Displaying items by tag: Peter Malone's Movie Reviews

MULLIGANS

Canada, 2008, 92 minutes, Colour.

Dan Payne, Thea Gill, Charlie David, Derek James, Grace Vukovich..

Directed by Chip Hale.

Mulligan sounds like the name of a family. However, it is a golf term, the player getting a second try, a second attempt. This is explained early in the film – which does have a lot of golf throughout.

The film came out in 2008, from Canada, and it is interesting to look at Mulligans in the context of the time, films featuring gay characters, movements around the world, same-sex unions and, especially, political and social implications of same-sex marriages.

It is summer on a lake. The son of the family brings a good friend home from college. The friend is Chase, played by the writer of the film, Charlie David. He tires of his friend trying to set him up with girls, the party life, and finally comes out to his friend as gay.

The core of the film is not so much about Chase as a gay character, this being taken for granted, his behaviour, attitudes, way of communicating. Rather, it is the reaction of the various members of the family. The friend is taken aback and takes a long time to come to terms with the reality. The mother is wary, protective about sexuality, especially with her eight-year-old precocious daughter who seems to get a fixation on one of her teachers.

But the main character is the father. He and his sweetheart married very young, at a time when gay orientation was not acknowledged. He becomes very friendly with Chase and, while his wife and daughter are away, they have a sexual encounter. With the ensuing complexities, both wife and daughter glimpse the couple and their interactions in the woods.

Ultimately, the issues are out in the open, and the father has to make a decision about his life and his marriage.

1. The title, the initial explanation, golf, a second try? The importance of golf throughout the film, for and against, successful and diameter, working on the golf links? Topic of discussion, being forbidden? Metaphor?
2. Canadian production, cast? British Columbia locations, the home, summer atmosphere, golf course, the woods? The musical score?
3. The situation, Tyler at college, his friends, Chase, the artist, travelling to Tyler’s parents? The summer situation, the family, Chase and sharing with Tyler, meals together, conversation, the welcome from Nathan, from Stacy, Birdie and her being outspoken?
4. On the golf course, Nathan and his love for golf, conversation, Tyler and his skills, Chase trying out, awkward? Stacy and her being tired of golf talk? Two men working on the golf course and renewal, the course, fences…?
5. Tyler and his partying, his girlfriend, Chase of the party, uncomfortable, talking, meeting Jarrod?
6. C will hase is gay, coming out to Tyler, Tyler and his disbelief, unable to handle the situation, cautious of intimacy, issues of language?
7. Stacy, with Birdie, the issue of the swimming pool and the little boy’s conversation, taking Birdie away, tennis, the coach, Bertie wanting her ears pierced, holding the coach up as an ideal? Stacy, exasperation, the decision to play golf? On the course, seeing Nathan and Chased together? Birdie later indicating she had seen the kiss?
8. The family going to the grandmothers, cutting short the experience, coming home?
9. Nathan and chased together for the weekend, the attraction, the intimacy, the talk, Nathan and Stacy and the teenage pregnancy, marrying, the 1980s? His not coming out? Suppressing his orientation? The sexual encounter with Chase, the swim? The sudden return home?
10. The effect on Chase, talking with Jarrod, moving out, staying with him?
11. The effect on Nathan, the tension with Stacie, birdie and her observations, the discussions, civilised, Stacy and her disbelief, but thinking about the past, talking things over with Nathan, his decision to move out? The agreements?
12. Tyler, confused, angry, walking out? Jarrod persuading him to go to the bus stop, the farewell?
13. A film of 2008, gay themes in films of the 21^st-century, more open and frank, issues of repression, homophobia, honesty and resolutions?

LE RAVISSEMENT/ THE RAPTURE

France, 2023, 97 minutes, Colour.

Hafsia Herzi, Alexis Manenti, Nina Meurisse.

Directed by Iris Kaltenback.

The Rapture has many meanings in English, especially with faithful believers being taken up from Perth in The Rapture? However, the French title indicates a fascination, wonder.

The story is set in Paris, strong on atmosphere, the streets, bus routes, hospitals, the work of a midwife. However, while writer and director, Iris Kaltenback, is female and this is very much a female character study and perspective, the voice-over is by a male character.

The focus is on Lydia, played with complex verve by Hafsia Herzi. Enthusiastic, she discovers her boyfriend walking out on her. She goes to a party for her friend who reveals that she is pregnant. They have known each other since school days, bonded, strong friendship, knowing each other well. Lydia then is able to help and encourage Salome during the pregnancy.

Depressed with the breakup, Lydia wanders Paris, eventually going to sleep on a bus, encountering the driver (the company prefers “operator”), Milos from Serbia. He is reserved but they talk, have a one night stand, his not wanting to take it further.

There is a graphic birth sequence, hard for Salome, Lydia insistent, cajoling, encouraging. While Lydia says her care as a midwife is for the mothers rather than for the children, she becomes more and more attached to Salome’s daughter, suggesting the name Esmee, meaning Loved, taking the baby out, more frequent outings, but further complications when she encounters Milos at her hospital visiting his sick father, he thinking the baby is hers and she confirming, then telling him that it is his.

