Displaying items by tag: Peter Malone's Movie Reviews

REDEMPTION OF A ROGUE

Ireland, 2020, 95 minutes, Colour.

Aaron Monaghan , Aisling O'Mara, Kieran Roche, Pat McCabe, Hugh B. O'Brien, Liz Fitzgibbon, Lorna Quinn.

Directed by Philip Doherty.

This film has been written and directed by prolific Irish playwright, Philip Doherty. And it is set in County Cavan, the county of origin of the director.

The film is very Irish, accent, language, intonations, black humour… And, the film relies on some of its Irish Catholic background, the biblical references, the specific focus on redemption, the image of the Prodigal Son, the return home, the church and the priest, rituals, the Passion and an ironic presentation of a statue of the Virgin Mary coming alive, somewhat raucously.

Aaron Monaghan plays Jimmy Cullen, troubles in the past with his family, harsh father (with flashbacks in 16mm format illustrating the history of the past). The father dies, the stipulation that the funeral be held when the rain stops but, with biblical numbers, it rains for 40 days and 40 nights. Jimmy has various encounters in the town, especially with a raunchy singer in the pub who helps him in various projects.

During the 40 days, Jimmy contemplates suicide, visions, hallucinations, and the practical details of buying a rope to hang himself.

And there is a music background, in the pubs, jazz, and a character called The Blues Man.

The rain does stop but the question is what will happen about the family, the will, and whether Jimmy will have some kind of redemption.

1. Title and expectations? Social dimensions of redemption, religious implications of redemption, in Ireland and its Catholic background and imagery?
2. The Catholic imagery, the background of Jesus’ Passion, the nature of redemption, the church, the priest, the statue of the Virgin Mary? Of the Prodigal Son?
3. The location, County Cavan, the rain, the streets, homes, pubs, the church? Atmosphere?
4. Irish humour, banter, black humour?
5. The musical background, the songs, the songs as a chorus and comment on the action, characters? The Blues Man? The pub, Masha, the songs?
6. The character of Jimmy Cullen, his look, manner of speaking, impact on the audience, memories of him in the town, absent for seven years? His return? His father’s illness and death? The will?
7. The filling in of Jimmy’s background, the flashbacks, 16mm format, his story, interactions, family, reputation, leaving?
8. The family at home, Damien his brother, his harsh father, their characters, Patricia?
9. The father’s will, the condition of the burial, when the rain stopped? The continued rain, its effect, health conditions, the children and starvation? The biblical 40 days of rain? Jimmy and his staying? Despite the conflict with his brother?
10. The encounter with Masha, singing, the pub, the attraction, her helping him, her background and behaviour, reputation?
11. The church, the biblical references, the role of the priest? In the church, the statue of the Virgin Mary, her coming alive, smoking, the touch of raunchy, her plan?
12. Jimmy, fantasies, visions and dreams, suicidal thoughts? The episode of buying the rope, measuring it? Other attempts?
13. The scriptural references, the detailed explanation of the 10 plagues of Egypt? The statue of the Infant of Prague, Masha and Jimmy and their plan?
14. The sun coming out, the burial, the will, the townspeople, Jimmy, his future? Any redemption?

GOODRICH

US, 2024, 110 minutes, Colour.

Michael Keaton, Mila Kunis, Carmen Ejogo, Michael Urie, Kevin Pollak, Vivien Lyra Blair, Danny Deferrari, Laura Benanti, Andie McDowell.

Directed by Hallie Meyers-Shyer.

The title is the surname of the central character with its interesting and evocative implications of both good and rich. In fact, the film could be seen something of an allegory about the rich, gaining the whole world, the danger of losing one’s good, one’s soul.

As we watch Goodrich, we are reminded that many politicians on retirement, sometimes surprisingly early, claim that they need time for being with their families. This film is a strong reassurance that this should be so.

