Displaying items by tag: Antonio Banderas

BABYGIRL

US, 2024, 114 minutes, Colour.

Nicole Kidman, Harris Dickinson, Antonio Banderas, Sophie Wilde, Esther McGregor.

Directed by Halina Reijn.

Very much a women’s film, in terms of focus, issues, relationships with men. It was written and directed by Dutch actress, Halina Reijn, who also directed the American film, Bodies, Bodies, Bodies. And, bodies play a significant role in this film. And its star, Nicole Kidman, won the Best Actress award the 2024 Venice Film Festival.

The film is better reviewed from the female perspective, with some empathy, understanding as well as critique. And, of course, it offers a challenge to the male reviewer.

It opens quite graphically, the focus on business executive, self-made business leader, Romy, Nicole Kidman, her sexual relationship with her husband, Jacob, a theatre director, Antonio Banderas. Vigorous but not fulfilling, and Romys need for turning to pornography for some kind of gratification or fulfilment. At work she is most competent. But, some in insecurities.

The catalyst for surfacing the uncertainties and possibilities for change/or not, is a young man, Samuel, Harris Dickinson, seen on the sidewalk controlling an aggressive dog. And he turns out to be one of the aspiring interns at the company, very forward, claiming Romy as a mentor despite her objections.

It would be interesting to hear some psychologists interpretation of each of their characters and the interactions and sexual behaviour. With the lay reviewer, they don’t seem quite credible, especially Samuel’s character and the motivations for his behaviour, where he came from, what his intentions are, what he gets out of the relationship.

In fact, the film parallels those dramas with the dominatrix and the subservient male client. Samuel becomes the dominator, not in the expected violent way but paralleling the behaviour of the female dominatrix. And the audience continually asking about Romy’s behaviour, self-consciousness, memories of her past and inadequacy, issues of power, issues of gratification and fulfilment.

There are some family scenes, Romy and Jacob having two daughters, but the focus is on that sexual interaction domination and submission between Romy and Samuel.

1. The title, the tone? Identity, sexuality, relationships, power?
2. The New York setting, the world of business and enterprise, management, interns, interactions? Home life? The world of affairs, hotels? The musical score, pounding at times?
3. The impact of the opening, Romy and Jacob and their relationship, sexuality, her going to the computer for pornography, her later taunts of Jacob, contrast with her experiences with Samuel? The focus of the film on personality, sexuality, sense of inferiority, ambition and achievement, exercise of power? Domination – by the male but echoing the dominatrix? Intimacy, secrecy, fulfilment?
4. Romy’s story, her background, sense of inferiority, studies, skills, achievement, the company, relationship with the staff? With Esme? With the interns? Seeing her in business meetings, her reports, communication video…?
5. Jacob, the marriage, their children, home life, intimacy? His work in the theatre, the rehearsals, Romy’s visit? The performance, the achievement, the celebration, Romy leaving?
6. The introduction of Samuel, the incident with the dog on the street, his control, coming to the office with the interns, his approach to her, her asking about the dog? His choosing her as mentor, but not being on the program, her resistance, the first meeting, the seven minutes, the interview, the discussions? The credibility of Samuel’s character, his background, much unexplained, his approach to Romy, sexual, dominating?
7. The development of the relationship between the two his demands, his analysis of her sense of inferiority, his commands, her reactions, leaving, returning, the kisses, the propriety, the danger of public knowledge, losing her position in reputation? The party, watching him dancing, his tie, taking it?
8. The sequences of their being together, his commands, her humiliation, resistance, acquiescence, the milk in the saucer, on all fours…? The sexual impact for her? The significance for Samuel?
9. His turning up at her house, her reactions, the children’s party, with Esme? His relationship with Esme, different? Her role in the company, ambitions, taking Romy’s role as her model, at the house, with Samuel, her later confrontation with Romy, saying she knew everything?
10. The interactions with Jacob, the tensions, the taunt, later apology, his suspicions, his outbursts, his demands, ousting her, her meeting with Samuel, his discovering them, the fight, some resolution?
11. The influence her daughters, Isabel, age, friends, relationships, sexuality? Her behaviour with her parents, the socials, the party? Concerned about her mother?
12. The ousting of Samuel, his going to Japan? The discussion with the boss, the standing up to him, ousting him? The reconciliation with Jacob and the family?
13. The credibility of Romy’s personal and sexual journey?

PADDINGTON IN PERU

UK, 2024, 106 minutes, Colour.

Hugh Bonneville, Emily Mortimer, Samuel Joslin, Madaleine Harris, Julie Walters, Olivia Coleman, Jim Broadbent, Hayley Atwell, Voices of: Ben Whishaw, Imelda Staunton. Cameos by Hugh Grant, Joel Fry, Robbie Gee, Sanjeev Baskhar, Ben Miller, Jessica Hynes.

Directed by Dougal Wilson.

Who cannot like Paddington! His stories are always bearable!

We have enjoyed the first two films very much. There was an element of surprise about them, the introduction to Paddington himself, the wonderful voice provided by Ben Whishaw, the members of the Brown family and their ability to welcome Paddington. And, there were various adventures and, who can forget, the villainous Hugh Grant?