Milos becomes more and more attached, relishing being a father, Lydia arranging a weekly time when she is caring for the baby for them to meet. And invites them to meet his parents – which becomes too much for Lydia.

Ultimately, this is a story of an abduction, a rapture on the part of Lydia, but her eventually having to acknowledge the truth and surrender the baby to her mother. There is a trial, anticipated in the voice-over by Milos, the prison sentence, and her finally getting out – towards what future?

1. The title, wonder, enthusiasm, fascination? Lydia and her preoccupation with Esmee? The consequences?
2. The Paris settings, the initial drive through the streets, ordinary life, Milos and his voice-over, his perspective, narrating Lydia’s story, the puzzle, referring to the trial, the audience anticipating something going wrong?
3. Lydia, age, experience, skill as a midwife, arriving home, the cake, enthusiasm, Julien leaving her? The party, her relationship with Salome? The conversation, the revelation of the pregnancy?
4. The pregnancy, Salome and Jonathan, personalities, Lydia and her continued help, ultrasound, advice, massage…? Her continuing her work?
5. Her moods, disappointment, the apartment, not going home, asleep on the bus, the encounter with Milos, tentative, talk, sharing experiences, the night together, Milos wanting to end the relationship, her persevering, calls?
6. The intensity of the birth sequence, the strain for Salome, Jonathan present, Lydia and her insistence, encouragement, the baby tired, Salome pushing? The eventual birth? Hesitation, the child crying, tending the baby?
7. Lydia, saying she cared for the mothers rather than for the children, preoccupation with Esmee, the name? Loved?
8. The development of the relationship between Lydia and the baby, taking her out, feeding her, the attachment? Her seeing Milos in the hospital for his father? Telling him the baby was hers? Following him, telling him the baby was his? The consequences?
9. The development of the attachment, concealing it from Salome, Salome and her postnatal depression, and the longtime bond from Lydia from school? The strong friendship? Jonathan and his wariness?
10. The effect on Milos, the outings, his voice-over, not expecting to be a father, the attachment, taking Lydia and the baby to meet his family, the meal, the reactions, his mother intervening with questions, his father after his illness, the impact on Lydia, retreating to the bathroom, deciding to leave?
11. Salome upset, Lydia’s explanations? The issue of moving to Brussels, Jonathan and the better money? Salome and her work, Lydia encouraged her to stay?
12. The decision, Lydia listening outside the door, making a decision as regards the baby?
13. Less access to the baby, her going to the centre, taking it, telling Milos that she wanted to go to Normandy, the train ride, the night, the happiness?
14. Her ultimate decisions, the phone call from Salome, coming with the police, her sending Milos to buy the milk and to wait at the station, the interaction with Salome, giving back the baby? The police? The arrest of Milos, the interrogations?
15. Milos and the description of the trial, the psychologists and their opinion about Lydia, manipulative or with a mental problem? Her going to jail?
16. Milos and the meeting with Salome, observed by the audience outside the window?
17. Lydia, in jail, finishing her sentence, leaving, walking along the street, Milos present? A future?

RED ISLAND

Belgium, Madagascar, 2023, 117 minutes, Colour.

Nadia Tereszkiewicz, Quimi Gutierrez, Charlie Vauselle, Alemy Ramotoarimalala, Hugues Delamarliere, Sophie Guillemiin, Romero, Vincent Schmidt.

Directed by Robin Campillo.

The Island of this film is Madagascar.

Audiences outside Africa and outside France may not be familiar with the colonial history of Madagascar. This film throws light on 20^th century history, colonial France, the local people and their rebellions and repression, the moves for independence.

The writer-director, Robin Campillo (Eastern Boys, 24 MBH) draws on his own experiences in Madagascar. The setting is 1971-1972, a period of colonial occupation, uprisings, shift of policy on the part of France, a withdrawal of occupying forces.

For most of the film, there is a summer, holiday spirit, focusing on families where the fathers are stationed in Madagascar, military, pilots… The film creates a happy family atmosphere, meals together, swimming in the summer, dancing, jollity. While the film does focus on the adults, there is an eight-year-old boy, Thomas (Charlie Vauselle), rather withdrawn, prone to be absorbed in comic books, especially Fantomas (and the film frequently bringing these cartoon activities to animated life). Thomas observes, becomes friendly with little girl who loves the comic as well, bonds with her, at school, during the holidays.

While the film does show the perspective of children in the situation, there is also a focus on the adults, happiness and tensions within families, parents and children, husbands and wives. There is also a focus on a young Frenchman who has bought his new wife to Madagascar, she feeling lonely and isolated, returning to France, he becoming involved with a prostitute at the local brothel. There is also a focus on these women, working in laundries and packing, at one stage the group invading the military centre and beating the soldiers.

There are also military episodes, flights, commanders, indications of the uprisings, the military confrontation of the rebels.