In the opening minutes, Andy Goodrich, another fine performance by Michael Keaton, wakes to find his wife phoning him that she has gone into rehab because of prescription pills addiction. He is shocked. He does not believe it. He has never noticed. Which means that the film is the unmasking of Andy Goodrich, his discovering the self-centredness, self-focus of his life, his career, always busy, taking his family for granted.

And he has nine-year-old twin children coming to realise how much he has been absent from their lives, especially as they question him about their mother, about his own attitudes towards them, the little girl being precociously questioning and observant. He has to find more time to be with them at home. From his first marriage, he has a daughter in her mid-30s, married to a doctor, now pregnant, Grace (Mila Kunis).

Part of the unmasking is his growing realisation of the difficulties in relationship with his daughter, her devotion to him, his downplaying her doctor husband as a nerd, her complete exasperation while he calls on her help and time, finally revealed in a scene of an extraordinary outburst, emotional truth-telling towards her father, saying afterwards that she regretted, not what she said, but saying it out loud.

Then there is the Goodrich Gallery, a boutique gallery in Los Angeles, fostered by Andy for decades, but falling on hard times, money loans, art not selling, then, at one joyful moment, the possibility for all his problems to be solved by getting a contract on the estate of an artist who has died, almost there, but…

There is a great deal of feeling in this film, written and directed by Hallie Meyers Shyer, daughter of two prominent directors, Nancy Myers and Charles Shyer, who made films with some of these family themes.

A reviewer described the film as “endearing”. Andy Goodrich is not always endearing but our invitation to share his self-discovery and emotional honesty with him is endearing. The final image of him is as grandfather holding his newborn granddaughter. There is hope.

1. The title, the focus on good and rich? Ultimately which prevailed?
2. A piece of contemporary Americana, families, careers, addictions, pregnancies, education?
3. Los Angeles setting, the comfortable home and interiors, the art gallery, the rehabilitation centre, the meditation centre, hospital? The musical score?
4. The prologue, Andy waking up, the phone call, his wife, the message, his incomprehension, denial, not noticing real situations? Self-preoccupied? His work? Going to the centre, the smiling refusals of admission? Phone calls, letters returned? His wife ringing the children and his answering, her silence?
5. The portrait of Andy, his age, his first marriage, his wife leaving, a successful management of a Gallery, Grace as his daughter, her living with her mother, marrying Pete, Andy considering him a nerd, his being a nose and throat doctor, Grace and her pregnancy?
6. Andy, his second marriage, the twins, age 9, precocious, the daughter and her observations, her probing questions, the son and his bonding with his father? Andy having to rise to the situation, meals, accompaniment to school, being tardy and being told off, the criticisms of his children, early leaving, late at home, nights away, their reliance on their mother, devotion to her? His reticence about telling the truth, their finding out? Staying home and watching Casablanca?
7. The friendship with Terry, his son, the three children playing, Terry as an actor, highly strung, his partner leaving him, thinking that Andy was available, the kiss, the repercussions? Terry and his sons collapse, Andy taking him to the hospital? The Halloween shopping and the collection of the sweets?
8. The focus on Grace, her marriage, pregnancy, visits to the doctor, interactions with her father, his calling her Billy, helping him out, minding the children, fending off his comments about Pete, the plan for the hiking, meeting Lola Thomson, going to the breathing session? Andy forgetting to take her to the doctor, her outbursts and truth-telling about his whole life and attitude, later apologising, not for what she said but for saying it out loud?
9. Naomi, her sudden return, meaning as a friend with Andy? Love for the children?
10. The meeting with his first wife, her friendship, the walk, their daughter in common?
11. The Gallery, the financial meetings, the loans, the painting’s not selling, the young artist, Andy and his good relationship with his staff, the young director and the job in Portland, and the longtime friendship and depending on Cy? Andy and his optimism? The prospect of the Theresa Thompson estate, going to the feminist show, approaching Lola, attending the breathing session, the seeming contract, the posters, Lola and her signing with the international company?
12. The closing of the Gallery, the party, his farewell speech?
13. The possibility of a new life, with sequence, Peter arriving, Andy and his words to Grace, the happy birth, his holding the baby, the symbol of his future, good rather than rich?

