Displaying items by tag: Peter Malone's Movie Reviews

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?

HER NAME IS A NANNY NELLIE

Australia, 2023, 78 minutes, Colour.

Directed by Daniel King.

A significant contribution to documentaries focusing on Australian First Nation’s history and issues.

Below is the official statement from the director, Daniel King.

The issue is statues being made of aboriginal men and women and children, to be exhibited in the Australian Museum. Descendants of Nellie Walker, make contact with the Museum, with experts, who are working on the statues made, adapting them for a more contemporary perspective on the subjects, more respect for them.

The point is made that with the assimilation policy, it was assumed that full blood aboriginal men and women would disappear, so that the statues, artificial and stylised, would be Museum reminders of the past.

The film is very emotional with two women in their quest, the memories, research, discussions with curators, discussions with artist and restorers, respectfully bringing to life their ancestors, the reality of their lives, the withdrawal from exhibition until a more balanced and respectful display was possible.

“Statues are made to honour Gods, and people of historical importance, to remind us of values to honour. In 1925 the Australian Museum statue made a statue of my mum’s great grandmother. But she wasn’t being honoured. She was made because of how she looked. She was made as an object to be studied. But she wasn’t just an object to be studied. Her name was Nellie Walker. She was an Aboriginal woman who lived for 67 years, under the Aborigines Protection Board, who loved and bore three children, but who had then taken away.

In 1925 the Australian Museum put 3 statues on display; naked but for possum skins, and nameless. Now my mum Irene wants them back on display, with their names, and stories. She will retrace Nanny Nellie’s life, from the Museum’s archives, to key places in her life. It will culminate when the statues are unveiled again in the Museum. This is a documentary about reclaiming our history, to change how we remember and represent, to give the nameless names.”
                                                          Daniel King

TIME

UK, 2023, 3X 60 minutes, Colour.

Jodie Whitaker, Tamara Lawrance, Bella Ramsey, Siobhan Finneran.

Directed by Andrea Harkin.

The initial series of Time, written by Jimmy McGovern (cracker, priest) focused on a men’s prison, Sean bean is a prisoner, the impact of life in prison, his relationship with his wife and family, with Stephen as a guard, compromised with drug dealing in the prison.

In the second series, the focus is on a women’s prison, again written by Jimmy McGovern but with a female collaborator. The tone is very different from the first series. The atmosphere in women’s prison is certainly very different from the atmosphere in a male prison.

The film focuses on three central characters. Jodie Whitaker plays a mother who is convicted of fraud, trying to support her children, and, on release, again committing fraud and sentenced to prison. She is middle-aged, working class, tough yet vulnerable, an alcoholic mother, hearing her children will be taken into care, her oldest child hostile to her.

Tamara Lawrance plays a mother convicted of murdering her child, attacked by the other prisoners, and, at the end of the film, explanations given about her life with her husband, the pressures, her decision. In the prison, while she is attacked, she also is supportive of a young pregnant prisoner and helps in the delivery of her birth.

The third character is played by Bella Ramsey (The Last of Us), young, drug addict, taking drugs in prison, discovering she is pregnant, and this changing her whole perspective on her life, her relationship with her boyfriend, pusher, and her having to make decisions about giving him up to the law and the possibilities of getting her baby back.

Also in the story is the prison chaplain, a nun played by Siobhan Finneran, who has her own story (a relationship with a priest) but who is a good listener to each of the prisoners, runs discussion groups, sometimes has a powerful influence on the prisoners.

Quite a moving and insightful experience, perspectives on women in prison.