So, while the audience may have enjoyed this perspective on Madagascar, the last 20 minutes may put response awry, the preparation of the French to leave, to go back to France, rebels being released, coming back to the town, proclaiming their bids for freedom with great vigour, the film then ending with them singing, the French withdrawing, a freedom for Madagascar. So, dramatically, the film symbolises the situation, the presence of the French, the influence, domination, and their departure and disappearance – leaving the local people, leaving them centre screen for the audience.

1. Title? Madagascar? The red dust?
2. Audience knowledge of Madagascar and its colonial experiences? The presence of the French? The aim of the colonials to make the local people French in consciousness, language and style? 20^th century colonialism? The moves for independence and freedom?
3. The main focus of the narrative on the families, the summer holidays, relaxation and enjoyment, meals, the beach, dancing, joviality? The background of the airbase? Planes and flights? The other officials? The offices dining room and staff? Hierarchy? These attitudes taken for granted?
4. The focus on Thomas, aged eight, reclusive, in the box, peering through the cracks, his reading the comics, love for Fantomas, the visual re-enactments throughout the film, the animation and its style, the stories? Thomas and his place in the family, his older brothers, his father sometimes referring to him as a sissy? The mother and her care for her children? The older boys, mischief? The other families, the exuberant father and his joking and dancing, the happy mother, the daughter and her ballet? Meals, jovial, discussions?
5. Thomas, meeting the little girl, their bonding, through the comic, sharing their experiences? And with her parents?
6. Bernard, newly arrived from France, his wife, pale, uncomfortable, lonely, homesick, her participating in the meals, dancing? The departure? Bernard, going to the brothel, the encounter with the woman, the later meetings, taking her to the officers’ mess, the official permitting them to be there? His having to depart? Her attitude?
7. Details of family life, the central family, father and his strictness, Pilate, his missions, aggravated, coming down? With his children? The mother, loving her children, the international travel, watching her husband flirt? The reconciliations? Thomas and the buying of the pearls, the father designing the ring, the birthday present, the mother relishing it? A realistic picture of family happiness and tensions?
8. The colonial situation, the commanders, attitudes towards the local people, making them French, the rebels, imprisonment, the indication of rebels thrown from the planes to their deaths?
9. The change in situation, the French withdrawing, preparations for the departure, the effect on each of the characters?
10. The departure and the change of tone of the film? The literal departure of the family from the film?
11. The return of the rebels, the vigorous speeches, history, freedoms, the young woman from the brothel, her singing, everybody singing and relish freedom? The end of colonialism?

DUMB MONEY

US, 2023, 105 minutes, Colour.

Paul Dano, Pete Davidson, Vincent D’Onofrio, America Ferrera, Myha'la Herrold, Nick Offerman, Anthony Ramos, Seth Rogen, Talia Ryder, Sebastian Stan, Shailene Woodley, Kate Burton, Clancy Brown, Larry Owens, Dane de Haan, Olivia Thirlby.

Directed by Craig Gillespie.

Unless you are very well versed in the details of the financial world, the business world, stock exchange, familiar with the language of shares and trading, you may find it somewhat difficult to follow this story in detail. There has been quite a long tradition of American films about the financial world, even before the 1980s and Wall Street. We have seen the back rooms in Margin Call, the higher-life exploiters like The Wolf of Wall Street, a number of television films about the financial crisis of 2008, ironic pictures like The Big Short. Dumb Money is in this vein.

Most of us may have missed this true story from 2020-2021, particularly American (and we may have been more preoccupied with pandemic issues and limitations). But, as promotion tells us, this is something of a David and Goliath story. And it is a true story – and, after we have been both alarmed and exhilarated looking at these characters and the financial dealings, there is some satisfaction/alarm in seeing photos, videos, testimony with the actual people during the credits.

For those not in the know, so many of us, the phrase Dumb Money refers to funds invested by smaller individuals and groups, those whom the high flyers would generally despise and, probably, ignore. One of these is Keith Gill, a family man, a job, but in his spare time very interested in finance, stock exchange movement, investments, profits, hedge funds… He becomes interested in a particular company, GameStop, which does not seem to be doing well, invests, but Keith is also an influencer, with his own online program, quite a following, students, employees in shops, who have interest in finance and are looking for opportunities to invest. And, his followers trust him, and as long as he does not sell, they don’t. The value of the company rises, as they say, exponentially (or even more so).

Keith Gill, whose online tag is Roaring Kitty, is from Brockton Massachusetts, working on his computer in a back room, but thorough and meticulous in his research and communication. He is played by the very versatile Paul Dano, his wife by Shailene Woodley. And there are a number of younger character actors playing the range of investors, including Anthony Ramos and America Ferrera. And there are a lot of home scenes to balance the financial world, Keith and his interacting with his offhand brother, Kevin, comically played by Pete Davidson.