CROSSING THE LINE

UK, 2006, 86 minutes, Colour.

Narrated by Christian Slater.

Directed by Daniel Gordon, Nicholas Bonner.

While this documentary was made in the early 2000s, it continues to be interesting, especially because of the place of North Korea in world politics since the middle of the 20^th century and its continued ambitions into the 21^st century.

This is a British production, the directors interviewing James Dresnock, the American soldier who crossed the line from South Korea to North Korea in 1952 and stayed there for the rest of his life.

While the focus is on Dresdock and three other American soldiers, there is a great deal of background footage and explanations of Asia the end of World War II, the defeat of the Japanese, the Japanese in Korea, the links with North Korea and China and the newly emerging Communist Party under Mao Tse Tung. There are explanations of the Korean War, the American presence, the dislike of the Americans and their treatment of the North Koreans. There are explanations of the division between the North and South and the consequences.

There are a number of interviews with American officers from Korea at the time, those who had the defectors in their forces, background stories to what it happened, comments on the characters, opinions on their behaviour and the relationships between North Korea and the US, issues of propaganda.

Because North Korea can be so secretive, a film like this where the directors were able to be in the country and freely interview some of the defectors is significant. There are explanations, showing their lives over the decades, visuals of life in North Korea, cut off from the rest of the world, yet promoting English because of its access to technological developments, the regimentation, the vast crowds organised, the goose-stepping military…

But, the focus of attention, is on James Dresdock, willing to be interviewed 50 years after his defection. He gives an explanation of his difficult childhood, parents, orphanages, joining the military, service in Korea, working with other soldiers, the hard life of the soldiers, the drinking, the prostitutes, and his decision to cross the line to North Korea. There are some details of three other men who defected, two soon after Dresdock, one in the 1960s.

Dresdock is very affable in his interviews, smiling, giving explanations, his childhood, what it was like at his age to be in a foreign country, issues of language, culture, race, the treatment by the authorities, the indoctrination and his acceptance of this, then details of his marriages, his children, their American appearance yet their Korean mentality, their education, his role in giving lectures, and, perhaps surprisingly, the involvement of the defectors in the Korean film industry, propaganda films and their playing “ugly Americans”.

Some attention is given to the defector, Charles Robert Jenkins, his wife, a captured Japanese, his eventually leaving career to return to his wife and writing a book about his experiences.

There is a certain sympathy initially for James Desdock, his background, sad experiences, immaturity, and the consequences for living the rest of his life in North Korea. His doctor reveals he is in poor health, the smoking and the drinking. However, from the American point of view, he is a defector, a traitor, working for decades against America and its interests.

GROUND ZERO

Australia, 1987, 108 minutes, Colour.

Colin Friel's, Jack Thompson, Donald Pleasance, Natalie Bale, Burnham Burnham, Simon Childers, Neal Fitzpatrick, Bob Maza, Alan Hopgood, Peter Cummins, Mark Mitchell.

Directed by Bruce Myles, Michael Pattinson.

The Ground Zero of this film is the side of the atomic tests in Marnga, South Australia, in the 1950s.

Information is given at the beginning of the film about the tests, British secrecy, alleged guarantees of safety by the British, the choice of the site, the repercussions for indigenous people, radiation, deaths.

There is a personal story running through the film, focusing on Colin Friels as a filmmaker, and making commercials, but involved then in the investigation of the nuclear tests, discovering that his father was involved in filming at the time, personal difficulties at home, but becoming more and more involved in the exposure.

There is a very strong supporting cast led by Jack Thompson, aboriginal actor Burnham Burnham, aboriginal actor Bob Maza as a liaison officer, and a number of Australian character actors. Direction by Bruce Myles and Michael Pattinson who was emerging as a feature film director at the time, Moving Out, Street Hero.

