kavyrchine, who shot his previous French language film “Daguerrotype”, for this and with Mathieu Amalric who also had a role in that previous film.


Kurosawa's other film coming out in 2024 is a Japanese film called “Chime”, and is about “a schoolteacher whose life is disrupted by a chime that brings with it an increasing sense of dread.” What is most interesting about this is that the film is apparently not a horror film, but something else entirely. Here is what Kurosawa himself says about the film: “This is a work that aims to shock the viewer and leave them with a strong sense of fear after watching it. Nothing that is necessary in a normal story is explained. Also, it doesn’t fit into genres like horror or suspense. That’s the aim of this work: a crazy movie, a movie that’s out of this world.” Very intriguing, but what I love the most about the film is that the producers told Kurosawa to make what ever he wanted, so whatever “Chime” turns out to be, it is going to be 100% Kiyoshi Kurosawa.


MICKEY 17

I have said this before but any film directed by Bong Joon-ho will always end up on my most anticipated list. The man is a phenomenal director who has still yet to make a bad film. Something I had forgotten until writing this list though is this is Bong's first film since “Parasite” took over the world and the Academy Awards back in 2019-20. The pressure on the man to try and replicate the success of “Parasite” must be huge, and yet I am sure he doesn't feel a thing, as he has always gone about his career making whatever he wants, and what feels right to him in the moment. As such I am sure that “Mickey 17” will both impress, and be nothing like he has made before. Here is how the imdb describes the film: “A return to speculative sci-fi fantasy for Bong Joon-ho, who went stratospheric with his Oscar-winning psychological satire Parasite. Adapted from the novel Mickey7 by Edward Ashton, this stars Robert Pattinson as an "expendable" - a disposable crew member on a space mission, selected for dangerous tasks because he can be renewed if his body dies, with his memories largely intact. With one regeneration, though, things go very wrong.” As it says above, Bong has cast Robert Pattinson as his lead (hey, that means my wife may actually watch this film with me!), with Mark Ruffalo, Toni Collette and Steven Yuen rounding out the cast. Darius Khondji is the cinematographer on “Mickey 17” re-uniting with the director after shooting his “Okja” back in 2017.


NOSFERATU

My most anticipated film of 2024 is none other than Robert Eggers' take on “Nosferatu”, a passion project for the director who has been talking about making this film from the very beginning when his debut film “The Witch” came out. This will be the third incarnation of the story and the previous two have both been mind-blowingly good, so Eggers has a lot to live up to. The original silent film is one of my all time favourite films; it is so good that you would think that no remake could possibly live up to it, and then Werner Herzog's 1979 film did just that. It is just as brilliant and just as terrifying as the original film, thanks in no small part to Klaus Kinski's portrayal of the Count. Will lightning strike three times with this new version of “Nosferatu”? I am not sure, but I would never bet against Robert Eggers as he is the type of director who will not stop until he gets exactly what he wants, and exactly as it was in the time period he is portraying. His attention to detail is second to none, so I am expecting to once again be blown away again by this new version of “Nosferatu”. It is a long wait though, as the film currently has a release date of Christmas Day. For those that do not know, the original “Nosferatu” was an unofficial adaptation of Bram Stoker's “Dracula”, however the Nosferatu movies seem to take on a darker, rougher edge of the classic vampire story, which makes it even more chilling. Eggers' cast consists of Lily-Rose Depp, Willem Dafoe, Nicholas Hoult, Emma Corrin, Aaron Taylor-Johnson and Bill Skarsgard in the role of the terrifying Count Orlok. I cannot wait!!




Well, that is it. My enormous round up of the year that was 2023 is finally over. Hopefully you enjoyed reading it and got something out of it, but how about we go back to watching some new films now?

