THERE IS NO EVIL

 

 Anyone who has followed this blog on a regular basis would know that I have a real love for Iranian films, with them often ranking high in my top twenty lists of any year. Whilst I no doubt have my favourite directors from the country in Jafar Panahi and Asghar Farhadi, it normally doesn't matter who directs the films as Iran seems to have a wealth of cinematic talent and for some reason, I just connect to the stories these filmmakers tell. However, one director that I did initially struggle with was Mohammad Rasoulof. Whilst I did like the films he made, none of them ever blew me away or destroyed me emotionally. That is until 2017's “A Man of Integrity”; this was an amazing film that I loved every minute of and that ranked as my second favourite film that I saw of all of that year. Since then I have been waiting with bated breath for Rasoulof's next feature, which has now come in the critically acclaimed “There Is No Evil”.

Rasoulof's latest film is (as per the imdb synopsis) told in “...four stories that are variations on the crucial themes of moral strength and the death penalty that ask to what extent individual freedom can be expressed under a despotic regime and its seemingly inescapable threats.” It certainly sounds like a fun time at the movies, right? But as depressing and as heavy as that plot synopsis sounds, I am happy to say that it is such a beautiful and beautifully sad film to watch, and at even the extended length of two and a half hours, it just flies by in what feels like half of that time. Rasoulof is no doubt a political director, with his film's often very critical of the current regime in Iran and the social injustices that are presented to the people living in that country. Here he is looking at the effects an enforced military stay has on the young men of Iran particularly in regards to being part of executions resulting from the death penalty, and how these men's lives are turned upside down regardless of whether they do the horrific things there are told to do without question, or if they fight against said atrocities. Rasoulof appears to believe that the men are in a no-win situation and often come back as broken souls regardless.

In preparation of this review, I went back and re-read my reviews of “Good Bye” and “Manuscripts Don't Burn”, both previous films from director Mohammad Rasoulof, and in both reviews I complained about how he hammered home his political points in such an unsubtle way that it ultimately turned me off from the film. That has been totally reversed in his last two films, as he is now more concerned with his characters, their lives and portraying them in an honest fashion, while his political points have now been beautifully layered into the narrative. This change in his style has made his films much more engaging (for me at least), and thus the political points he is trying to make are easier to digest as they are explored via character dynamics rather than just being the whole point of the film.

As mentioned above, “There Is No Evil” is told via four vignettes, each dealing with the death penalty in some form or another and how this effects the characters of each story. The first chapter is about a normal middle aged family man. We watch him go about his day doing the most mundane and normal tasks possible such as picking his daughter up from school, going to the bank with his wife, doing the grocery shopping with the family, visiting his elderly mother to help around her house, eating pizza together in a food court, helping in the colouring of his wife's hair, etc. Rasoulof goes to great lengths to explore the tiny details of the mundane, in an attempt to show that this is a normal everyday man. There is nothing special about him or the things he does, but he is a good family man getting by in life. At times, this segment feels like it has little or no point, but it has the most jaw dropping finale that hits likes an giant exclamation mark! I will not ruin the moment, but my mouth was agape and I sat there in stunned silence, in this perfectly executed ending. From this point, I knew that I was in for something special with “There Is No Evil” and that I was going to love this film and be totally moved and broken by it. I also must mention that there is a brilliant scene set at a traffic light, that at the time is very confusing, but once the segment is finished, makes perfect sense and gives the moment an added level of depth.

Rasoulof then has the hard task of following this scene immediately with the beginning of a new storyline with different characters for the second vignette, and while initially you are still in shock from the ending of the previous story, Rasoulof quickly gets you focused on the men in front of you and the dilemma they are facing. Because this film is so great, with each segment quite different from the one that came before it (whilst also still being just as powerful), I do not want to go through each one in fine detail and ruin the film's experience. However I will state that the following two segments deal with the ramifications of the choices two men make in regards to either being part of performing an execution or fighting against it. Both segments are completely different from one another with one being super suspenseful, with an immediacy attached to it that makes it totally compelling to watch, almost like an action film, whilst the other is a beautiful and lyrical story that moves quietly before slowly unravelling. Both men make their choices due to their own personal beliefs and what they believe will improve their lives for the long run, but it is no spoiler to say, both end in tragic circumstances.