It does mean that here we accept Paddington straightaway, the glimpse of his early years in Peru reaching out to pick a beautiful orange, falling into the River – and landing in London. Now, a letter from his Aunt Lucy (voiced by Imelda Staunton) encouraging him to come for a visit (and that humour is awkward episode getting his passport photographs).

But there is a bit of background about Mr Brown, somewhat British stick-in-the Mode, challenged at work about risks. In the brainwave! Why don’t they all go with Paddington to Peru, including the kindly Mrs Bird (Julie Walters). Hugh Bonneville is once again Mr Brown but, this time, Emily Mortimer is Mrs Brown.

Once they will arrive in Peru, now met by Reverend Mother at the local home for retired bears! Suddenly, and exuberantly, we have Sister Act meets The Sound of Music. But, bad news, aunt Lucy has disappeared and Paddington is determined to find her. And, Olivia Coleman, in recent years showing a variety of talent (Wonka,  Little Wicked Letters), is here as the exuberant Reverend Mother.

With the action adventure that follows, more than a touch of Indiana Jones here, the action is geared more to the young audience, the touch of caricature with the boat captain (Antonio Banderas), farcical and slapstick situations high dangers and minutes, especially as Paddington and the family get lost in the Andes jungle, double dealings and some sinister flashbacks…

But, there are some secrets to be revealed, and a variation on the search for El Dorado and that fabled gold. This, everybody benefits from the adventure, and Mr Brown becomes extraordinarily daring. And Paddington has to make a decision, finding his tribe there in Peru, and whether he will go back home with the Browns.

Adult audiences, especially, please don’t rush for the exit when the credits begin to appear because there is a very enjoyable special guest interlude during the credits. And, as always, possibilities for more.

1. The popularity of Paddington, the films? And in himself, from Peru, landing in London, the Brown family, part of the family, his adventures, memories of Aunt Lucy in Peru, the possibility of his returning to visit Peru and Aunt Lucy? The effectiveness of Ben Wishaw’s voice?
2. Expectations from the previous film and their popularity and acclaim? The intentions of the filmmakers here, a film for younger audiences, style, treatment, humour, adventures, the touch of the absurd for enjoyment? The impact for older audiences, the adult characters, the adventure, the mayhem? And the postscript with Hugh Grant?
3. The scenes of Paddington’s origins, little bear, the oranges, on the branch, falling, to England, with the family? The memories of Aunt Lucy? The correspondence with her? His receiving the letter from her, inviting him to Peru, his eagerness?
4. The Brown family, the children growing older, University entrance, computer games and inventions, not wanting to play Scrabble with the mother, Mr Brown, the firm, Risk-taking, the American executive, her demands, the challenge to him? His very proper reticent British way of style of life?
5. The suggestion to go to Peru, the reaction of the family, Mr Brown and the decision to take a risk? Mrs Bird and her presence, decision to go? The farewell in the street with all the British film and television celebrities’ cameos? The flight, landing, Peru?
6. The visuals of Peru, the mountains, the river, waterfalls, locations in Peru and Colombia? The settlement? The boat
7. the convent, Reverend Mother, her cheery attitude, the staging of the musical, Sister Act meets The Sound of Music? The family settling in? The disappearance of Aunt Lucy, the nuns? The retired bears and their lifestyle, bingo…? Reverend Mother and her explanations, her eagerness for them to go searching, but her remaining at home?
8. The expedition, Paddington and his eagerness, the family, hiring the boat, the captain and his daughter, his manner and mannerisms? On the voyage, the comedy, the dangers, the rapids?
9. The background of El Dorado, the captain and his ancestors and their appearing behind him, his relationship with his daughter, the search for gold, Paddington and his arm band, the translation and interpretation? The captain disappearing and his search?
10. The family on the boat, the dangers, capsizing, stranded? Through the jungle? Mr Brown and his being more daring? Paddington’s memories of the Inca image, his arrival at the tower, the rock? The family arriving?
11. The Machu Picchu kind of location, the confrontation with the captain, pursuing more Paddington, the fights, the bolder, the dangers…? The reappearance of the daughter, her helping the family?
12. Mrs Bird, back at the convent, curious, suspicious, finding the radio room, the confrontation, the truth about Reverend Mother? The plane, flying, the crash landing, the confrontation, Reverend Mother from the El Dorado-seeking family, the flashbacks to their disasters? The confrontation with the captain? Her being overcome?
13. Finding Aunt Lucy, going beyond the barrier, finding El Dorado, the gold being the oranges, the scenes of collecting, squeezing, Paddington and his predilection for marmalade?
14. Paddington finding his tribe, his being welcomed, his speech, the family ready for him to stay, his decision to return with them, finding his tribe but going home with his family?
15. Happy ending – and the epilogue with Phoenix Buchanan and Hugh Grant’s style? Future prospects?

THE 33

US, 2015, 127 minutes, Colour.

Antonio Banderas, Rodrigo Santoro, Juliettw Binoche, Lou Diamond Philips, Mario Casas, Gabriel Byrne, Bob Gunton, James Brolin.