 

2023 - IN REVIEW: TOP TWENTY FIVE BEST FILMS: #10 - 1

 

10. PRISCILLA

Sofia Coppola's films always seem like a breath of fresh air when compared to the majority of what is released into cinemas these days; her soft, feminine, quietly introspective examinations of whatever topic or story she is exploring, seem a far cry from the bombastic, loud, muscular cinema that is often the norm. Whilst I thought Coppola's previous film, “On The Rocks”, was one of her lesser achievements, she is back in top form with her bio-pic of Priscilla Presley, whilst showing a different side of Elvis and their whirlwind love affair. It is unashamably romantic in the opening half of the film, as Elvis woos an underage Priscilla. We are witness to a young girl falling in love, head over heels, with one of her idols who also happens to be one of the most famous people in America. In that sense, it is like a heightened first love story, as Priscilla gives herself fully to Elvis, while also finding it unbelievable that out of all the girls throwing themselves at him, he has chosen her. The first half of the film has an excited energy to it, that mirrors Priscilla's own excitement while falling in love. Coppola never shies away from the fact that Priscilla was very young when they first started dating, but counters this with a very respectful Elvis, who is a total gentleman with Priscilla, including always being upfront with her parents and asking their permission. It isn't until Elvis convinces Priscilla to move to America and live with him at Graceland, that the story takes a darker turn, with Priscilla realising that the fantasy of being with someone so famous, is completely different to the reality of it, as she often finds herself alone, bored and forever waiting for him to return. “Priscilla” is a delightful film that has been sumptuously made, and is stunning to look at. There is a beautiful softness to Coppola's visuals, thanks to the glorious production design which leans heavily on pastel colours and fabrics. The way Philippe Le Sourd's camera gracefully glides through Graceland, it exposes the wealth and beauty on display, but also how lonely a space it is when not populated by Elvis and his crew. In a way, Priscilla is trapped in a beautiful prison, unable to leave on the off chance that Elvis may return, or call and need her. While I think there is no doubt that there is true love between Elvis and Priscilla, Coppola's film seems to say that it was always on Elvis's terms; from what Priscilla did, to what she was allowed to wear, even her hair colour. Cailee Spaeny is wonderful in the title role which, like the film itself, relies on a quiet intensity. We watch her grow from an excited child to determined young woman, willing to give up on what on the outside looks like a fairy tale love story, for a life of her own, not one that is controlled by a man, even if that man is Elvis Presley. In regards to Elvis himself, I wasn't as big a fan of Jacob Elordi's performance as the King. I think he nails the voice, but lacks the charisma of the legend. He seems to disappear in a room, when he should always be big, front and centre. What is interesting and something that you would think would work against “Priscilla” is the lack of Elvis songs used, and yet you barely notice it. I think it actually works for the film, like Coppola is saying “I know Elvis is the King. I know you love him. But this is Priscilla's story, and I will not be falling back on his music to tell her story”, and Phoenix's score works so well within the story that you do not miss the Elvis songs.


9. DREAM SCENARIO

Nicolas Cage makes so many average films that we often forget just how great an actor he really is when he is committed and inspired by a project, and “Dream Scenario” is the latest film to open our eyes and remind us. Cage is so good in this film, playing just an everyday, normal (some would say boring) professor, but he is so real, natural and very, very funny. The story of “Dream Scenario” sees Cage playing a college professor, Paul Matthews. who ends up in a very weird phenomenon where random people start seeing him in their dreams. He never does anything in the dreams, but is always there just watching, but never interfering with whatever the person is dreaming about. As the days go on, the amount of people who dream about him grows until he becomes something of a celebrity with talk shows wanting to interview him, and marketing managers trying to hire him to advertise a number of products. For a man who is barely noticed in his real life, this sudden celebrity is both something of a shock for Paul, who is used to the quiet life, but also something he embraces as he is suddenly “cool” to both his students and kids at home. However when the dreams suddenly, and for no reason, turn into nightmares where Paul is attacking or killing the dreamer, his short lived celebrity is quickly and brutally torn apart by a ruthless cancel culture, upturning Paul's real life in the process. Director Kristoffer Borgli's “Dream Scenario” is a fantastic look at the dark side of celebrity, as well as a condemnation of cancel culture, particularly in regards to people who are affected when they have done nothing to deserve it. Borgli had a particularly great 2023 as his previous film, the Norwegian-language “Sick of Myself” (which also deals with celebrity too, but in a much different fashion), was released to English language territories and received quite well. I like both films a lot, but think “Dream Scenario” is the stronger of the two, mainly due to the fantastic performance from Nicolas Cage. In terms of other characters Cage has played in his career, his Paul Matthews is a close cousin to his Charlie Kaufman from “Adaptation”. We watch Cage as he suddenly has an aura about him when the light is shining bright on him, to then see him totally befuddled and devastated as he begins to lose it all, without doing anything to garner either response. Borgli's handling of the dream sequences are great too, with the early ones being surreal and odd, filled with that bizarre dream logic, whilst the nightmare scenes are truly like little, contained horror films; some creepy, some terrifying, and some very bloody. We are never given a reason for why Paul appears in everyone's dreams which I think is the right move because trying to explain it would ruin it as it would no doubt come across as silly. I have to point at that I love 95% of “Dream Scenario”, but the final ten minutes, when Borgli adds a completely new element to the film, just do not work and feel like they are from a different film entirely. What comes before it though is both brilliant, extremely funny, and very thought provoking.


