Relic: NZIFF Review

Japanese Australian director Natalie Erika James' generational horror arrives at the festival with plaudits ringing in its ears.

Praised for being female-led and for being disturbing, the film's the story of Emily Mortimer's Kay who discovers her mother is missing. Suspected dementia adds a layer of tension to the story as Kay and her daughter (Bella Heathcote) investigate - but when mum returns home, it soon transpires something else has come with her...

Slow-burning and somewhat akin to the rather marvellous The Babadook, this is a horror that leaves an impression long after it's ended.

Twisting shots inside the film's location add to the atmospherics and James' eye for the slow clever use of shots add much to Relic.

It begins with what looks like a flashing red light that transpires to be a Christmas light, and ends with something that's led to much debate - in between snapshots of moments mix with jump scares and the psychological tricks played on the mind's eye.

Murky rotting walls give the film a sense of the creeping dread, but Mortimer and Heathcote do much to keep the film's humanity alive as the talk of the demon and its reality builds.

A taut 90 minute run time helps greatly as well, without any of Relic feeling like bloat as the unease adds up to something that may trouble some more than others. Granted, the reveals are less about unleashing cheap thrills, more planting the seed of an idea into the viewer's mind and watching it unfold.

Relic is a film blessed with as much intrigue as it has smarts. It will take up residence in your mind as it delivers on its promise.

Tench: NZIFF Review

Patrice Toye's sensitively handled portrait of a young paedophile returning to society has much in common with Paul Schrader's First Reformed.

23 year old Jonathan (a fearless Tijmen Govaerts) has just returned to his home, having been released from prison and into the care of his mother. Apparently acquitted, Jonathan is trying to integrate back into life - when temptation literally moves in next door in the form of a young girl, Bes.

Faced with temptation, Jonathan finds himself at a crossroads, and dangling between what he knows is right and wrong.

Like First Reformed, Tench deals with the notion of temptation and societal ills, but also delves deep into the psychology of what the struggle is for those caught up in the worst of society's criminals and perceptions.

Stunningly empathetic, but not overtly so, Tench aims to open up a conversation around paedophilia. For this, it's confrontational in some ways, but it's also carefully constructed and all the more troubling for it.

As mentioned Govaerts delivers a tortured and fearless performance with the conflict rippling through every frame that Toye puts on the screen. Muidhond asks much of Govaerts, and it's a tough film that places you squarely in the place of the paedophile, but Toye carefully pieces together a nuanced film that is as thought-provoking as it is troubling.

Tench is nowhere near as confrontational as it could - or indeed should - be. The film is more about what could happen - scenes like when Jonathan is tasked with placing a plaster on Bes' knee ripple with uncertainties over what may transpire, and Toye gently leads the audience to a darker place and perception, rather than painting every moment on screen.

Not once does the film ever walk the guilt away, or absolve its protagonist of its pain and paint things in a perfect light.

For that, Tench makes a discomforting watch, and poses a lot of questions, rather than preaching the answers. Granted, the subject matter won't be for everyone, however, thanks to Toye's sensitive framing and Govaerts' ferocious turn, Tench makes for compelling, if uneasy, viewing.

Driveways: NZIFF Review

Driveways is one of the New Zealand International Film Festival's unmissable films.

The achingly intimate small-scale story from director Andrew Ahn concerns a young Asian boy's friendship with his elderly neighbour, played by Brian Dennehy.

It may be one of Dennehy's last roles, but that sentiment is not the reason to adore Driveways.

It's the story of 8 year old Cody (Lucas Jaye) who's dragged to a new town with his mum Kathy (Hong Chau) after she has to clear out her dead sister's home.

Next door is former Korea war vet Del (Dennehy), a grouchy and widowed old man. Grudgingly, and out of circumstance, Del ends up being part of their lives, and Cody forms an unexpected bond with him.

Sweet, innocent and profoundly moving even though nothing really happens, Driveways is a timeless film of connection that doesn't rely on cheap narrative tricks or reveals to detonate an emotional timebomb in its final frames.

Both Dennehy and Jaye underplay their roles massively, with the script offering them moments of visual nuances rather than verbal subtlety. It's the kind of film where a look says more than anything, and it's one whose final frame will utterly destroy you.

Driveways is a gentle easy watch, made stronger by Chau, Dennehy and Jaye, who cement the growing bond between the two families.  That's not to dismiss it - in fact, it's the opposite as this is where the film's power lies. There are simplicities to the relationships formed by children and there are also complexities in how the script slowly reveals what's under the surface.

Every frame drips with sincerity and heart, and it's this veracity that makes Driveways a powerfully understated film, one that's packed with a bittersweet final feeling.

Just 6.5: NZIFF Review

As searing a drama as last year's Les Miserables was, this Iranian cop drama focuses on the war against drugs in Iran.

Masterfully put together by its director and screenplay writer, Saeed Roustayi, this is a visceral thriller

that commands every frame as it unspools. 