Directed by Patricia Riggen.

The 33 of the title are the miners who were trapped for almost 70 days in a mountain collapse in the desert in Chile, 2010.

This is a re-enactment of the disaster, establishing the happy atmosphere of the men and their families and their village, the going to work, the suggestion that the mine in the mountain is unsafe and authorities rejecting this, the travel to the mountain, the long drive in the vehicle going further down in depth.

The disaster happens fairly quickly, collapse, injuries, the men trying to escape, gathering together, all surviving, going to the mine centre where there is shelter and some food. The film will intercut with the miners, their managing, working together, the issue of food and rationing, some prejudice against a Bolivian, the toll on the long wait.

Meanwhile, on the surface, the focus is on the women, at the fences, not given information, protesting, the group led by a very feisty Juliette Binoche.

Then there is the political response, the president of Chile, Bob Gunton, and his mining Minister, Rodrigo Santoro, humane man, inexperienced, who goes to the site, is confronted by the women, but works to find experts to come in for the drilling. They are led by Gabriel Byrne.

So, there is the intercutting between life on the surface, the establishing of a kind of village for those waiting, the media, the various experts. There is tension, mistakes made, and eventual breakthrough.

However, the ordeal was to continue, attempts to find ways in which they could bring them into the surface, drills from Australia, Canada, the United States, the need for huge magnets from Brazil to move iron blocking the descent. But, in the meantime, the men were provided with food, necessities, moral support, cameras and the ability to talk with their families.

Ultimately, the operation was a great success, the men rescued but, as the film indicated the company not found guilty of negligence, the men not compensated – but the credits sequences showing them, in fact, faces and names, and a final group photo – and the information that many of them participated in the making of the film.

Audiences might like to compare Ron Howard’s 13 Lives and the rescue of the boys from the Thai tunnel or A.J.Bayona’s Society of the Snow, the survival of the Uruguayan football team the crashed into the Andes in 1972.

1. Based on a true story? A few years after the events? Some of the former miners, out of work, participating in the film? World headlines? International collaboration?
2. The setting in Chile, the desert, the towns, the mine, the tunnel, the depths, the roads and vehicles, the rest centre? The president’s offices? The building up of the community outside the mine entry? The musical score, Latin overtones and instruments? The central song and its Cappuccio
3. The setting, the town, the miners, preparing for work, the party gathering, Elvis’s song, happy spirits? The men, wives, daughters, the children? The status of the mine, since 1989, Don Lucho and his concerns, the boss waving them away?
4. The journey to the mine, spirits, the long entry, the drive, the only way out? The image of the receding entry?
5. The work, the minerals, the shifts, the collapses, the rocks falling, injuries, the men escaping, the man hanging over the abyss, the vehicles, the crashes, assembling, the 33 still alive, going to the centre?
6. The drama showing the number of days, the cumulative effect? The men, interactions amongst themselves, friendly, the bigotry against the Bolivian, the issue of the food, limits, Mario as leader, with the key, over the days, controlling the meals, every 24 hours, the limits? The men and their hopes? Tensions, some with nightmares? The passing of the days, the radio not working, headlights?
7. The drama the top, the women and families, at the gate, Maria, her leadership, the earlier seen giving the sandwich to her brother, speaking out, the confrontation with Laurence, getting him to promise, slapping his face, her leadership, everybody staying at the fence, throwing stones, the demands? The reaction of the authorities, the police?
8. The political repercussions, the president and the Minister, the discussions, personal concerns, political concerns? The personality of the Minister, suit and tie, going to the site, the confrontation with Maria? The contact with the companies, Andre Sougarrett, his expertise, the geological aspects, mining aspects, the depths, boring into the Rock?
9. The interactions between Sougarrett and Laurence, hopes, missing out by 10 m, time passing, Sougarrett prepared to give up, Laurence and the talk was Maria, learning by mistakes, Laurence and the proposed solution, Sue Garrett weary, agreeing, the new tactic? Eventually breaking through?
10. The men, hearing the drilling, stopping, hopes, upset, the joy of the final breakthrough?
11. The aftermath, food, clothing, technology, the cameras, the man able to talk to camera to their family? Maria disappointed, waiting for her brother? The boost of morale? The television programs, the journalist, the commentary? The issue of Mario and writing the book and the contract? The men’s reactions, his later reaction?
12. The task of bringing them into the surface, the television series, the Australian solution, the Canadian solution, effective, failing? Bringing in the Americans? The discovery of the iron, the bringing in of the magnets? Able to break through? The long time?
13. The capsule eventually getting through, Alex, age, his wife, pregnant, his going up, the tension with the capsule stuck, the release, his emerging, reunion? The men continually coming up, families? The background of the man with the wife and mistress and her not being allowed into the compound? His wife going off? Maria and her brother, his searching for her, the reunion?
14. The impact the Laurence, his human involvement, the politics, interacting with Sougarrett and the others? With the president?
15. A world achievement, collaboration, technology, rescue, the long time?
16. The postscript with the actual men, faces and names, the information that the company was not held responsible, no recompense for the men? The final photo and they gather together?