Sunset Song: NZIFF Review

Sunset Song: NZIFF Review

Terence Davies' adaptation of Lewis Grassic Gibbon's 1932 novel about one woman's life in Scotland certainly looks the part.

Essentially a coming of age story, it's the tale of Agyness Deyn's Chris Guthrie, who toils under the yoke of an oppressive father (Peter Mullan) on their homestead. As time rolls on, Chris' life changes under the circumstances and in the distance, the rumblings of the First World War roll ever closer.

Sunset Song was a passion project for Davies (as evidenced by his introduction that he "made it with his heart, and I just ask you to watch it with yours") - and from the very yellow opening title card that fades into the corn of a field, it's fair to say the director's passion springs from the screen.

While focussing repeatedly on Deyn's face gazing wistfully into the distance (perhaps a little too often does he bathe her in light), Davies' careful framing, slow panning and scene building is clearly in evidence. His is a film that oozes class on the screen and that feels like a sublime telling of a tale he clearly holds true.

From the brutality of the father via beatings in the barn to the eventual drums of war being sounded, the film's desire to have its audience luxuriate in its trappings is obvious. And yet, with the narration of proceedings, and Deyn's graceful and committed performance, Sunset Song lacks a certain engagement within the audience. It commands your eyes and Davies' attention to detail pours from the screen.

In lighter moments, Chris' character comes through, and there's a playfulness with the language and it's delivered in a spry fashion. But this is a film that knows what it's doing and does so with relative ease of execution. The shine comes from some of the shots, as the familiar story plays on - Davies' lavishing of events with his directorial eye, coupled with Deyn's performance are the reasons to watch Sunset Song. It's a wistful piece that is perfect Saturday afternoon viewing of yesteryear, but at times, totally emotionless.

Perfect Strangers: NZIFF Review

Perfect Strangers: NZIFF Review

It’s no surprise that a drama’s finally hit on this concept.

And to be fair, the continuing woes over the middle classes in suburbia aren’t exactly original fodder either.

In Perfetti Sconosciuti by Paolo Genovese, there’s an eclipse coming and to celebrate a group of 7 friends are having dinner together. Wisely acknowledging that all phones disrupt any kind of social engagement, one of the hosts suggests everyone places their phone on the table and if they ring or texts / emails come through, it all gets shared with the party.

Goaded under the mantra that nobody has anything to hide, the group agrees – albeit reluctantly in some cases. However, unsurprisingly, secrets abound at this table as this social Russian roulette begins – with domestic dark clouds looming….

Genovese’s drama may be an unoriginal concept, but its execution and delicious premise are nothing short of slick and confident.

The cast of Italian favourites (mostly unknown on these shores) make each of their characters feel eminently likeable in the run up to the dinner party, and each of them has their own foibles waiting to be hoist upon the table. There’s a newly married couple barely to stop touching each other, a permanent bachelor friend who finally has a date, a couple who appears strained – these are all people who have something to lose (why they even agree to this madness is wisely never fully discussed).

As the inevitable twists begin to play out and the truth creeps closer to the surface in many relationships, Genovese’s adroitness with the camera and handling of the revelations is masterful and manipulative in equal measure.

Shocks and deep sudden intakes from the audience are inevitable – and at least one reveal surprises in its casualness, but there’s a lot of discomfort and wriggling around in seats to be elicited from this execution. While it’s to the ensemble’s strength that nobody feels on more morally higher ground than the other, equally none of them feel eminently dislikeable as events progress during the night (though one does feel it’s a little first world problems of the middle class at some points).

Unfortunately in the final run, it risks a reveal too far but it’s a testament to how engaging the cast are and perhaps how close this social experiment may cut to the bone with many that Perfetti  Sconosciuti is such a middle-class crowd-pleasing / what would you do resounding success.

Long Way North: NZIFF Review

Long Way North: NZIFF Review

Animation at the New Zealand International Film Festival is always a joy to behold.
And in director Remi Chaye’s latest, young minds and enquiring eyes get exposed to a female heroine.