In retrospect, the interest in the film is the continued exploration of the nuclear tests, their effects, the questioning of nuclear testing in the 1950s.

1. An Australian thriller, based on experiences, nuclear tests, the effect, radiation, aboriginal people? Secrecy, exposure, cover-ups?
2. The film from the 1980s, 30 years after the tests? Australian consciousness?
3. The background of the Royal commission, the 1980s, the nuclear era, the tests, aboriginal people, exposure and radiation, themes?
4. The Panavision photography, the city of Melbourne, intimate sequences, the desert, the sites, the special effects? Old films and news items?
5. The title, sites for the explosions, the reality of the tests, the information at the beginning? Facts, interpretation, the list of the dead?
6. Introduction, the plane, the radioactivity and suggestions, the news, suppression?
7. The personal story, the introduction to Harvey, work as a cameraman, filming the commercial? Melbourne, the snooty neighbours, the flat, the film, the phone, the video, the rat? Harvey at home, relationship with his wife, tensions? With his son? The happy-go-lucky attitude? His relationship with his father?
8. The news, his interest, the growing involvement? The effect on him, the further investigations, his father as cameraman?
9. The lawyers, the conduct of the Royal Commission, the aboriginal liaison person and his influence? The group in the court, the moment, the home? The issue of traditions, silence about the deaths, the aborigines not counted in the census but only in the wildlife? The witness, the old woman, the description of the fallout cloud? The range of testimonies and the witness of talk about the fallout?
10. The British, the pledges that all safety would be provided for? The reality?
11. Prosper Gaffney, British, the choosing of the sites, Harvey’s father, the paintings, the aboriginal themes, the bomb of the apocalypse? Charlie, “old Black Bastard”, his blindness, meditation, death and burial?
12. Carl Denton, his work with the aborigines, with Gaffney, the mystery death? The aboriginal liaison officer, the talk with Harvey, the film, the court, failure and disbelief, the Harvey’s reaction?
13. The film, the deserted base, the open door, the corpses, labelled and backed?
14. The personality Prosper Gaffney, the biblical overtones, vengeance is mine, God’s will be done?
15. The film as a drama, personal, as exposure of the past, court drama?

R.M.N.

2022, 125 minutes, Colour.

Marin Grigore Judith State,

Directed by Cristian Mungiu.

The initial of the title is the Romanian versions of MRI. , in fact during the film there is a sequence with an MRI scan, the father of the central character. It would seem that with the title, the prominent Romanian director, Cristian Mungiu (4 Months, 3 Weeks, 2 Days, Beyond the Hills, Graduation) is wanting to do something of a cinema scan on contemporary Romanian society.

This is very much a film for the home audience, the familiarity with Romanian society in the second half of the 20^th century, part of the Soviet bloc, the dictator Ceausescu, his downfall, new alignment with the West, member of the European Union. There are also the difficulties of the cost of life, industries, migration throughout Europe for work, the bringing in of migrants workers, and the underlying racial and ethnic prejudices (even supported by the Catholic Church).

The film opens with glimpses of a contemporary Romanian city and there are various vistas of the city, some close-ups of the buildings, streets, as well as scenes in the forest outside.

But, there are some central characters, especially Matthew, some Hungarian background, with a setting in Transylvania and a mixture of Hungarian, German, Romanian origins. He has left work in Germany after disputes in an abattoir, comes home to see his child, a fearful boy, and he spends a lot of his time trying to making tough, not a sissy, taking him hunting, accompanying him to school only so far… He is estranged from his wife, is in a relationship with a woman who is running a company, a bakery, in the town, which is employing Sri Lankan migrants. There is also the issue of Matthew’s ill father.

So, on the one hand, there is a human story with its contemporary overtones. On the other hand, there are the social issues, dramatised in the response to the Sri Lankan migrants, the welcome by the two women in the company, their working in the bakery, some friendly sequences, especially a home meal, cooking Sri Lankan style, songs and dances.