But the film also takes us into the high life of the hedge fund entrepreneurs, the powerful men who can draw on billions at beck and call, who are so confident, unspoiled, that they take no notice and then underestimate the financial David’s of this story. And, strong cast here with Seth Rogen, Nick Offerman, Vincent D’Onofrio, Sebastian Stan.

On the one hand, there is the comic atmosphere of Keith Gill’s home life, especially family sequences with his parents (Clancy Brown and Kate Burton), his interchanges with his carefree brother. On the other hand, there is the tension of movements on the stock exchange, holding to one’s convictions, not selling, hugely increasing profits, the danger of their being targeted and falling. And, in the background, government investigations about manipulation of the money market.

Keith Gill testified before Congress committee – as did the high flyers, Keith with a strong prepared statement – well accepted, the high flyers replying on subterfuge – and failing.

(There is a lot of coarse language throughout the film – and this is something of an understatement – as well as some particularly crass lyrics of songs which are playing throughout the action. The Australian classification notes: Strong coarse language.)

1. The title, the tone, the judgement about investments?
2. The 2020 setting, the background of Covid, the financial world dealing with the epidemic? The role of the Internet? Companies, games companies, networks, shrewd observers and investors, their moves?
3. Homes and characters, offices, online activity, official meetings, finance, politics, legal?
4. Keith Gill, life at home, scenes with his parents, his wife and her support, his job? Online, visiting the sights? You Tube and advice, “Roaring captivity”? His relationship with his brother, Kevin and his mocking his brother, the borrowing of the car?
5. 2020, the games company, the investments, difficulties, reading the signs, Keith and his savings, advice for the friends and the online supporters? Success?
6. The portrait of the big finances, Gabe Plotkin and his company, threats, sales, plans? Confidence, manoeuvres, discussions amongst themselves, the contacts and advice?
7. Keith and his followers, Marcos and his work in the store, Rin and Harmony and their life together? Jennifer and her savings? The tension for them, investments and risks, there watching U-tube, they’re trusting Keith? Tested?
8. Selling, waiting, finding the right time, Keith and his wife, the followers, selling, buying again? The complexities?
9. The US House Committee on Financial Services, the interest in the case, a subpoena for all the main people, the heads of the companies, the interrogations?
10. Keith, his being interrogated, his stances, convictions, legalities?
11. The results, Keith and his security, his relationship with his brother and parents, the car for Kevin? The followers online and the success and security?

A POCKETFUL OF RYE

UK, 1985, 103 minutes, Colour.

Joan Hickson, Tom Wilkinson, Timothy West, Peter Davison, Fabia Drake, Stacy Dorning, Martyn Stanbridge, Clive Merrison, Rachel Bell, Frances Low, Selena Cadell, Mira Lena Kendall, Frank Mills, Jon Glover, Anette Badland.

Directed by Guy Slater.

Agatha Christie’s novels were enormously popular in the 20^th century, many film and television series made. And, they continue into the 21^st-century, new Poirot films, continued streaming screening of Miss Marple stories and those of Poirot.

While Angela Lansbury and Margaret Rutherford did portray Miss Marple, the main screen presentations were by Joan Hickson, Geraldine McEwan, Julia Mackenzie. It is interesting that the stories with the latter two Miss Marples was somewhat updated, the films with Joan Hickson had the post-war atmosphere, the late 1940s, the 1950s, life in the village, costumes and decor, vehicles, religious observance, traditional values…

There is a tenuous link with Miss Marple here, her recommending a maid who served in the house where murders occur.

Timothy West opens the film with great bombast, an unlikeable character, and murdered. His name is Rex – and the beginning of the link of the title with the nursery rhyme the king in his counting house, and the murderer choosing various clues from the rhyme for the development of the plot.

This time there is a very sympathetic police inspector, played by Tom Wilkinson more than a decade before his emerging so successfully in The Full Monty. Character actress, Fabia Drake, is also a strong screen presence.

The background to the murder is a mine in Africa and Rex betraying his partner. Rex has two sons, one in the business at home, the severe and humourless man, the other is Lance, in Africa, disliked by his father but returning to make him a proposition.

The plot is rather complex, according to the rhyme, and depends on truth about times.