Opening with a chase that ends in the most unexpected way, and ending the film in a most unexpected way as well proves to be fortuitous for the viewer of Just 6.5.

Samad and his colleagues are trying to stem the tide of drug use within their country and on their beat, when they get a lead on the kingpin they believe is flooding the market - Nasser Khakzad. Initially appearing as a Keyser Soze character (everyone's spoken to him, no one has met him), an unexpected lead takes the cops to their suspect.

But from there, nothing is as straightforward as it seems as a chain of events is set in motion.

Just 6.5 has a way of sideswiping you as it plays out - and certainly by the final frames, you'll be unsure where your allegiances lie.

A Separation's Peyman Maadi is a thrilling lead, all anger and determination as he fights bureaucracy as well as internal wranglings to get to the conclusion he needs. At the core of the character, Samad is facing domestic upheaval, but Roustayi never veers away from the criminal chase to soapify things with homestead woes.

It's a wise move; and while some of Just 6.5 suffers from an extended bloat, there's more than enough here to suggest a Netflix series could be fashioned from its trappings.

It helps that it has a charismatic villain in Khakzad, butting heads against the stony-faced cop - every scene drips with suspense and dangles uncertainty in the viewer's face.

However, when Just 6.5 pauses and presents the reality of what drugs are doing to its populace, the film wields its power. A bust sequence within a series of pipes and crackpipes is haunting more than thrilling - addicts emerge from the pipes like zombified rats fighting for their lives; it's viscerally gripping stuff that never really lets up.

And in the final moments, the pendulum swings viciously, leaving the audience unsettled by its conclusion.

Compelling, thrilling and magnetic, Just 6.5 is an essential viewing experience.

Jumbo director Zoe Wittock - New Zealand International Film Festival 2020 Q&A

New Zealand International Film Festival Q&A 2020: Zoe Wittock, Jumbo

Your Name

Zoé Wittock

Title of your film

JUMBO

Tell us about your 2020

2020 has literally been the biggest roller coaster ride I’ve ever taken ! My film, Jumbo, started its festival run with the Sundance Film Festival in January and went on to the Berlinale which just as exciting! What a dream, I thought, as I was waiting for the film’s French release in March 2020… Which, of course, never came as Covid-19 got the best of the whole wide world.  And we’re only halfway through the year… Can you imagine?! 2020 is about uncertainty, I think. So I’m trying to just roll with the punches and make the most of them as I keep developing new projects. 

How has Covid-19 impacted you and your film?

It pretty much destroyed its theatrical release. Less than 20% of the usual moviegoers have stepped back into the theatres to watch movies as Jumbo made its new release in France on July 1 after the theatres reopened. It seems that despite the intense safety measures that have been put in place in cinemas, people still felt more comfortable watching films from their couch on one of the many new VOD platforms they subscribed to during the various confinement periods in the world. Which, to be honest, is understandable. I actually like to believe that this will become part of Jumbo’s identity as time passes, theatres (hopefully) come back to normal, and people slowly learn about the film and its history. The lucky thing for us is that we had just enough time early this year to screen at major festivals, which, we all know, is essential to an independent film’s career. I’m ecstatic that some festivals were able to keep on through this crisis, even if their screening “platforms” had to change from “real” to “virtual”. This is giving the film the exposure needed for it to exist. It is indeed   festivals that the film is, for now, really finding its audience! Which, to be honest, is already a huge win ! 

Jumbo

What's the moment you wish audiences were seeing in a theatre, and why?

“Elephant man” – I actually went to see it as it played in select theatres after Paris’ reopening of theatre (post-COVID). And wow! It was just the biggest emotional punch I’d had in years. The first time I had seen it (on a small screen unfortunately), I had been moved, but I couldn’t remember it as one of the most exceptional screening experience I had had. Originally left with only a vague memory of the film, I am now haunted by it… The solitude of the characters, their distress and most importantly their beauty… I think this is film essential to the morose times we are currently experiencing.  

“Interstellar” or “Apocalypse Now” – More obvious choices of cinematic experiences – but still worth a thousand rides! 

What have you learned about film-making, the film-making community and the film-going audience during the pandemic?

I’ve learned that even the biggest fan of theatre screens have lost (a bit of ) the habit of going to theatres. Hopefully this will change, but it most definitely forces you to think of how to make sure your next films remain a true cinematic experience that can only really exist on the big screen ! 

What's the single best moment of your film?

I think that’s up to the audience to decide. I of course have my favourite moments, but they wouldn’t be the ones you’d expect. It has more to do with the artistic freedom I felt as I was shooting them then the actual end result. ;) 

What do you plan to do next in terms of film-making?

I’m most definitely looking for character stories that can be both emotional and caustic at the same time!  Or at least one or the other. The two things I love the most when watching a film is to be emotionally moved (if I cry, even better! Haha) and/or to pushed to think outside of the box when asked to be rooting for a character. 