However, very striking, especially one sequence of a town meeting, there are impassioned objections from many of the townspeople, xenophobic comments, challenges to the Mayor, the role of the priest in trying to mediate. This is a long sequence, key to the MRI on the state of Transylvania.

As expected, there are various complications, Matthew and his trying to help his son, the clashes with his wife, the illness and death of his father, his relationship with the woman at the bakery.

There is also a lot of Transylvanian symbolism which may well be lost on many of the audience, the children reenacting songs and traditions, the symbolism of a bear in the forest which terrifies the young boy, symbolic bears who menace people in the town.

For those interested in Romanian cinema, this is a welcome addition to the other films by the director which should be seen.

APARTMENT 7A

Julia Garner, Dianne Wiest, Kevin McNally, Jim Sturgess.

Directed by Natalie Erica James.

Many audiences who decide to watch Apartment 7A and who have a love for films and memory for those of the past, will soon begin to realise that this is a reworking of Rosemary’s Baby. This is especially the case when Minnie and Ramon Castavet appear on the scene, and the moon might seem familiar, and the realisation that Dianne Wiest is doing impersonation of Ruth Gordon’s character in Rosemary’s Baby, as is Kevin McNally for Ralph Bellamy’s. Which means then that interest gathers pace as to how this film will resemble the original.

In the final credits, after the credit for screenplay and a credit for story, there is acknowledgement of the novel by Ira Levin.

And, then we realise that this is a prequel. For many audiences, they say that this is not necessary. Rosemary’s Baby stands on its own. However, there was a television sequel, Look at what Happened to Rosemary’s Baby (1976).

The central character, Terry, is played by Julia Garner who has built up quite a reputation in a number of films as well as television series, Fargo. She plays a young dancer from Nebraska, full of ambition, experiencing a fall and injuring her ankle. Feeling sick on the sidewalk, she is befriended by the elderly couple who become her patrons, offering the apartment and all kinds of support.

The film spends a lot of time on the choreography and dance routines, performance and rehearsals, and incorporates a number of popular songs including If my friends could see me now and, especially at the end, seeming rather incongruous and ironic at the final meeting of the coven, Be my baby.

Gradually, the Satanist issues become part of the narrative, substituting the kindness of the elderly couple, even though it does seem somewhat sinister, as well as the apartment block in which they live and its sinister corridors, and the basement the centre for the coming gatherings. Hallucinations, dreams, injuries, and a pregnancy.

There is a 21^st-century film and so the issue of an abortion is quickly raised. But there are also Catholic themes and images, Terry going to a church, an encounter with an elderly nun who reveals the truth.

And, while the heroine seems rather ingenuous, she is also fiercely ambitious, making a Faustian pact with the director to be the star of the show, and her name in lights.

After sinister episodes, and the ambiguous behaviour of the elderly couple as well as the director and the taunting co-star who also injures her ankle, twisting her foot, and Terry then becoming the star of the show, there is a finale where Terry takes the initiative to thwartthe ambitions of the coven.

There is a final moment, at the scene of the accident in the street, where Minnie and Roman set their eyes on a potential mother for their ambitions, Rosemary…