The fourth story is potentially the most heartbreaking as it is about an older man, trying to connect with his grown daughter before he dies, however, the girl is unaware that this man is her actual father and that the man she has called father her entire life (whilst living abroad) is actually her uncle. There is a lot of pain and hurt in this segment, which is all the more tragic when the truth of everything is finally revealed. Rasoulof's own daughter, Baran, plays the daughter here in her acting debut. Whilst I am not 100% sure on this (particularly because the characters have different names), this segment might possibly be directly connected to another, and if not, the earlier segment is definitely helpful in explaining elements of this last segment.

From a behind the scenes point of view, “There Is No Evil” has been put together brilliantly and so professionally. The cinematography by Ashkan Ashkani (who has worked with Rasoulof since 2013's “Manuscripts Don't Burn”) is a sight to behold. It is stunningly beautiful, particularly in the final two segments which take place outside of the hustle and bustle of Tehran and in the forests and desert of Iran. From the rain soaked greenery of the forests to the sun drenched vistas of the desert; these are not the usual locations seen in Iranian films and give a new outlook to outsiders of the landscapes of this country. Ashkani works wonders in these big open spaces, but he is equally good when cramped inside a prison drenched in darkness and shadows, filling the space with tension and angst. Another element I loved, and one I rarely focus on in Iranian films, was the music by Amir Molookpour. With each vignette having a different tone, Molookpour's music helps establish this tone and enhances the emotion resonance of certain scenes. It is not wall to wall music, being used only when necessary but it really stood out, not in a show-offy way either, but in just how well the music complimented the images onscreen. As I have alluded to above, Mohammad Rasoulof's direction is superb, and I love the fact that he has become less heavy handed with his political points. His films are now so much richer with these elements pushed more into background and as subtext, and with him focusing more on his characters and their plight.

So are there any negatives to “There Is No Evil”? Not really. I will admit that there were one or two performances that were not the best, but when everything around it is so great, it is much better to focus on these positives rather than some small negative.

“There Is No Evil” is such a fantastic movie from Mohammad Rasoulof and was the deserved winner of the Golden Lion at this year's Berlin Film Festival. It is a film that tackles the tough subject of the death penalty and the tragic consequences an individual faces when forced to participate (or react against) in an execution as part of their mandated military time, but is told in such a beautiful and humanistic manner that what appears to be a heavy topic, becomes easy to ingest, despite how tragic the circumstances turn out to be. I loved this film so much, despite how beautifully sad it all is, and I look forward to watching it again soon.

4.5 Stars.

 

TO THE ENDS OF THE EARTH

“To the Ends of the Earth” is Japanese director Kiyoshi Kurosawa's latest film and his first pure drama since 2008's “Tokyo Sonata”. Without genre troupes to fall back on, Kurosawa does a lovely job of portraying a young woman's story as she goes through self discovery and has her eyes opened to another culture, whilst reporting on the country for a famous Japanese travel program for television.

Yoko is a reporter for a Japanese variety show, and her latest assignment sees her in the middle of Uzbekistan, which is situated in central Asia. While reporting on the local amusement park, lakes said to contain mythical fish, and small roadside cafes, Yoko finds herself going through a personal crisis as she becomes more aware of the fact that she is getting further and further away from her dream to become a singer. Away from the cameras of the show, Yoko explores the local landscape with more meaning and without the distractions of home, starts to pinpoint exactly what she wants out of life, all while becoming more familiar and accepting of a culture far different from her own.

Despite the fact that “To the Ends of the Earth” was not a genre exercise for Kiyoshi Kurosawa, I was still greatly looking forward to it. The rather brief trailer for the film really caught my attention, though I cannot say why exactly, and the fact that it was set in Uzbekistan, a country that until now I knew nothing about, I had the feeling that this film was going to, at the very least, be interesting. Thankfully, it didn't disappoint and I really enjoyed “To the Ends of the Earth” a great deal. It is quite unlike anything Kurosawa has done before and yet, it felt like a Kurosawa film through and through. The genesis behind this project was to create a film to commemorate the 25th anniversary of diplomatic relations between Japan and Uzbekistan, as well as the 70th anniversary of the Navoi Theater in Tashkent, Uzbekistan, which was constructed by Japanese prisoners of war after World War II. Kurosawa was commissioned to write and direct the film, and personally I think he has done a wonderful job of telling an actual story, placing it within Uzbekistan, without making the whole thing a boring travelogue of the country.