8. THE HOLDOVERS

Paul Giamatti and director Alexander Payne once again have hit gold with “The Holdovers” , their first collaboration together since “Sideways” way back in 2004. This new film also sees Giamatti play a dull professor, but unlike the one Nicolas Cage plays in “Dream Scenario”, Giamatti's Paul Hunham is a cranky, sarcastic beast, who seems more intent on belittling his students when they fail, than take the time out to make sure they succeed. He is a solitary man, living alone on campus, where his work is essentially his life and vice versa. During the Christmas holidays, he draws the short straw of the teacher to stay back and take care of the kids who are unable to go home to their parents. Through a number of circumstances that then takes place, Paul is left with one boy, Angus, who along with the head-cook Mary, end up forming a little family together. By spending one on one time with the boy, this sees Paul cool in his snark as they both start to take an interest in each other and begin to realise that they have more in common than they first thought, and that there was more to the other than they initially assumed. Over the next two weeks, the three of them end up going on unsolicited adventures (written up as school excursions), in an attempt to make the most out of a bad situation, where Paul starts to come to terms with the failings of his past, and Angus learns he has more control over his future than he once thought. This is a fantastic film built around a truly brilliant script. There is a truthfulness that reigns supreme over “The Holdovers”, in terms of both the characters and situations they find themselves in. At times the film is both funny and poignant, with a whole lot of heart. Paul is such a wonderful character; hard to get along with at times, sure and with an intense love of academia, but he is genuine to a fault. He never sugar-coats anything, which can be a detrimental quality at times, but at least you always know that what he tells you is the truth. Giamatti gives 2023's second best performance by a male actor in his characterisation of Paul, and Da'Vine Joy Randolph is just as good as Mary. Actually I was blown away by Randolph who is devastatingly good as the mother of a boy recently killed in Vietnam; you can see the amount of pain she is in, but who refuses to let life beat her. She still believes that life is worth living even through the hardest times. While the film is set during the early 1970s, the film itself just screams “70's cinema”. From the aesthetics of that decade to the way the film has been shot, with the use of pans and zooms, it feels of that era, when we used to regularly get challenging and rewarding cinema that did not pander to the lowest common denominator. “The Holdovers” is a new Christmas classic and a throw-back to an era of cinema lost.


7. KILLERS OF THE FLOWER MOON

Arguably the best reviewed film of the year, Martin Scorsese's tale of the brutal and systematic murders of the Osage people by the local white community in an attempt to steal their oil out from under their feet, is one of the master director's very best films. Huge in scope, with a running time to match, “Killers of the Flower Moon” centres on a dumb and easy-to-manipulate man, Ernest, who arrives in town to find work with his uncle, William Hale. Working as a driver, Ernest soon meets Mollie, and the two start a love affair which ultimately ends up in marriage and children. However behind the scenes, Hale is working on trying to secure Mollie's family land into Ernest's name (so the wealth from the oil comes to them), by killing off her siblings one-by-one, sometimes with the direct help of Ernest himself. Everyone knows I am a huge Scorsese fan (he is one of my three favourite directors) and all of his films are like events to me, particularly now this late in his career. The man just understands cinema and how to get the best out of any story, and yet, there is something about “Killers of the Flower Moon” that also feels new to any Scorsese film before it. There is a sadness to the film, almost like an inevitability that the Osage will be wiped out, and the whites will suffer nothing for the murder and destruction they have caused. The violence is less celebrated here than usual, and more condemned. I do not know how to explain it properly, but at times it feels more like an apology or at least a document on questioning how this was able to happen. Scorsese has garnered three fantastic performances from Leonardo DiCaprio as Ernest, Robert DeNiro as William Hale, and Lily Gladstone as Mollie. I think the character of Ernest is a much more complex one than you initially think because he does truly love Mollie, but is also complicit in murdering her sisters, and yet he appears emotionally removed from those crimes because he sees himself as a good husband to Mollie. DeNiro is always at his best when working with Scorsese and it holds true again here, as he is magnificent portraying William as the snake he truly is. Charming and lovable when amongst the Osage, but behind closed doors, he is terrifying in his efficiency at executing his plans to steal their land via any means necessary. The heart and soul of the film though belongs to Gladstone and her portrayal of Mollie, the poor woman who loses so much during the story except the love and trust of her husband, which leads to even more devastating results. She has a moment when she lets out a blood chilling scream at the bottom of a staircase that will haunt you for days after. With a running time of close to four hours, the film feels half of that, with a narrative that is always moving so that you never find yourself bored for a second.