1. A prequel to Rosemary’s Baby, the basic original story, the variation on the theme, the failure to produce the baby and the need to find another woman?
2. The New York setting, Broadway and Theatre, the world of dance? The apartment block, the rooms, the corridors? Rehearsal spaces? The musical score?
3. Terry, her story, filling in the background, Nebraska, raising pigs, the slaughter, the effect on her mother, the death of her father? Moving to New York, the opening sequences, looking in the mirror, make up, the dance routine, her joy, the fall and its consequences?
4. The aftermath, her going to the auditions, the continued interrogation, having to repeat her movement, the interrogation by Alan, his wanting her to imitate the pigs? Her refusal, his praise?
5. Her apartment, her roommate, their friendship, her support?
6. Her decision to follow Alan, the apartment block, at the desk, in the street, being sick, Minnie and Roman finding her, helping her, bringing her to the apartment, the next morning? In themselves, sinister, smiling, childless? (And the performances paralleling Ruth Gordon and Ralph Bellamy in the original?) The offer, the friendship, the apartment, Terry settling in? Night date, the couple missing, Alan, the night, drugged, her fantasies in the musical, diabolical presence? The aftermath, discovering her pregnancy, the shock? Discussions with her roommate, going to the abortionist, the dire effect on the abortionist, paralleling Vera and her injuring her foot on stage?
7. The finding of the shoe of the previous tenant, asking the concierge about her, her clothes and possessions, the Bible, the indication of Satan, her mysterious death?
8. The pregnancy, the discussions with the doctor, the help from the retired judge with the medication? The later appearance in the room, the fright, the knife? The cumulative effect on Terry?
9. The rehearsals, the criticisms, Vera and her taunts? Support from Alan? , Vera’s injury, Terry declaring she wanted the role?
10. The buildup of terror, after the visit to the abortionist, the injuries? The discussions with Minnie and Roman, the realisation of Roman in the mask? Going to the basement, the discovery of the room, the Satanists? Her going to the church, the Catholic symbols, her meeting the nun, the nun and her terror, revealing the truth, the presence of the Bible?
11. Terry, her decision, the gathering in the apartment, the song and the dance routine, the choice of “Be My Baby” for the song? The reaction of the audience, her charming them, her going to the window, her fall? The shock for the group?
12. Her falling on the car, the police interrogating the young couple, Minnie and Roman watching – and the move towards the story of Rosemary’s baby?

 BLISS

US, 2021, 103 minutes, Colour.

Owen Wilson, Salma Heyak, Nesta Cooper.

Directed by Mike Cahill.

This is a film made for streaming in the early 2020s. The response has been significantly divided.

On the one hand, some audiences accepted the story as “realistic” and found it confusing and less than interesting. On the other hand, the promotion was in terms of science-fiction. But many consider this misleading.

The film does start realistically, Owen Wilson as Greg, an artist, divorced, phone calls from his daughter to attend her graduation, his wariness about meeting her mother, sketching ideal homes and scenery, called in by his boss, fired. In the confrontation with the boss, he pushes him, the boss hitting his head on the desk, dead, and the panicking Greg standing the boss of the window and drawing a curtain and escaping.

Then eerie happenings, sometimes described as “magical realism”. Greg encounters Isabel, Salma Hayak, who seems to have strange powers, gradually explaining that not everyone was real, that people and situations were created by computers. If audiences accept this explanation, then what follows is logical while always unexpected.

But, Greg is also on some medication and the suggested interpretation of the film is that it highlights the results of medication, mental disturbances, loss of the sense of reality.

Isabel is able to make people appear and disappear, even bring the murdered boss to life. While Greg is reluctant at first, he follows Isabel, finding her living on the street, artwork, elaborate setup, searching for food. It then becomes something of a fantasy romance.

Meanwhile, in the background, Greg’s son and daughter, their response to their missing father, the daughter’s search for him, final encounters, his recognising her not, his going off into his own strange world, lacking the support from Isabel, a world of bewilderment.

Audiences interested in the unusual (though with a standard performance in his own style and accent by Owen Wilson), there is much to tantalise. Two of the director’s earlier films might repay fans of this film, Another Earth and I, Origin.

MADRE

Spain/France, 2020, 128 minutes, Colour.

Marta Nieto, Jules Porier, Alex Brendemuehl, Anne Consigny, Frederic Pierrot.

Directed by Roderigo Sorogoyen.

Madre is a Spanish/French production. The story is both Spanish and French. The film had many award nominations and many wins, especially for the performance of Marta Nieto as Best Actress. She has a brooding, grieving screen presence.