1. The popularity of Agatha Christie novels and films? The actresses as Miss Marple? Joan Hickson?
2. The post-war settings, costumes and decor, cars? More proper ways of behaviour?
3. The nursery rhyme and the title, the plan to crimes according to the rhyme, the king in his counting house, Queen and tea, the maid and the washing…?
4. The opening, the focus on Rex, at the office, his laughter, the deals, his sudden attack? His death? His presence in the flashbacks, at home, dominating, sneering, his treatment of everybody in the family? Meals, behaviour? Intensely disliked? The fact of his marrying Adele, family criticisms, her age and the difference, issues of money?
5. The family, the financial situation, the two sons, one at home and carrying on the family business, severe, the treatment of his wife, brutality and disdain? Her present the household, cheerful? Put upon? Her friendship with Adele and her support? The absent son, Lance, in Africa, in disfavour with his father?
6. Mary Dove, the management of the household, working with the servants, especially with Gladys and the family’s criticism of her and her accidents? Financial management? Interactions with Rex? Her being formally correct with Adele and the other members of the family?
7. Miss Henderson, age, sister-in-law to Rex, critical observations, haughty, despising Adele, the attitude towards her nephews? Observing what went on in the household?
8. The cook, the attitude towards Gladys, her husband and his laid-back manner? The cook and her being upset?
9. Gladys, the recommendation from Miss Marple, awkward, accidents? Her strange behaviour, phone calls, going out? Found dead? Lance and his commands, her infatuation, the rye…?
10. The arrival of the police, the Inspector, initially wary of Miss Marple, liking her, seeking her advice, following it? His assistant?
11. Suspects for the death of Rex? The mystery of the death of Gladys? Then the murder of Adele? Adele and her relationship with the tennis coach, suspicions, his leaving, his being apprehended and interrogated?
12. Lance returning from Africa, with his wife, their bonding, her past, the arrests, saying she was bad luck?
13. Coming back, the background of the mine in Africa, his father’s behaviour, the partner, the descendants and their being edged out of money? Lance and his rather carefree attitude, with everyone in the house, with Miss Marple?
14. Miss Marple and the Inspector, following the nursery rhyme, unravelling the mystery? The importance of the timing? Lance and his lies, the past connection with Gladys and leading her on? His being unmasked? The truth about the mine, his arguments with his brother, seeming to compromise with the payoff, but his getting the money, leaving the airport, with Patricia, the crash?
15. Mary Dove and the finances?
16. Jennifer and the revelation of her identity?
17. A satisfactory mystery, the suspect and the laying of false clues? And the role of Miss Marple?

L’ANTIQUAIRE/ THE ART DEALER

France, 2015, 93 minutes, Colour.

Anna Sigalevitch, Michel Bouquet, Robert Hirsch, François Berleand, Louis-Do de Lencauesaing, Adam Sigalevitch, Alice de Lenzquesaing, Neils Schneider, Benjamin Siksou, Fabienne Babe.

Directed by François Margolin.

Stolen treasures by the Nazis has been a topic of several dramas like The Monuments Men and Woman in Gold. This French drama was made at much the same time as the other films.

We are introduced to a journalist, Esther, played by Anna Sigalevitch, whose husband is an art dealer and auctioneer. When he brings home a celebrated painting, her father, son of an art dealer who was executed by the Nazis at the beginning of World War II, recognises the painting.

This leads to Esther’s quest, going into archives, discovering documents about so many artworks appropriated by the Nazis, government decisions at the end of the war, the lack of recovery of paintings by the owners…

Esther is certainly an intense searcher, almost relentless, initially critical of her father marrying again soon after his wife’s death, advised by an art expert who is condemned as a collaborator during the war, who gives her a 16 mm print of home movies of her parents. There is also the complication of her uncle, a war hero in the resistance, a friend of a German entrepreneur.

There are many steps in Esther’s quest, tension in her marriage, her reliance on her son for help, and, solutions and public tirade against her uncle at a funeral. Her uncle is played by veteran French actor, Michel Bouquet.

A topic that is always interesting.

1. The title and expectations? Art, paintings, classics, ownership, Nazis taking paintings, fraud, restorative justice?
2. The two time periods, the home movies, black and white and colour, before the war, the outbreak of the war, the husband and wife, love for each other, the baby, art galleries, class and his visit from Germany, the proposal to transport the paintings, through Switzerland, Gene agreeing? The aftermath, his execution, Jeanne and her relationship with Klaus?
3. The 20^th century, the death of Jeanne, 2002? The introduction to the film, the opening with her song, the applause, the tone of the character? Her relationship with her father, resentment at his marrying again, so soon? Her relationship with her husband, with her son?
4. Melchior, art dealer, the visit to the house, assessing the paintings, taking away the classic for appraising? Esther seeing it at home? Simon and his vague memories? Opening up the issue of Nazis taking paintings, issues after the war, galleries, restitution is, fraud? Government action and inaction?
5. Esther, her quest, visiting archives, her son getting the autograph from her father and enabling her to enter? The helpful assistant at the archives, getting the vast documents, 600 records of artworks? Her investigations, hundreds missing? Suspicions, thinking she was being followed, that her son was being followed? Tensions with her husband, his commitment to his work and auctions, busy? Returning at the archives, the new assistant, the mislaid documents, her being ousted?
6. Claude, accused of collaboration, falsely, friendship with the family, discussions with Esther, his giving her the 16mm film? His later confrontation with Raoul, the argument, his death, the funeral?
7. Raoul, in the resistance, in Britain, considered British citizenship, the key to his owning the paintings and administering them? The relationship with Klaus, before the war before the war, his plans, relationship with Raoul, continuing – and the anomaly of the actor appearing not to have aged? Esther and her meetings with Raoul, his deceptions, her exposing him, his denials? At Claude’s funeral, her public denunciation? The news of his suicide?
8. Melchior, the auction sequences, withdrawing the painting in question, not auctioning appropriated paintings during the war? The support of Esther? Esther and her relationship with her son, his helping her, their discussions? Jewish and half Jewish?
9. Simon, his reactions to the investigations, to Esther’s hostility to his marrying Fabienne, the change, the wedding celebration, the vigorous dancing? Esther getting his autograph? His reluctance to think about the past, his mother, Esther getting him to watch the old film? Claude’s funeral? Relationship with Raoul?
10. The author, his expose of war appropriations, postwar arrangements, cover-ups? Esther going to his session, the discussion?
11. The various authorities, collaborating, not, documentation?
12. Esther and her achievement, continuing issue of artworks, Nazis and the war?