6. AFIRE

Once again Christian Petzold has shown to the world just how great a director he is with “Afire”. Right from the opening frame of the film, his direction felt effortless; like always, I felt like I was in the hands of a master filmmaker, as he is able to construct an involving social drama, that is also very funny at times, while having his film anchored with something that could be a death knell to a lesser director, and that is a very unsympathetic lead character. Leon is an utter douche bag; he is so self involved, so self-important, totally inept in social situations, while also being jealous of those who find these situations easier to be in then himself, and he is nowhere near the talented writer he thinks he is. Somehow Petzold actually gets you to care for the guy at the same time you are rolling your eyes at him. So often you just want to slap Leon and get him to wake up, get him to remove his head from his own arse, so he could notice exactly what was happening in front of him, and through all this, I still found myself caring for the douche and worrying about the things he was going through. No doubt, actor Thomas Schubert deserves a lot of the credit here in creating a performance that exposes Leon's insecurities and flaws as a person, but doesn't go too far over the edge where we hate the poor guy. It probably also helps that the majority of his scenes are played opposite Paula Beer, Petzold's current muse, who returns for her third consecutive film with the director. She is outstanding in her role as Nadja, so light, free and full of life, almost like the opposite of Leon. She lives in the moment, finding enjoyment wherever she can, but at the same time she is also a serious academic. The relationship between Nadja and Leon is very complex, and essentially the backbone of the film, as it is constantly evolving (and at times devolving), but at all times you can see that Nadja only wants to help Leon to become both a better writer and person, someone who can actually live in the moment. As I mentioned above, Beer is so naturalistic in her performance, that you cannot help but love her character. The film drifts, building very slowly, that you could almost be excused for thinking that the film is going nowhere, but which could not be further from the truth, as it all wraps up in the most brilliant ending that is particularly poignant due to everything that has come before it. Unlike most modern filmmakers, Petzold is fantastic at finding the perfect moment to end a film on and “Afire” has yet another brilliant ending, with the image of some hands being incredibly powerful. It is a sensational film filled with complex characters and relationships, but breaking it down to its base element, “Afire” is really about a man learning to live in the moment, not taking himself too seriously and take notice of what is in front of him, which if he begins to learn these lessons, will see him become a better writer and human being in general. “Afire” is another fantastic film from Christian Petzold, one of the best and most consistent directors working in world cinema today. Click here to read my original review.