The film is an amplification of a short film made by the director, also called Madre. Some of the short film serves as a prologue to this feature. And the prologue focuses on Elena, a young mother whose child disappears. Grieving for her and her husband, and her husband leaving.

10 years later, and the scene shifts from Spain to the coast of France near the border. Elena is working at a restaurant, managing, customers including tourists in the summer season, a boyfriend. But, she spends a lot of time walking along the beach, brooding. These scenes serve as something of a chorus to the action, the vastness of the sand, the vastness of the sea, her being alone figure, isolated, but searching.

Amongst the tourists for the season is a French family, living in something of a château on the outskirts of the town. They have a young teenage son, the equivalent of age of /elena’s lost son. The rest of the plot does fulfil some expectations, Elena will fascinated by the boy, following him, his being dissatisfied at home with his own parents, coming back to her, the forming something of a bond, substitute mother and son, to the dissatisfaction of his parents, Elena’s confrontation with his father.

And, there is an interlude where Elena’s husband comes to visit her again, reliving the past, failures, little hope for the future.

But, as expected, there is no final resolution, leaving the audience to reflect on Elena and her grief and yearning for a child, the dissatisfactions of the young man, the consequences for the future.

1. The title? The director’s amplifying his previous short film? Using it is a prologue?
2. The mother themes, the focus on Elena, her own son, his death? Her relationship with Jean? Jean and his own mother and his place in the family?
3. Spanish story, French story, the coast near the border? The visuals of the coast, the beach, the town, the restaurant, the mansions and grounds, the countryside? The musical score?
4. The prologue, Elena and her husband, the relationship, her son, his disappearance? The impact on each?
5. 10 years later, Elena and her still grieving, older, from Spain to France, working at the restaurant, managing, the customers, having a boyfriend? Her ordinary way of life, dealing with customers? So much of her time walking along the beach, grieving, hoping?
6. The holidaymakers, the family, the parents, affluence, style, Jean, the other members of the family, the staff? Their way of life, expectations?
7. Jean, his age, his range of friends, the holiday? The encounter with Elena? Her following him, his seeing it, the effect, the impact on her, imagination and hopes?
8. His visit to the restaurant, his feeling that Elena was stalking him, their talking, bonding, the effect on her, the effect on him?
9. The visit to the house, polite welcome, awkward situations, the reactions, the mother, the father and his discussion with Elena?
10. The narrative exploring what was happening to each of them, Elena and her needs, indulging her fantasy and hopes? The effect on Jean, accepted, potential alternate mother figure?
11. The visit from her husband, the talk, some reconciliation or not?
12. The resolution, the clarity the situation, Elena and her motivations, the consequences?

CONTINUER/ KEEP GOING

Belgium, 2018, 84 minutes, Colour.

Virginie Efira, Kacey Mottet Klein.

Directed by Joachim Lafosse.

This is a brief Belgian film, focusing on a relationship between a mother and son.

The context is their travels in Kazikistan, an attempt by the mother to reach out to her older teenage son, having abandoned him earlier and his living with his father. He has had trouble sometimes, and has been accused of attacking a teacher.

The journey takes place in quite exotic settings for the audience to gaze at. And there are various communities in the desert, small villages, friendly tribes, raiders…

And the travel is on horseback.

The son is rather wilful in his treatment of his mother. She is frequently exasperated. While there are some moments when they do bond, there is continual uncertainty, even a dramatic climax and his pulling a gun on his mother.

There is no certain ending, leaving the film for the audience to gauge their response to each of the characters and how the conflict could be resolved.