THE END OF SEX

Canada, 2022, 87 minutes, Colour.

Emily Hampshire, Jonas Chernik, Gray Powell, Lily Gao, Melanie Stefano.

Directed by Sean Garrity.

Fairly broad sex comedy. Well every human experience can be the subject of comedy, the assessment of its value is in the “How?”.

The film starts innocuously, a 10 year married couples seeing off their two daughters to a summer camp, finding themselves alone, wondering what to do, and, quick enough, the issue of sex coming up. The treatment is comic with all kinds of captions appearing during the film to focus audience attention and humour.

Older audiences may be reminded of the past. Younger audiences may wonder about their parents all this is a film for the middle-aged.

The couple have their moments of bewilderment, he working in an advertising agency and being interrogated by his co-worker who is very Frank about sex, engages in conversation with him, tries to bring him out of himself. She is co-teaching art to children during the summer, going to a Gallery and meeting the owner who had an infatuation with her in high school, very Frank in his expressions (and her noting that he doesn’t use a filter in his remarks). She fantasises about him, later meet him.

However, rather than the more surprising and, perhaps, eyebrow-raising is a scene of a threesome between the couple and the wife’s assistant at the art school. Although, the husband seems excluded from the whole event. Then they could decide to go to a sex club where they discover her mother and father present, to her embarrassment.

So, a somewhat titillating experience for them, for the audience, but many audiences may consider the whole experience rather silly.

SHAME ON DRY LAND/ SYNDABOCKEN

Sweden, 2023, 91 minutes, Colour.

Joel Spiro, Christopher Wagelin, Julia Sporre, Jacqueline Ramel, Tommy Nilsson.

Directed by Axel Petersen.

This is a Swedish drama, writing and directing, cast. However, it was filmed in Malta, the beauty of the past, the island and ocean, industrial development, the reliance on gambling in casinos.

The story is enigmatic, the audience introduced to a wandering sailor, Dimman, Joel Spiro whose first words uttered are of being sorry, wanting forgiveness. And this develops throughout the film, making the sale’s journey something of an experience of atonement and reconciliation.

He is coming to see his school friend with whom he worked, but their company was fraudulent, Dimman lying and abandoning his friend who has been unable to get employment, relies on his fiancee, and they are now preparing a marriage celebration.

Dimman is also dependent on a Swedish woman on the island who arranges tourists to take trips on his boat. She alerts him to a police investigator who is acting suspiciously and Dimman follows him, sees the contacts he makes, experiences one of the contacts committing suicide, discovers a container which the investigator has filled with money and possessions.

The audience realising the investigator is a fraud, then realises that he is targeting Dimman’s friend, which leads to violent confrontations.

There is a happy ending with the reconciliation of friends, financial security for the friend, happy wedding – and Dimman sailing away, his active atonement achievement.,

1. The title, with reference to Dimman? The past? Frederick and his situation?
2. A Swedish film, Swedish characters, the colony in Malta, connected with gaming, affluent and hedonistic life? Filming in Malta, the island and the sea, towns, the past, industrial present? Casinos?
3. The offbeat musical score, often discordant and edgy?
4. The mystery of the opening, Dimman and his arrival, by boat, in Malta, dress, attitudes, declaring that he was sorry, repeating it?
5. The narrative as Dimman’s being sorry, some kind of atonement, rescuing Frederick, running risks, his future?
6. Frederick and Sarah, attitudes towards Dimman on arrival, gradual revelation of the past, schoolfriends, working together, the company and fraud, Dimman lying and leaving, abandoning Frederick, Frederick and application for jobs and refusals, reputation, unable to raise a loan from banks? Hostility towards Dimman? Sarah, working in gaming, accomplished, love for Frederick, preparations for the wedding, her knowing about Dimman?
7. Dimman, the wealthy woman, her gigolo, arranging the the sorting voyages, the clientele? Her boat? Suspicions about the police investigator? Dimman following him, observing him, at the casino with the woman, in his room and sexual behaviour, observing the container, the attack on Frederick, the money, the woman accomplice, the man on the boat and the suicide?
8. The wedding, Pierre and his arranging the wedding, the scene at the casino, threatening? Frederick and his drinking, confronting Dimman? The other Swedes recognising Dimman and knowing his past?
9. The wedding party, the celebration? Frederick and his desperation?
10. Following the investigator, Dimman and his bike, in the car, finding Frederick in the house? The pursuit of the investigator, firing the bow, his falling over the cliff, Dimman trying to get to the body, to get the passport and documents? Frederick in swimming difficulties? The later return, finding the body, the investigator still alive and the fight, getting the documents back? Going to the container, Dimman taking money for expenses, the rest for Frederick, to buy an apartment?
11. The confrontation with the woman, help from the gigolo, his Dimman the keys of the boat, her setting him up investigating the investigator? Targeting Frederick?
12. Happy ending, the wedding and the happy couple, peer singing? And Dimman sailing out to his future, his reparation mission accomplished?