There are a number of fantastic little touches and observations about travelling that Kurosawa makes within this film. One aspect I loved very early on was the feeling of anxiety one can feel when travelling, especially to a country whose language is different from your own. The stress of trying to communicate to someone, the irrational fear when someone attempts to talk to you and you do not understand, trying to master the local currency and public transport, the feeling that everyone is looking at you because you are different, even something as simple as crossing the road in a new place; Kiyoshi Kurosawa expertly captures these feelings and at least for me, this is the best example on film that I can remember of this anxiety being portrayed. Kurosawa is assisted wonderfully well by his leading actress Atsuko Maeda, who plays Yoko, and gets across these emotions perfectly. I could feel everything she was going through and relate from my own past experiences travelling. I could feel her angst and tension, especially early on. Another aspect I loved was the difference between Yoko when she is onscreen as opposed to off of it. When filming, Yoko has that over the top exuberance and super bubbly personality that seems to be the norm of Japanese television, however once the cameras are turned off she is just like the rest of us; prone to feeling down and being totally unsure of herself. In essence, she is playing a character when presenting the wonders and joys of Uzbekistan. Also, it is interesting that she is treated less like a person and more like a prop by the behind the scenes crew of the television show. What she feels or wants is given little thought by her crew, which further adds to the alienation she feels in this strange new world.

However it is because of this lack of connection to her crew members that she heads out into the streets of Uzbekistan and experiences the “real” life and culture there. The lakes, amusement park and food stalls she visits during production of her show are all well and good, but do not really express what the country and its people are like properly. I guess you could say that Kurosawa is taking a swipe at the shallowness of these travel shows and what they portray on them. While I would not say that Yoko delves into the culture with any extreme depth, at least she experiences things there for herself, even if these things scare her or do not initially make sense to her. It is fair to say that by the end of the film, her eyes have been opened wider to a culture outside of her own, even if she does not fully understand it. She learns to except that while things may not make sense within her own thoughts and beliefs, these same things can mean a whole lot more to the locals, which is expressed in the scenes with the goat.

My favourite scene of the film is the one that, unsurprisingly, takes place in the Navoi Theater. It is a scene unlike any other within the film as it has a dreamlike ambience to it, as Yoko almost instinctively finds her way there, where she then fantasises about singing in the theatre with the large orchestra backing her. It is a beautiful scene, and it is where Yoko has the full realisation that she does indeed want to still become a singer, and you get the feeling she is going to chase that dream with more conviction once she gets back home to Japan. I mentioned earlier that thankfully the film wasn't just a travelogue of Uzbekistan, showing all the “beautiful” places of the country. I guess it was inevitable for a film that was made to celebrate said theatre, that it would show up in the film, but I really liked the way Kurosawa included it within the film. I also like when it was brought up by the crew's translator to shoot a segment of the show there, it was shot down by the director for not being something the audience would find interesting (which is just ridiculous). This just after we hear the heartwarming story from the Uzbek translator on how he was inspired by the story behind the making of the theatre to dedicate his life in helping the Japanese.

I was really impressed with Kiyoshi Kurosawa's direction within “To the Ends of the Earth” and really felt he was at the peak of his powers here. Together with his regular cinematographer Akiko Ashizawa, they create a much different look than is usual for the pair, focusing on brightly lit open spaces and landscapes, and the very colourful textures within the markets and bazaars. I thought the use of the colour orange was bold and worked wonderfully well, and gave the film a unique feeling to it, and suited the landscapes perfectly. Little subtle moments of lighting change that occur almost subliminally, happen quite regularly within the film too to indicate a shift in either time or mood and this is another element that I thought was very well handled. The casting of Atsuko Maeda in the lead role of Yoko was perfect. This is Maeda's third film for Kurosawa after “Seventh Code” and “Before We Vanish”, but I have to say that this is her best outing so far with the director. Not only is she in almost every scene in the film, but she also gets to display a huge range of emotions and moods throughout the story and does so effortlessly. She also gets to sing in two scenes of the film where her character really lights up and comes alive. The rest of the cast doesn't have as much to do, but all are quite good in their roles. Shota Sometani, (in a role much smaller than I am used to seeing him in), plays the somewhat disinterested director of the show, Ryo Kase is excellent as the show's cameraman, and Uzbek actor Adiz Rajabov is the surprise standout playing the group's translator.