5. MAY DECEMBER

While it is never stated in the film as such, the story of “May December” is based on the real-life case of Mary Kay Letourneau, who was a school teacher that was sent to prison for her part in the “romance” between her and a twelve year old boy, in Washington. Without going into too many details, the interesting thing about this case is that Letourneau, while in prison (or waiting to be imprisoned), gave birth to two children fathered by this boy. Further more, once Letourneau was released from jail after doing her time, Letourneau and Vili Fualaau (the boy, who now, was over the age of twenty) ended up marrying each other, living together as husband and wife. None of that is part of “May December” except in the background, as Haynes briefly addresses the scandal of his characters via a quick montage of newspaper articles and headlines detailing all of this, so we understand why a Hollywood actress would want to take the time to meet these people and then play them onscreen. As you can tell, all of this is very heavy stuff, so you would think that it would ultimately force Todd Haynes' film to be a serious drama to examine all of this, but the most surprising aspect of “May December”, and the biggest reason for why it is so great, is the gutsy, (and very deliberate) campy tone that Haynes gives to his film. I was not expecting “May December” to be a funny film at all, and yet at times it is hilarious! “May December” is filled with wonderful performances especially from the three lead characters. This is Julianne Moore's fifth time working with Todd Haynes and I always feel like magic is created when these two get together. Whilst I doubt that they could ever top their masterpiece, “Far from Heaven” (a rare five-star film for me), Moore once again creates a complex character with Gracie. She plays her as a woman who still feels she has nothing to apologise for, that she has done nothing wrong, nor is she embarrassed or ashamed of it, and yet we can see through interactions with both Joe and her own kids, just how manipulative she can be through her words and tone. It is interesting watching the power dynamics between her and Joe even now, as Gracie still stands over him like he is a little kid even though he is now a fully grown adult and much bigger in stature than her. Gracie is definitely the dominant party in this marriage and gets angry when she doesn't get her way, belittling Joe in the process. “May December” is Natalie Portman's film though, hands down. Granted, she has the most “showy” role in the film, but she does it so, so well. When she first enters Gracie's house to meet the family, she comes across as really down to earth and friendly, but as she asks more and more personal questions, particularly to Joe involving the psychological aspects of what happened, you can feel she isn't as genuine as she wants to come across. She keeps saying that she only wants to be true to the story, but her questions are loaded to the point that it feels like Elizabeth has already come to town with her own opinion on Gracie's story, so instead of actually listening to what both Gracie and Joe are saying, she keeps trying to steer the conversations towards the more controversial or salacious material of their story. The more and more Elizabeth tries to embody Gracie and get under her skin to understand her fully, the creepier Portman's performance gets, where by the end she goes to quite a dark and controversial place, all under the guise of capturing the “truth”. The other performance of note in “May December” is that of Charles Melton, who plays Joe. He is the most grounded and realistic of all the characters in the film, mainly because he seems to be the only one truly looking inside of himself, and trying to come to terms with exactly what happened to him and what he has lost because of it. I adored “May December”, and I got amusement out of a patron at MIFF describing the film to another as “the best and most Todd Haynes picture yet”. While I wouldn't go that far, I knew exactly what she meant, as the film feels like it could have only been made by this director. He is mining material and themes similar to that he has done before, but it never feels derivative of anything else he has made. It is a fantastically complex film, creepy at times and always uncomfortable, told in a deliberately campy style and filled to the brim with great performances. Click here to read my original review.