It’s the story of teenager Sasha, a young Russian aristocrat, who dreams of the fate of her grandfather, an explorer whose last journey ruined the reputation of the family and who never returned. But Sasha’s never given up on him and restoring the family honour.

It’s with this in mind that she sets out on a journey of exploration that would make even our very own Sir Ed blush.

Stylised and hand-drawn in the vein of Secret of Kells, Long Way North’s narrative shortcomings at its denouement give way to some deeper story telling and ideals within. The film’s about honour in many ways, hope and defying expectations.

There are some narrative contrivances and certainly the end of the film feels slightly rushed and leaves you wondering what’s next. But the animation’s relatively straight too – with the angular faces of the men contrasting with the rounder more welcoming female faces in the mix. It’s a welcome relief to see something that doesn’t rely on CGI to make the point. But it’s rarely better than the opening shot where the young Sasha farewells her grandfather, her blonde tresses marking her out on the dock and signalling here is a heroine who defines convention.

There are plenty of adventurous moments, and a friendship between Sasha and a wolf that many young minds will latch on to – but perhaps more importantly, their exposure to a heroine who’s not content to simply be the trophy at her first coming out ball and who defies the men on the docks to pursue her belief is ultimately more important.

In fashioning these minds, Chaye never loses sight of the execution of the film (perhaps the pacy 81 min run time contributes to some of the slight and lesser feelings experienced) – and while scenes on the icy tundra may leave you shivering as the snow storms blow around the characters, there’s always the warming glow the story will leave the younger generation with.

Truman: NZIFF Review

Truman: NZIFF Review

Bathed in a laconic humanity and blessed with a universal veracity, the friendship bond explored in Truman is touching to say the least.

It's the story of Julian (Ricardo Darin) and Tomas (Javier Camara)- long time best friends and who live in different countries. At the start, Tomas leaves Canada to go see Julian in Spain because of his friend's terminal diagnosis.

With just 4 days, Tomas' arrival stirs some life in stage actor Julian, who's dealing with the diagnosis....

Whereas the desire with films of this ilk is to dwell on the maudlin and drown in the mawkish, Truman's 4 day trip feels more truthful in its execution and consequently more uplifting because of its honesty. There are layered performances from the personable leads here, and both add to the film's sense of dignity and class throughout.

As the catalyst for the reconnection of the two friends simmers, the light that one fires up in the other is easy to understand.

While Julian wonders what will become of his pooch, the titular Truman, and tries to get him adopted, his friend offers the kind of support and the sturdy shoulder to rely on that many of us would hope for in a similar situation.  

But as the tale plays out, the bond is evident and the general underplaying works wonders to engage with the duo. There's a playful dry humour running through but never at the expense of the protagonists or situation as it unfurls.

However, it's the empathy of the film and the natural low key performance of the actors within that proves to be the winning factor in Truman (even if Tomas' actions at the end make him a little reprehensible).

Truman offers a surprisingly successful low key buddy flick that resonates; it's a film that works the understated to great beneficial effect and its touching nature may stay with you long after the lights have gone up.

Under The Shadow: NZIFF Review

Under The Shadow: NZIFF Review

Tapping into both childhood fears and mining a rich social setting proves to be fertile ground in Babak Anvari's psychological terror Under the Shadow.

Set in the Iran /Iraq war and using the genre conventions of a haunted house /superstitious myth, it's the story of Shideh (Narges Rashidi) and daughter Dorsa (Avin Manshadi). Shideh has been fighting against the patriarchal society to get back to her studies as a doctor, but losing the fight, she's forced to take control of the household when her doctor husband is posted at a facility near the front line on military service.

But as the shadow of the war creeps closer to Shideh's Tehran apartment and the bombings come closer, she refuses to move out. And things get worse when her young daughter starts to believe they're being haunted by a Djinn....

As a first foray into the horror genre, writer / director Babak Anvari's Under The Shadow both simultaneously embraces the tropes of the genre and gives them a new spin, creating something that feels fresh and exciting. The slow burn of the set up allows you to really engage with Shideh's struggle, and then when Dorsa starts to feel threatened, the atmospherics are simply ramped up another notch. (Granted the idea of a kid under threat is perhaps where the film's creepiness really begins to kick in).