Overall, I was really quite impressed with “To the Ends of the Earth” which ends up being something of a character study of Yoko, and the way her eyes open to a new culture whilst at the same time growing within herself. While different than anything Kiyoshi Kurosawa has made previous, what remains the same is his great direction and expertise behind the camera. I have the feeling that “To the Ends of the Earth” will be one of those films that ends up being under-seen, but if you do get the chance to see it, please do not hesitate to do so; you will not be disappointed. I now must patiently look forward to Kurosawa's next film, the period set suspense thriller “Wife of a Spy”.

3.5 Stars.

A HIDDEN LIFE

“A Hidden Life” sees director Terrence Malick return to a more narrative based feature after a collection of “stream of consciousness” movies that he began with his masterpiece “Tree of Life” back in 2011. While I have enjoyed these four films with differing results, after “Song to Song”, it felt like Malick had gone just about as far as he could with this style of filmmaking, so I was very pleased when it was announced that his next film, then titled “Radegund”, would see him return to a more plot heavy film.

This new film is based on historical events that occurred during World War II in St. Radegund, Austria. It is the incredible story of Franz Jägerstätter, a simple farmer, who when called up to fight in the war, refused to fight for the Nazis nor pledge allegiance to Hitler. His refusal cost both him and his family dearly, but Jägerstätter's will could not be broken, even if his body was. This simple act of resistance sees Franz jailed and regularly tortured, whilst at home his wife Fani and their two children are treated like pariahs in their local village.

While it is true that “A Hidden Life” sees Terrence Malick tackle a linear narrative for the first time in awhile, it is still presented in the mould of his post-”Tree of Life” films, so if you were not a fan of these recent films, it is fair to say that you will not have your opinion swayed here. The film is filled with stunning imagery, his floating camera constantly on the move, while hushed voice-overs explain the feelings of the people involved in their current situation. Personally, I found the subject of the film very interesting because I have always wondered how Hitler was able to get everyone to follow his will and why no one ever stood up and said “No, this isn't right”. The obvious answer is “fear” and this is shown in the film as we see what happens when Franz Jägerstätter stands up for what he believes in, and what it ultimately costs him. While Malick regularly compares Franz's sacrifice with that of Jesus, he doesn't treat his act of resistance as heroic, mainly due to what this act costs his family. Is staying true to your beliefs worthy of sacrificing your family's happiness or is this just an act of stubbornness on your behalf? There is a scene towards the end that I found very interesting when the Nazi's give Franz an out by offering him a medical position in a hospital rather than fighting. Franz questions if he still would have to pledge allegiance to Hitler and when he is told “yes” he once again refuses. His lawyers try to explain that this is madness and that God does not care what you “say” if your heart is true, but Franz still refuses. It is this moment that I myself questioned his actions as he essentially turns his back on his wife and children for his beliefs. It should be said though that Fani, his wife, stands by Franz's decision until the end.

Speaking of Fani, for me, her character is the heart of “A Hidden Life” and the true hero of the story. Yes, it is Franz's story and he goes through immense hardship, but it is brought on by his own actions whereas for Fani, she is abused and ignored by the townsfolk over something that she herself cannot control. Malick does an excellent job of presenting scenes of Fani attempting to keep the farm running, with no help other than from her sister, while bringing up her two children and shielding them from the truth of the situation. Valerie Pachner is excellent in this role and gives the strongest and most memorable performance within the film. I also loved the early scenes with her and Franz during happier times. Pachner and August Diehl, who plays Franz, have fantastic chemistry together and you really feel the love and strong connection between the two of them. Also the scenes with Franz playing with his girls are just adorable, which does add a weight to the decision he makes later in the film, and just how much it meant to him because you can see how much he loves his kids.