THE ROOSTER

Australia, 2023, 101 minutes, Colour.

Phoenix Raei, Hugo Weaving, John Waters, Rhys Mitchell.

Directed by Mark Leonard Winter.

There are some actual roosters in this film. But, there are some eerie roosters seen in nightmares. And, the rooster can stand as some kind of symbol for the two central characters, Dan (Phoenix Raei) and The Hermit (Hugo Weaving).

This is the feature film writing and directing debut from actor Mark Leonard Winter. In his performances, he is frequently dark and brooding. And he has brought these qualities to his film, dramatic, sometimes comic.

The setting is a small town in the Macedon Ranges outside Melbourne, rather isolated in the bush. And it has only one policeman, Dan, middle-aged, a sad past gradually revealed, driving around, a rather remote shed-office, sometimes a visit from the regional police chief, a brief welcome cameo from veteran, John Waters. He keeps chickens, and the rooster. And he has the dreams, repeated, a mysterious naked woman carrying a rooster, and a body hanging from a tree… Some premonitions of what is to come.

When a friend of Dan’s, with mental difficulties, and parents hostile to Dan, is killed, the man’s wandering dog leads Dan to the grave. But this also leads him further into the bush, coming across another remote house, and encountering Tim, also known as Mit, which is short from his nickname, The Hermit.

While Phoenix Raei gives a convincing performance as Dan, and our sympathies are with him, Hugo Weaving, giving time to Dan, takes over the screen, the dynamics of the story, another sad past gradually revealed, regrets. There are suggestions that something sinister but is this just speculation on Dan’s part, on the audience is part?

The Rooster shows us Hugo Weaving at his screen best, reminding us that he has top line films and television series for decades. He can make each character he portrays a real and convincing.

This is a film about men, sad men, men who become friends, but also wary of each other. The symbol of the growing friendship, apart from alcohol, is The Hermit’s continued invitation to Dan to play table tennis with him.

So, sometimes brooding, sometimes funny, so many sad stories, so many sad pasts, and the discovery of how much a friendship can change the friends, coming to terms with the past, some moments of happiness.

1. The title? The actual roosters, Dan’s favourite, feeding it, challenging it, finding the foxes have killed it? The naked woman in his nightmares giving him the rooster? The final bonding with the new rooster? The symbolic theme of roosters?
2. The Victorian countryside, the town and the stores, the bush, the Hermit in the bush, homes and interiors? Atmosphere? The musical score?
3. The opening, Dan and his nightmare, the man hanging on the tree in the distance, the naked woman and the rooster, Dan in the car, trying to make contact, to be heard? The reprisal of the nightmare? Illuminating his psyche?
4. The revelation that Dan was police, at home, by himself, feeding the chooks, with the rooster, the eggs? Driving to the police hut? The episode with Steve, the audience seeing Steve going through the bush, taking off his clothes, the children playing sport nearby, the gathering of his clothes, Dan putting the blanket over him, taking him home, the episode with his parents and their rejection of Dan? The dog, nickname Boss, at the door, in the middle of the road, leading Dan to Steve buried in the bush?
5. The effect on Dan, travelling through the bush, discovering the Hermit, isolated, his hut, having the bath, calling Dan a pervert, pursuing him? Dan, his return, bringing the alcohol? The core of the film and his bonding with the Hermit? His wanting to find out the truth of what happened to Steve in his death?
6. Hugo Weaving’s portrait of The Hermit, Mit, his real name Tim? Audience response to them, in his house, the bath, naked, his aggression towards Dan? The mysterious background, the photo of wife and daughter? Alcoholic? His anger at Dan, saying his father stole his pay packet (number later explanation that it was taken to give to support his wife and daughter)? The tentative steps, conversation, the importance of the table tennis games, their recurring, the baths, naked? Talking, bonding? Dan and his suspicions, the locked box, the remnant of the fluffy toy? The Hermit gradually talking about the death of Steve, the deal with his motor, burying him?
7. The effect on Dan, the bonding with the Hermit, some friendship in his life, his explanation about his past relationship, unable to have children, his partner leaving him? His memories of his father? The visits from the Chief, telling Dan stories about his father and The Hermit? The Chief and his wanting to track down the hermit, Dan not telling him the truth?
8. The Hermit, his illness, the medication, the cancer, the effect? Dan giving him the walkie-talkie, the conversations, playing the music? The story about his daughter, bringing home the dog, the attack on her? Dan and the audience, suspicious that he had killed his wife and daughter? His death? Dan going, the key, opening the box, and the children’s toys?
9. The photo, the phone number, and making the phone call, the daughter and string, talking with the Hermit’s wife? Arranging the funeral? After the cremation, the Ashes, Dan and his burying them?
10. The repercussions of this experience – and Dan’s future?