Anvari's embracing of autobiographical elements has clearly enhanced the look and feel of the film, but it's Rashidi as the feminist hero and first time child actor Manshadi who really propel proceedings into the stratosphere. Their interaction and the sneaking feeling that Shideh is losing it are nicely set up and in the initial part of the film the seesawing between who is right and who is wrong veers so clearly back and forth that you're never quite sure if the Djinn concept is anything other than in both of their heads.

Mining the rich vein of paranoia and foreboding with the war in the background and the shredding of nerves works wonders for the audience participation and engagement with Under The Shadow. 

This is not a CGI driven shock fest, but an introduction of a new take on the genre that feels fresh, exciting and could potentially have legs for others to take over; it feels like even by saying so little, the mythology is deeply set up in this film - and the ending offers up the potential for more. The fact its societal setting says much gives a disquiet and insight that adds much to proceedings.

Original, slow burning and psychologically deft, the unsettling Under the Shadow is a clever take on its genre and it's one not to be missed.

NZIFF Interview with Under The Shadow director Babak Anvari

NZIFF Interview with Under The Shadow director Babak Anvari

At the New Zealand International Film Festival, we're quite privileged to get some of the filmmakers here for introductions of their film.

One such director was Babak Anvari, the writer / director of Under The Shadow.

Babak took time after the film to have a brief chat with me about it and the reception it's had on the festival circuit ahead of its UK release.

Batman: The Killing Joke: Film Review

Batman: The Killing Joke: Film Review

Cast: Kevin Conroy, Tara Strong, Mark Hamill
Director: Sam Liu

"First off all, before the horror began, there was a time when capes and fighting crimes was really exciting."

So begins the 26th animated DC Universe film, an adaptation of one of the most praised iconic storylines in the series - the origins of the Joker, from a 1988 graphic novel by Alan Moore and Brian Bolland.

However, Batman: The Killing Joke is predominantly the story of Barbara Gordon's Batgirl (narrated brilliantly by Tara Strong) and her relationship with Batman.

The film starts out with more of a background to Batgirl, her abusive relationship with the Bat (he's emotionally cold and distant from her) and her quest to take down a criminal from the Mob who's obsessed with her.

But then, Batman: The Killing Joke segues into the original graphic novel and what you'd expect from the film - lifting panels from the page and transposing the iconic imagery created by 2000AD supremo Brian Bolland.

Vocally, the film's sound with Conroy and Hamill giving their usual all to Batman and Joker respectively. And Strong's particularly, er, strong with her Barbara Gordon - even if creatively the filmmakers appear to turn this Batgirl into someone who is fawning a little over the non-availability of the Batman.

It's an odd choice and along with a controversial sex scene (yep, you heard that right), the Killing Joke appears to have dangerous things to say about the portrayal of Batgirl and women in general. While it's understandable there's plenty of online commentary on Batman's behaviour after his controlling instincts kick in and he ignores after the Bat-booty call, the film's handling of Batgirl in the aftermath is weak.

And given the backstory is supposed to give some drive to Batman's desire to punish Joker for Gordon's paralysis, it's odd to note that the original novel lent more weight to that side of the story by making Joker's inherent cruelty seem more random and therefore nastier because of its cold-blooded nature. As with the novel, there are hints that she suffers a sexual assault as well which seem to be backed up in the film.

Perhaps that's some of Batman: The Killing Joke's strength - it faithfully adapts the novel in a way that enhances the original and embraces some of Bolland's original artwork.

But potentially, a lot of the back half of the film is weaker anyway, with the set-up being the more interesting elements of Batman: The Killing Joke; as with most comic books, denouements tend less to hold water and flounder in the face of such story-telling odds. Flashbacks weave into an origins story for the Joker as per the original, and Hamill engenders his Joker with the definitive touches.

All in all, even with the controversial elements and an ending that is up for discussion after these two yin and yang nemeses share a joke, the over-riding feeling with Batman: The Killing Joke is that it's an animated tale that is more Batgirl's story.

Whether that's a good thing, or whether the joke's on the audience, time will perhaps tell.