4. FALLEN LEAVES

My most anticipated film of 2023 was Aki Kaurismaki's “Fallen Leaves”, and boy, it did not disappoint me one little bit. I like the way the imdb describes the film so here it is: “In modern-day Helsinki, two lonely souls in search of love meet by chance in a karaoke bar. However, their path to happiness is beset by obstacles - from lost phone numbers to mistaken addresses, alcoholism, and a charming stray dog.” As you can see, the plot is simplicity itself, it is essentially a romantic comedy but it has all been done in Kaurismaki's trademark deadpan style. I absolutely fell in love with the film right from the onset. It was everything I wanted it to be, and so much more. It was one of those films where I knew I had a big, ridiculous smile on my face the whole time I was watching it. “Fallen Leaves” is the fourth film in his Proletariat Trilogy (which is so funny, and so Kaurismaki, to have a fourth part in a “trilogy”), and it fits nicely among these group of films, both in its quality of filmmaking and in its themes explored. Like always, Kaurismaki has teamed with cinematographer Timo Salminen, to give the film a rich, textured and lived-in look. Bursting with colour and fitted with retro-technology, as you would expect. Radios and televisions all look like they have come from the 1950's, and while surprisingly, mobile phones do make an appearance in “Fallen Leaves”, they are the older, text-only versions from the 90's, that the characters use. In fact, if it was not for the constant reports on the radio about Russia's invasion of the Ukraine, you could swear that the film was a period piece. Other Kaurismaki trademarks like smoke filled pubs, live musical bands, and dead-pan comedy, mixed in with tragedy, are all present in “Fallen Leaves”, so if you are a fan of the director, I cannot see anyone not loving this. The film has been put together expertly; brilliantly shot, and particularly, edited, however the genius of the film comes down to its simplicity. It is a small scale story, that packs an emotional punch. Too many films these days are so overstuffed, in what appears to be just to inflate their running time. The art of editing almost appears dead, in terms of trimming unnecessary fat from a film. “Fallen Leaves” has a running time of only 81 minutes, but every minute is worth it. “Fallen Leaves” sees the introduction of two new actors to Kaurismaki's world, with Alma Poysti and Jussi Vatanen playing Ansa and Holappa respectively, and both are outstanding. They fit seamlessly into Kaurismaki's Finland, as if they had been working with the director all of their lives. I do wonder how different it must feel for an actor to work in a Kaurismaki film, because he obviously demands the actor to deliver performances in the most stone-faced and dead-pan manner, with very limited dialogue, and yet still find a way to express emotions within these restrictions. Regardless of how hard they may have found it, both Poysti and Vatanen do a wonderful job in their roles. The film is so funny, because of the dead-pan nature in the way it is told and acted, and I found myself laughing out loud regularly, with the karaoke scene being a particular highlight. Aside from the comedy, “Fallen Leaves” actually tackles some serious issues with depth, particularly Holappa's alcoholism and the detrimental effect it is having on his work life, and relationships, and looking at why he depends on alcohol so much. The Russian invasion of the Ukraine is also highlighted regularly, with reports on how many people have died being a constant on the radio. It appears that as Aki Kaurismaki is getting older, he is getting a little softer, because his earlier films were all often quite downbeat; hilarious but downbeat. Whilst “Fallen Leaves” does take a turn towards the tragic that I was not expecting, it does also end on a note of optimism. There is a golden moment near the end (my absolute favourite cinema moment of 2023), where Asna smiles and winks, that melted my heart. It is so quick, maybe a second or less, and not something you would normally see in a Kaurismaki film, but the moment is so perfect here; I just loved it! Click here to read my original review.


3. SPIDER-MAN: ACROSS THE SPIDER-VERSE

The rare animated feature to wind up on one of my list, “Spider-Man: Across the Universe” wasn't even a film I was planning on seeing on the big screen, despite how much I enjoyed the previous film. Superhero films have gotten so bad in recent years, and I continually feel like I am watching the same thing over and over again, that I swore off watching any, and have stayed true to that. However, soon after this new film's release I received a very passionate text message from my brother (who is a massive fan of animation) telling me just how fantastic it was, calling it the movie of the year so far. On his recommendation I decided to see it in theatres and to see if he was right, which he was. At that time of the year, “Spider-Man: Across the Universe” was the best film of 2023. This film has everything; it is dramatic, action packed, very funny, and has so much heart! The animation is also to die for!! I have never seen anything like it, and part of that is because the art style regularly changes depending on which multi-verse the story is taking place in, with my absolute favourite being the Spider-Gwen world, as it had this water-colour painterly look to it. I know that I wont be able to explain this properly, but when Miles Morales ends up in the Spider-Man headquarters, the way the animation styles keep changing in shot/in scene is totally insane and must have taken forever to design and achieve, and as wild and crazy as it all looks, it just works perfectly in the film and for this story. The film sees Miles being taken through the multi-verse by the other Spider-People to Spider-Headquarters to explain to him that in each of their universes, some story lines are canon and must take place so the entire multi-verse does not implode. One of these things is having a loved one die, like Peter Parker does with Uncle Ben, and Gwen Stacy does with her father. For Miles, it is indeed meant to be his father that has to die, so in an attempt to let that happen in his universe, the other Spider-People try to distract Miles long enough so that his dad can be murdered by a new villain named Spot. When Miles works out what is going on, he attempts an escape determined to save both his dad and the multi-verse that will come crashing down if he succeeds. For an animated film, “Spider-Man: Across the Universe” has the very long running time of almost two and a half hours, but you never feel the time once. The movie moves at breakneck speed and is constantly in motion, that the whole thing goes by in a blink. There is just no way you could ever find yourself bored, as there is always something happening. Another thing that I really loved about this film is the voice cast, who give really genuine performances in their roles. Shameik Moore is outstanding as Miles Morales, giving the kid the right amount of spunk and energy, while imbuing him with a massive heart. Hailee Steinfeld is wonderful as Gwen Stacy, who understands what Miles is going through but has come to understand that what must happen must happen, so there is a world-weariness to her performance. Oscar Isaac is both brilliant and at times terrifying as Miguel O'Hara, the vampire Spider-Man and leader of the group; he is just so commanding and deserves your respect. Finally, Jason Schwartzman is hilarious as the pathetic villain Spot, who after being embarrassed by Spider-Man early in the film, develops his powers in such a way to become the biggest threat to Miles' world. I love that the filmmakers haven't gone down the road of using big name actors with easily identifiable voices, as personally I find that takes me out of the film when I recognise them. Here they give performances as good as if they themselves were on camera too. Everything just works with this film, including the fact that they had the very hard task of coming up with an ending to this film that feels complete, and not just the set up for the third film, as this is the middle part of a trilogy. Amazingly, the filmmakers have done just that by coming up with a very satisfying finale, and at the same time you just want to barrel into the third film to see what happens next. I absolutely loved “Spider-Man: Across the Spider-Verse”, and breathlessly look forward to the concluding chapter later in 2024.