1. The title, a journey, external travel, interior journey?
2. A built-in production, the cast, locations in Morocco, standing in for Kajikistan? The musical score? Songs, dancing?
3. The journey, the introduction, the desert locations, the horses, mother and son? The development of the relationship? The past, the young mother, abandoning the family, the role of the father, the son growing up, early adulthood, with his father, travel with his mother, choices?
4. The audience enjoying the travel, the range of locations, the various encounters, friendly families and hospitality, local raiders, the blacksmith and the ritual traditions with the horses, the village gathering in celebration?
5. The portrait of the mother, her age, her intentions, riding the horses, the relationship with her son, love, exasperation, the conversations, the silences, her concern, the target of his bitterness? At the various locations, the son with the people, the mother mediating? The moments of breakthrough, then the resentments? The finale in the village with the injured horse, working with the horse, the meal, the singing and dancing, the son, his anger, returning with the revolver? The confrontation? The continuing of the journey, some kind of reconciliation and understanding? A future?
6. The son, age, experience with his father, the father’s condemnation of his mother and her drinking, her absence, his behaviour, uncontrolled, attack on the teacher, going on the travels, listening to the music, ignoring his mother, angry with his mother, the comments, the reminiscences? His bad manners with people, on the travels? The horse, the village and its care for it, the celebration, his drinking, exasperation, returning with the revolver, the threats? Continuing the journey, some possible understanding and reconciliation?
7. Audiences identifying with the mother, with the son, understanding, empathy or not, hopes for reconciliation?

I.S.S.

US, 2023, 95 Minutes, Colour.

Ariana DeBose, Chris Messina, John Gallagher Jr, Masha Mashkova, Costa Ronin, Pilou Asbaek.

Directed by Gabriela Cowperthwaite.

I.S.S. stands for international space station. The film takes place in the near future, building on the rapport between Russia and the United States after the collapse of the Soviet Union.

The audience accompanies two new appointees to the station, played by John Gallagher Jr and Oscar winner for West Side Story, Ariana DeBose. She is involved in medical studies. They meet the American commander, played by Chris Messina, and three Soviet astronauts. They have been trained to survive on the space station and to learn each other’s language to communicate.

The premise of the drama is that war breaks out on earth, each team receives a message to beware of the others and to take over the spacecraft. What follows is some drama, conflict, deceptions, some violent outbursts of mistrust.

This is a film for those who enjoy films in space, thinking back to 2001, A Space Odyssey, and through the decades to more recent films like Gravity, Ad Astra, First Man…

1. The title, international Space Station, the initial explanations, bonds between Russia and the US, collaboration in space, scientific and medical investigations?
2. The plausibility of the plot, the reality of space stations, Soviet and American alliances, the possibility of war, nuclear disaster and consequences?
3. The visuals of the space station and shuttle, the interiors, the exteriors, floating through space, the overview of earth? The musical score?
4. Entering into the action, Kira and Christian, the shuttle, their training, English-language, Russian language? Christian and his talk about his family? The arrival, the welcome, adjusting, speaking English, the attempts in Russian? Gordon Barrett, in charge, personality, the welcome, his relationship with moronic? The two Russians, personalities, skills, Liosha and Kira and their shared interest in medical research, the animal specimens, their deaths?
5. The work in collaboration, friendliness?
6. Kira seeing the eruptions, the vastness, each side receiving messages to take charge, the Americans hesitating, the Russians in action?
7. The conflict and strategies, the Russians, stating the antenna was broken, Gordon going out, no breakage, the loss of communications, his going into space, Nikolai and his control, Liosha and his change of heart, bringing Gordon back?
8. Weronika, the relationship with Gordon, her upset, her getting Kira on side, to save the new medical research, Kira feeling betrayed, Christian and the attack, her confronting the Russians, the news of Gordon’s death, upset and anger, Christian hitting her, her death? Gordon’s arrival back, grief?
9. Christian, talking about his family, taking the research, preparing the shuttle, curate discovering this, the confrontation? The fighting with Nikolai, Nikolai and his sense of duty, the struggle, suspension, each killing the other?
10. Liosha and Kira remaining, having to bond, preparing to leave – and not knowing where they would land or what the future will be?
11. An addition to space exploration films, memories of Cold War, Cold War reigniting, conflicts, sense of duty, loyalties?