1. The impact of the first series? Men’s prison? Transition to women’s prison?
2. The title, doing time? Indication of days, sentences?
3. The screenplay by Jimmy McGovern, his career, television series, films? The insights of the first series? Cowriting here with a female writer? Sensibilities?
4. Three parts, three central characters, crises and resolutions, interactions?
5. The visuals of prison, add in the countryside, the range of buildings, the exteriors, the roads, the gardens? The interiors, brooms, the common room, the cells? Visitors room? Court sequences? The musical score?
6. The credibility of the stories? Women’s stories, their psychology, women’s crimes? Murder, drugs, fraud? Issues of violence? The range of characters, race, culture? The interactions, violent, verbal, angers, taking hostages, humiliations? The overall credibility?
7. The authorities, and then guardian to remote, the guards? The women, treating the prisoners, the rules, likes and dislikes, helps and hindrances?
8. The character of the chaplain, Catholic background, none, counselling, the capacity for listening, setting up the groups, the effect of the groups, the interactions with Orla, with Kelsey, with Gabi, and Gabi’s story, reluctant? The invitation is the group? Her own story to Gabi, the priest, the relationship? Her effect as a chaplain?
9. Orla, single mother, the three children, her own alcoholic mother, trying to manage, the need for money, the commitment of the fraud, the arrest, her reactions, the sentence? The cell, with the others? The visit of her mother and reprimanding her mother? Her mother’s promises to help the children? The three children, Kyle and his resentment? Phone calls to her mother, the contacts, her failing, the issue of custody of the children? Released, the repeat fraud, her return? The relationship with Kelsey, helping her? The relationship with Gabi, initial antagonism, the help? The siege situation, the knife at the throat of the prisoner, her frustration to make representations to the authorities? The help of the chaplain? The new sentence? Kyle, his birthday, the phone calls, his not coming, ashamed? Finally leaving, the tent accommodation, the meeting with Kyle, the promises?
10. Gabi, accused of the murder of her baby, race issues, the way she was treated in prison, the various attacks, slicing her, the humiliation of her clothes in the shower? Her relating with others, reserve? Her sponsoring of Kelsey, helping with the birth of the baby, the baby called Daniel after her own baby’s name? A caring person? The relationship with the chaplain, discussions, going to the meetings, the women’s reactions, condemnation? Telling her story, the flashbacks, the relationship with a husband, the birth, depression, the crying baby? Killing the baby? The final meeting, her story, the group hearing it, the final promises? And her being the facilitator for the chaplain to tell her story?
11. Kelsey, her age, on drugs, her attitude, going to prison, taking the drugs, their being smuggled in? The relationship with Adam, the drugs? Discovering she was pregnant, the decision to change, take no drugs, the possibilities of being a mother, the months passing, the treatment by the others, the difficulties of the birth, Gabi sent helping? Calling the baby Daniel? Adam and his visit, smothering smuggling the drugs, her being arrested, the cell, the possibilities for the future, the anguish and letting the baby go? The various threats? The court, her giving up Adam, his threats, the return of the baby, the applause as she left prison?
12. Gabi, the visit from her husband, his next marriage, the visuals of the past, his treatment of Gabi, of the child?
13. The drunk mother, receiving the card, her son, the other woman and her motivation for sending it? Her son hating her? The division of the chaplain, the meeting for restorative justice and reconciliation?
14. Images of Justice, punishment, care, rehabilitation?

FERRARI

US, 2023, 130 minutes, Colour.

Adam Driver, Penelope Cruz, Shailene Woodley, Gabriel Leone.

Directed by Michael Mann.

Ferrari. Italian cars. Racing and drivers. Company rivalries over the decades.

This is a film by veteran director, Michael Mann, noted over the decades for such films as Thief, Heat, Miami Vice, Public Enemies. On the one hand, there is the important focus on Ferrari himself, an initial black-and-white prologue showing him as a racing driver before World War II, his skills, his engineering talent, his establishing racing rallies after World War II. On the other hand, there is his personal drama.

For those enthusiastic about racing cars, competitions, the details of drivers, selection, training, actual racing, competitiveness, there will be much to enjoy with the frequent racing sequences.

For those not so enthusiastic about racing cars, attention might well wonder during some of the long racing sequences. They will have to concentrate on the drama.

Enzo Ferrari is played by Adam Driver, a tall and sombre presence, not often laughing let alone smiling, intense on cars, racing, business. He has married before the war, Laura, a very strong and unexpected performance by Penelope Cruz. Enzo and Laura are credited with establishing the Italian racing culture after the war. They had a son but he had succumbed to illness and died just before this film opens, 1957. While alienated in the relationship, there is still some passion, but Laura tends to the business and Enzo is living with Lena (Shailene Woodley) and the young son whom Enzo hopes will inherit the business.

There are quite some complications about the business, rival Italian companies, American financial interests, Ferrari influence on media, depending on Laura for financial support.

Some commentators have mentioned The Godfather as a comparison with this film, the focus on family, business, intrigues, power situations (but not the ruthless violence).

Depending on audience involvement with Ferrari and racing, the interest in the family situations might not compelling.