2. THE KILLER

After the rather middling Citizen Kane drama, “Mank”, director David Fincher returns in a big way with “The Killer”, easily his best film since 1999's “Fight Club”. The film, which is based on a French comic book of the same title, is simplicity itself, as we are witness to an unnamed assassin tracking down other assassins from his own organisation, who were sent out to take care of him after he uncharacteristically failed a job. When these other killers are unable to locate our failed assassin, they rough up his girlfriend in an attempt to gather information on his whereabouts, which infuriates him and sets him out on a path of revenge, killing anyone in his way that had anything to do with the injuries inflicted on his girl. It is a simple revenge story, but told with so much style and class, as we are regularly in the killer's head throughout the film. It is all about the details and his personal mythos which he constantly recites in his mind, that has seen him so successful. In fact, the assassination attempt is the first he has ever failed, so what comes next is all new to him. The film is told in six chapters (and an epilogue), with the first chapter devoted to the assassination attempt itself. We watch as the assassin plans everything to the nth degree to ensure success, whilst also ensuring he isn't noticed. As I said, it is all about the tiniest details, that he thinks about and follows through with. I am a massive fan of Jean-Pierre Melville's “Le Samourai”, which is a 1967 French film starring Alain Delon as an assassin, who also succeeds due to his complete devotion to the little details. “The Killer” feels like a modern updating of “Le Samourai”, with today's technology, while never feeling derivative of the earlier film. I think the opening chapter of “The Killer” is just outstanding, as we watch the assassin prepare himself and his weapons for the hit. Taking his time, slowing his heart rate, stretching, making sure he is ready for that perfect moment to strike.......only for it to come undone by an unplanned person passing by as he takes the fatal shot. From that point on, it is all action, as he makes his escape and heads for home, only to be confronted by carnage when he returns, which then starts his revenge. Michael Fassbinder plays the unnamed titular killer, and as usual, he is outstanding. Interestingly since most of the film plays out on him when he is alone, he cannot fall back on dialogue to help his performance, rather he must give an internal performance, which also hides what he is really feeling on the inside. He must always look calm, when the opposite may be closer to the truth on the inside. Whilst I say there is little dialogue, that is true, but Fassbinder does narrate his thoughts right throughout the film, so we always now what he is feeling. His line readings are almost robotic, but again this is true of the assassin who has trained himself to follow his rules to the letter, that he in turn becomes like a robot himself. I do not want to say too much about the rest of the film because the fun is in discovering it all, but I loved the differences in the two meetings between the other assassins, with one being more cerebral, the other downright brutal. In fact the chapter titled “The Brute” is probably the greatest example of kinetic cinema that I saw in all of 2023. It is outstanding, and you feel every punch and kick that both men take. “The Killer” was made by Netflix, but thankfully had a small theatrical window, which gave me the chance to see it on the big screen, where it played wonderfully well. Of particular note was just how amazing the sound design of the film was. I have since re-watched the film on Netflix too and it holds up although I must admit I preferred my cinema screening of it. I said to my brother after watching it on Netflix, that it is the quickest two hours of any film from this year; it just flies by. I wholeheartedly recommend “The Killer” to all and sundry, as Fincher is back at what he does best; making uber-stylised crime thrillers. Oh, I also have to mention the opening titles too, which are actually rather quick, but show our assassin killing people in a number of different fashions. Great movie, with excellent re-watch value.