And then of course, if there is a fun visual component to the film, it’s always a plus ! I like to play with genres to elevate intimate character stories. 

Tench director Patrice Toye - New Zealand International Film Festival Q&A 2020

Your Name My name is Patrice Toye

Title of your film Tench Tell us about your 2020 Tench had its international première at the Rotterdam Film Festival, that was great ! But soon Covid changed all my plans of travelling around from festival to festival with my delicate film. First I was very frustrated and sad about that, but once I accepted things as they are, I saw the advantages: more time to spend with my family, time to read and time to write. There is beauty in being silent for a while…

How has Covid-19 impacted you and your film? Tench had just been released in theatres in my home country when Corona closed everything down. I hope we will have a ‘re-birth ‘ online and in some arthouse cinemas later this year. 

What's the moment you wish audiences were seeing in a theatre, and why? I wish they would see the whole film on big screen, but I’m sure it also works on a smaller screen. 

What have you learned about film-making, the film-making community and the film-going audience during the pandemic? A creative mind always finds solutions. The master shows himself in the limitation. One can still make powerful, inventive films even without any means. I teach film directing in a film school and my students had to start making ‘minimal’ films at home, with no crew, material etc… but some really fantastic short films came out as a result of those limitations. 

What's the single best moment of your film? I really can’t say. Maybe the moment when Bess and Jonathan have lunch and eat ‘schnitzel’ together. 

What do you plan to do next in terms of film-making? I’m working on a new script, but I don’t like talking about it, I’m superstitious.

Tench plays at Whanau Marama, the New Zealand International Film festival. You can get all the details here - https://www.nziff.co.nz/2020/at-home-online/tench/

Whanau Marama - the New Zealand International Film Festival 2020 Preview - five of the best 

The hybrid film festival is just days away from launch.

This year's festival will offer a selection of screenings in cinemas and online to deal with the ongoing Covid-19 situation which continues to affect the film industry globally.

There may be a reduced programme on hand, but there are no lesser offerings in this year's event, and certainly some will need to be snapped up before they reach online capacity.

Here are five titles that you absolutely cannot afford to miss

Just 6.5

Just 6.5

As searing a drama as last year's Les Miserables was, this Iranian cop drama focuses on the war against drugs in Iran.

Masterfully put together by its director and screenplay writer, Saeed Roustayi, this is a visceral thriller
that commands every frame as it unspools. 

Focussing in on the cops as they try and take down a druglord, the film's got a way of sideswiping you - and certainly by the final frames, you'll be unsure where your allegiances lie.

Some Kind of Heaven

Some Kind of Heaven

Director Lance Oppenheim's peek behind the curtains of The Villages in Florida in the US is a crafty little doco that finds a way of inveigling itself under your skin.

It starts with a series of golf carts being organised in a synchronicity and from then on, Oppenheim leads you through the lives of some of the residents.

Part of the joy of Some Kind of Heaven is seeing it unfurl and its poignant surprises - but its look beneath the polished veneer of OAP happiness is as disturbing and as tragic as they come, without ever feeling exploitative.

Relic

Relic

Aussie director Natalie Erika James' generational horror may be being lauded for being female-led, but that's not the only reason to see this smartly executed psychological terror.

When Emily Mortimer's Kay finds her mother Edna missing, she sets about dealing with the realities of what lies ahead - and soon finds herself and her daughter (Bella Heathcote) having to tackle a bigger problem than they imagined.

Slow-burning and akin to The Babadook, this horror's likely to leave an impression after it's ended. And that's a great thing.

Jumbo

Jumbo

Easily the oddest sell in the Incredibly Strange, this is the tale of Portrait of A Lady on Fire's Noemie Merlant's Jeanne who falls for a rollercoaster at the amusement park where she works.

What could easily be exploitative and laughable, becomes surprisingly intimate and unconventionally humane, preferring never to mock its subjects and leaving you with a wistful and thoughtful meditation on what desire means to many.

Don't overlook Jumbo - it's one of the programme's hidden secrets that's well worth discovering.

Driveways

Driveways

Easily the most affecting movie of the entire festival, Andrew Ahn's intimate picture of a young Asian boy's friendship with his elderly neighbour (Brian Dennehy) is the first unmissable film of 2020's festival.

Sweet, innocent and yet profoundly moving, the story is one of those that can be filed under "Life happens"; and yet, it's a little more than that. 

It may be one of Dennehy's last roles, but that sentiment isn't the reason to adore Driveways - it's a timeless film of connection that doesn't rely on cheap narrative tricks and reveals to hammer its point home. In fact, it's the antithesis of such films - and it's all the better for it.

Driveways also has the most bittersweet final shots of the festival too, so don't be surprised if it catches you off guard.

Whanau Marama - The New Zealand International Film Festival 2020 runs from 24 July to August 3. 

All the details can be found at nziff.co.nz