One aspect of racing that this film does not shirk in any way is the potential for accidents, an initial sequence showing a skid, the racing driver ejected from his car into the air and crashing. And, towards the end, in the racing of the Mille Miglia there is an appalling accident, filmed graphically and shockingly, the star driver having a tyre punctured by an object on the road, skidding into a number of the fans, their being struck down, close-up.

For Grand Prix and competition enthusiasts. For non-fans, a caution.

1. Based on a true story, characters? The actual Enzo Ferrari, his history, the situation in 1957, his company, marriage, relationship with Lina, his son? The Mille Miglia, the accident?
2. The film for an audience who loves racing cars, machines, memories of the 1950s, competitiveness? The human story and drama for those less interested in racing cars?
3. Modena, the city, homes, garages, historical buildings? The countryside in homes? The atmosphere and look of the 1950s, costumes and decor, television, the media? Racing cars? Europe in competitiveness?
4. The visualising of the races, the training, the testing, editing and pace, subjective angles for the audience, the races themselves, excitement? Dangers?
5. The initial accident, the driver thrown into the air, the crash? The race and the different crashes? The final disaster, the puncture of the tire, the hurtling of the car, the killing of so many spectators, the visuals of the bodies lying by the roadside?
6. Adam Driver as Ferrari, his age, the prologue and the newsreel of his driving, his company, set up with Laura, the competitions? 1957, the issues of money, Laura managing the business, the difficulties, prospects, financial advice, the breakdown of his marriage, with Lina, the son? Prospects of sale, negotiations with Ford, with attack on companies?
7. Enzo and Laura, the happy years, the death of their son at a young age, the visits to the cemetery the break, their discussions, the moment of passion, Laura and the business tangles? Enzo with Lina, his life with her, the secrecy, Laura not knowing, Paolo, his hopes in him, domestic life, the father-son relationship, the issue of getting the autograph from the driver? Lina, her character, their meeting during the war, her pregnancy, love, understanding, support? The move into Modena?
8. The range of drivers, checking the drivers, their personalities, qualifications, personal lives and relationships? Enzo and his somewhat detached manner, aloof, a man of ideas? Supervising?
9. The personalities of the drivers, the business associates, the variety of skills, personal lives?
10. The race, the buildup, choice of drivers, explanations, presentation to the media, the phone call from the businessman, Enzo setting the issue up but denying all responsibility and knowledge?
11. The drama of the race, the visual styles and editing? The horror of the accident, the driver, the mangled car, the number of spectators killed? The response of the media, the attack, scapegoating Enzo? The television interviews?
12. The examination of the car, the discovery of the puncture to the wheel? The discussions with Laura, her cashing the cheque, his feeling bitter, her explanations, not wanting him to be a scapegoat, lending him the money to fight the future?
13. The final information, the death of Laura, the death of Enzo, Lina and Paolo, Paolo and his place in the company? The success of the Ferrari company?

PAIN HUSTLERS

US, 2023, 123 minutes, Colour.

Emily Blunt, Chris Evans, Catherine O'Hara, Andy Garcia, Jay Duplass, Bryan D'Arcy James, Amit Shah, Chloe Coleman.

Directed by David Yates.

Here is a drama that focuses on the opioid crisis in the United States (and beyond). This is a fictionalised drama about a young woman, Liza, working in the club, with an ill daughter, who is propositioned by a businessman in the club, makes contact with him, looking for a job. She is played by Emily Blunt. He is played by Chris Evans.

Liza is shrewd, fabricates an education background, auditions well, especially with the founder of the company, Jack Neel, played by Andy Garcia. The company is just starting, producing drugs, looking for outlets, promoting the drugs with doctors, offering them benefits.

The drama shows how easy it is to be caught up in the enthusiasm of big profit, underestimating the moral approaches of the company directors. Liza find she has a flair for influencing doctors, a talent for plausible explanations. The film has an interesting supporting cast led by Catherine O’Hara who plays Liza’s mother who becomes involved with Dr Neel as well as becoming a member of the sales staff.

Ultimately, there are moral issues, doctors and their downfalls, arrests, exposures, court cases, prison.