BLAGA’S LESSONS

Bulgaria, 2023, 114 minutes, Colour.

Eli Skorcheva, Rozalia Abgarian.

Directed by Stephan Komandarev.

This is a striking Bulgarian film, many audiences able to identify with the central character, but a series of events which lead to moral challenges and a very disturbing ending.

The setting is the Bulgarian city of caption demand, vistas of the city, the lives of ordinary people, homes and apartments, the streets, police precincts. But there are some striking episodes in the vast monument of the city, with its 1300 steps, commanding platform overlooking the city.

Blaga is played by veteran Bulgarian actress, Eli Skorcheva (her first film since the early 1990s). Recently widowed, her main commitment is to arrange a grave and effective headstones for her and her husband. We see her getting the runaround from the manager of the funeral company, changes of promises, down payments, crises, rival bidders for the grave…

In fact, this introduces us to one of the main themes of the film, a preoccupation with money.

Then there is the frightening episode where Blaga receives a phone call, allegedly from the police, warning her of robberies, an alternate phone calls of threats, for her to throw her money out the window into the street. She does, retreats, realises what she has done, goes to the police. They tell her tales of international fraudsters who use local “mules” to collect and deliver the money.

The experience is humiliating for Blaga, alters her dealings with the funeral director, makes her the target of abuse from her son who lives and works in the United States, journalists mocking her in disbelief and using the word dementia. She cannot get a job because she is 70.

There are some brighter moments when Blaga is coaching a young foreign woman for her language exam to get citizenship. But, dramatically, there are some dire consequences.

Blaga then gets a job, collecting and delivering money, phone calls, threats, her becoming a mule herself, but getting the money for the desired grave and headstones.

There is a sudden dramatic, alarmingly melodramatic, episode towards the end and a challenge to Blaga and her moral decisions. And the challenge to audiences as to what they would do in similar circumstances.

1. A perspective on life in Bulgaria?
2. The city settings, Shuman, homes and interiors, police precincts, the streets, shops, the surrounding countryside, dark settings for deliveries? The musical score?
3. The impact of the film for older audiences? Identifying with Blaga? Her issues, the difficulties? The impact for younger audiences? Understanding age, pressures? Sympathy or not?
4. The situation, Blaga, teaching language, precise and use of language, corrections, the loan man and her not encourage him at school? Her husband, police, many years? His death? Her religious beliefs, the funeral before 40 days and his leaving Earth? Money issues, the discussions with the manager of the funerals and monuments?
5. The drama of the phone call, her susceptibility, the police, the warnings, the threats, the money, her confusion, the other phone, the abusive caller, the demands, collecting the money, throwing it over the balcony, going into the house? The decision to go to the police, no money, their explanation of the scams, Romanian criminals, local mules?
6. Her living alone, the scenes at home, quiet? The girl coming for the lessons, language issues, comprehension issues, Blaga encouraging her, yet correcting her?
7. Her predicament, the police asking her to go to the seminar, reactions, her being the victim? The intrusive journalist, the challenges to her mind, the later article and her dismay? Her son seeing the article? Her phone calls with him, his being abusive her, her turning him off?
8. The issue of the gravestone, the details, the demands, the rivals, competitiveness, deposits, more money, change of price, her bargaining with him? His schemes and scams?
9. Application for the jobs, too old? The student, putting the ad on the Internet, the phone call, the demands? Deliveries? Her really being aware of what was happening or not?
10. The phone calls, the voice on the phone, aggressive, her going to the rendezvous, picking up the money, counting it, her cut, the delivery, the dark, the tire? The second situation, the money for the train from the window, the boy seeing her, his later talking to the police, his visit to the police and her hiding her face? Her realisation of what was happening? Her taking on the next case, the man coming after her, the fight, breaking the window of the car? Her not answering the phone, going quietly, thinking, throwing the phone away, keeping the money?
11. The big monument and the steps? Her going up? Testing the student about it? Her repeating the clmb?
12. The visits to the police, the reports of an old woman around the time of the money collection?
13. The student, her success, the cake and the gift, wanting to bring her mother to Bulgaria? The thugs arriving, mistaking her identity, brutalising her, demanding the money?
14. Blaga, at the store, her friend, the discussion about jobs, her return, hearing the noise, her moral decision, pause, abandoning the victimised woman, walking away?
15. The bitterness of the ending? The culture of Bulgaria, the importance of money, scams and exploitation, the aged? And the challenge to the audience of what they would do in similar situations?