When “A Hidden Life” was first announced, it was stated that Malick was going to shoot the film in German, which I applauded. However this idea was ultimately scrapped, sort of, by the time the shooting of the film began. I say “sort of” because the way Malick has tackled the language issue is to have everyone speak in unsubtitled German, to create a sense of realism of the area and situation, but if it is something that we, the audience, need to hear and understand, these lines are spoken in English. Whilst it sounds a little confusing on paper, it makes perfect sense during the film, and for the most part is a success. I must admit that some of the German actors, such as Franz Rogowski, seemed to struggle a little with their English lines but in regards to the main characters, this experiment works well. All of the voice over narration is in English, and are actually based on the real letters Franz and Fani sent to one another during this time while apart.

One thing you notice while watching “A Hidden Life” is that it looks and feels like it is a Terrence Malick film. That is to be expected so why am I making a big deal about it? The reason why is because this is the first time in a long time that he is not working with his key creative team behind the scenes. This is the first time in his entire career that Jack Fisk has not served as production designer on one of his films, and for the first time since they started working together on “The New World”, Jacqueline West is not the costume designer. Not only that but Emmanuel Lubezki is not the cinematographer on “A Hidden Life” either, who had been working in that capacity with Malick since “The New World”. His camerawork and natural lighting style had become synonymous with the films of Terrence Malick that you almost didn't know where Lubezki ended and Malick began. With this new film, it is obvious just how in control Malick is of his images within his films because he is working with a new cinematographer, Jorge Widmar, on “A Hidden Life” and yet the images are quintessentially those from Terrence Malick. He just sees the world with different eyes and sees beauty in the usually mundane. This film is no different, as it is a visual feast for the eyes, although I must admit I do wish that not every scene was shot with a wide angled lens.

While there is a lot to like about “A Hidden Life”, the film does have its fair share of problems, with the main one being its extended running time. At seven minutes shy of three hours, this is Malick's longest film to date, and unfortunately it feels bloated. I believe that with some extended trimming, that “A Hidden Life” could be a much stronger film as the story doesn't necessitate such a large running time. The opening hour of life on the farm is sublime; I loved every second of it, but it is during the second hour where we are witness to Franz being repeatedly pushed around that mental fatigue starts to set in and you begin to fidget and look at your watch. The repetitive nature of Franz's ordeal begins to tire on the audience, and there is only so many times you can watch the poor man go through the same thing before it loses its impact. The film does come good in the third hour though as questions are raised about free will, faith and the worth of Franz's rebellion. I briefly mentioned the wide angled lens above, and while yes the images are beautiful in this film, I felt this lens let Malick down during the scenes where Franz was incarcerated. His cell looked massive like he had the living space of a five star hotel, and it wasn't until we got an overhead shot of it, that we see just how cramped Franz's living conditions really are. My other big problem with this film is that you never really “feel” the war. I understand that this is not a World War II story per se but rather a story of one man during a time of war, standing up for what he believes in, but personally I felt that you needed to feel the power of the actual war that Franz was protesting against. I am sure that budget constraints play a part in this, as we sometimes hear planes flying overhead but never see them, and the war is represented, in a way, via archive footage edited into the feature, but for me, it just isn't enough. You do not feel the danger, the immediacy nor the approaching touch of this war.

Overall, there is a lot to like about “A Hidden Life” although it is far from perfect. As usual for a Terrence Malick film the visuals are just stunning, but the overinflated running time do take their toll on the viewer. It was fantastic to see this great director tackle a linear narrative again, but I would be lying if I didn't want him to take one extra step back and make another film in the style of his first three films. The film poses an interesting question to Franz's ideal which is that it is “better to suffer injustice than to do it”, but does this still stand true if your loved ones also have to suffer because of it? As usual, I look forward to the next film from Terrence Malick which he has already finished filming (it is titled “The Last Planet” and is the re-telling of several episodes in the life of Christ), but I hope that the post production schedule isn't as long as the three years it took to finish “A Hidden Life”.

3.5 Stars.