1. OPPENHEIMER

Here we are, finally. My favourite film of 2023 was none other than Christopher Nolan's sensational “Oppenheimer”; a film that dared to tell a compelling adult story with respect for its audience, which seems too few and far between these days. For those of you who are rolling your eyes at this reveal of top film, please note that I am not one of those on the Christopher Nolan bandwagon. While I have indeed seen all of his films, I do not worship him as a cinematic God, nor think he can do no wrong within the medium. This is proven when his previous film, “Tenet”, showed up on my “worst-of” list of that year, as I thought it was utter tripe. That said, he has made some excellent films before this such as “The Dark Knight”, “Inception” and “Memento”. I just take each film on its own merits, and “Oppenheimer” may arguably be his best film to date. It is just a fascinating story, told in the most wonderful way. The race to build an atom bomb in an attempt to win the war, and then the aftermath after creating a weapon with such power, and how the American government turned on its creator once the deed was done. I was riveted from start to finish of this nearly three hour film. Nolan does not tell Oppenheimer's story in a linear fashion, rather we gets snippets from different moments in his life that may pertain to what he is doing in the present at that time. While it may sound confusing, it never is because whilst these brief edits may seem erratic, they help illustrate the base story as a whole, which is still told in a linear format (if that makes sense). Cillian Murphy gives the best performance of the year as Oppenheimer; he is so intense in the role, not to mention all the weight he lost in attempt to create the man's well known silhouette. You can just tell that Murphy has given everything of himself for this role, and I have no doubt come Oscar time that he will be awarded with the “Best Actor” award for his performance here. But the film is littered with excellent performances throughout, and it was wonderful to see Robert Downey Jr. back doing real acting again because you forget just how great an actor he really is. The suspense that you feel throughout the whole of “Oppenheimer” is so full on, as it leads to the moment of the testing of the actual atom bomb, which is one of the film's best scenes. You can feel the tension; all that work, over so many months, boils down to this one moment......and it is exhilarating. Once the bomb has been created, and the war over, the film changes tact as at first we are witness to the brief celebrity Oppenheimer is awarded, to then almost immediately seeing him becoming irrelevant in the US military's eyes now that he has done what they needed from him. It then gets worse for Oppenheimer, as they attempt to go after the man by trying to portray him as a traitor to his country after being past friends with a communist. Personally, I think the building of the bomb the more exciting half of the film, but the government turning on Oppenheimer in the second half is arguably the more interesting, as it is material less mined and less known. It is during the interrogation of Oppenheimer that two moments happen, one fantastic, the other the film's only flaw. The former is Emily Blunt's big moment when she has her stand off with Jason Clarke's character and the disgraceful treatment of her husband by the government he gave up so much for to help. She is so strong in this moment, as she takes down the arrogant Clarke via a few clever answers to his questions. However, there is one of the worst sex scenes I have ever seen during this interrogation, and what I think is the only flaw in “Oppenheimer” and the only thing stopping me from giving the film five stars. While I know what Nolan is trying to do and say with this sex scene, it has been so badly designed and handled, that it just does not work and really should have been edited out, as he could have made the same point of Oppenheimer having all his dirty laundry hung out to dry in front of everyone, in a different, more subtle way. Other than that (terrible) moment, I think that “Oppenheimer” is a perfect film. Finally we get an adult story, told to us by a director who refuses to talk down to his audience. This is the type of cinema we need more of, and less of the superhero garbage. While I mentioned that I am not on the Nolan bandwagon, I have always appreciated “how” he tells his stories and his devotion to shooting his films on film, relying on in-camera effects compared to CGI effects. Shooting on film gives the movie such a rich look, which digital still cannot compete with, and your eye just knows when it is watching something tangible onscreen as opposed to something made in a computer. I am rambling now, so I will just saw succinctly: CHRISTOPHER NOLAN'S “OPPENHEIMER” WAS MY FAVOURITE FILM OF 2023.

 

 

Well there you have it, that was my  round-up of the year that was 2023; hopefully you got some enjoyment out of it. Now before I finish, lets have a brief look at the upcoming year and my most anticipated films of 2024.