Since 2020, the opioid epidemic, the proliferation of oxycodone and fentanyl, have become key to some documentaries, a television miniseries, other fiction films. The focus is on the Sackler family who developed the opioids with great business success but with moral challenges. Award-winning documentarist, Alex Gibney, probed this in The Crime of the Century. Celebrated photographer, Nan Golden, also made a devastating exploratory and accusing documentary, All the Beauty and the Bloodshed. Netflix also has a six part series, Painkiller, starring Matthew Broderick, a docudrama about the Sackler is. The theme was also present in the thriller, Crisis, with Gary Oldman.

Pain Hustlers is interesting and enjoyable as a drama – but, it raises the very important issues of opioids, medication, exploitation, financial interests.

(Direction by David Yates who made the last four Harry Potter films and the Fantastic Beasts series)

1. Based on true story and court cases? Other films on this theme?
2. The US, drugs, prescriptions, deaths? Investigations?
3. Florida, the atmosphere, homes, companies, officers, promotions, court? The musical score?
4. Liza Drake, agent background, living in the garage, her daughter, Phoebe, epilepsy? An exotic dancer? Her life and prospects? The encounter with Pete? The offer? Her being ousted and her car taken, at the motel?
5. Peter Brenner, customer, relationship with Liza, opportunist, his work for the company, with Jack Neel?
6. The company, Zanna, the situation, start-up, investors, money, drugs and marketing, contact with doctors on promotion?
7. Liza, meeting with Neel, Pete falsifying her resume, her qualifications? Jack Neel, accepting her? Setting a target, five days, her not achieving it, Phoebe and her seizures? The exploitation?
8. Dr Lydell, Liza and the meetings, listening to his discussions with the cancer patients, persuading him, invite him to speak, not a success? Pete and his continued persuasion, the growing number of clients, prescriptions?
9. The team, the range of recruits, the training, their mission, Jackie’s presence?
10. Exposure, Neel and his favours, Pete and the CEO recording discussions, the range of clients?
11. The role of Jackie, her relationship with her daughter, granddaughter, their interactions, the attraction to Jack Neel, the affair, sleeping with him, her becoming part of the team, her being fired?
12. Phoebe, the seizures, need for an operation, the situation, financial?
13. Liza and the death of her friend’s husband, hostility, the need for a further exposure?
14. Liza, her actions and decisions, taking the documents from Pete, Neel isolating himself, yet the exposure through the past emails?
15. The issue into more, its history in the US, the principals going to court, prison sentences?
16. Liza, 15 months in prison, getting out, with her mother, a new beginning?

WHEN POMEGRANATES HOWL

Australia, 2020, 80 minutes, Colour.

Arafat Faiz, Elham Ahmad Ayazi, Saeeda Saadat Andrew Quilty.

Directed by Granaz Moussavi.

This is a brief film with an Afghan setting, 2009, the American presence, the NATO presence, the threat of the Taliban and, the presence of journalists.

It was written and directed by Granaz Moussavi, Iranian born, living in Australia. Her previous film was My Teheran For Sale..

The screenplay is based on an actual incident, a NATO helicopter, a bomb, the death of two young boys. Filming took place in Kabul, capturing the atmosphere of Afghanistan during those war years. With locals participating, it has an authentic feel, homes and property, the streets, cart sales, and the contrast with fashionable shops.

At the centre is a young boy, Hewad, played with enormous test by Arafat Faiz. He is nine, his father has been killed in raids – and they use the word “martyred” – living with his mother, not wanting her to marry her brother-in-law who was present, and a very dominating grandmother who dotes on him. He is the breadwinner and so goes out after school to hire a cart and sell pomegranates, beetroot, balloons, as well as amulets specially made and with incense to ward off evil spirits for those who requested it. He is pushed on by other boys with their special space. But he moves around, selling where he can, paying off debts, bring home some money.

But, he has an ambition to be a movie star, having seen many Indian films. And the actor persuades us that he has a great desire to be an actor. He has friends, decides to audition them with role-plays in laughing, weeping, shooting each other falling dead…

An Australian photojournalist encounters him, takes photos, has them published in magazines around the world, introduces the boy to the camera, the boy taking photos of his family for the journalist. There are some tensions with bombings, and a shocking scene where Hewad is serving a group of women and girls who are participating in the dancing lesson, suddenly bombed, the women killed and wounded.

The journalist is wanting to buy some sneakers for his son, asks the boy’s advice and buys him a pair. He and his friends assemble, give up some payment, and are ready for the audition. Helicopter hovers overhead, and the boys are killed.

The journalist tries to pays respect to the family but is shouted at vehemently by the grandmother, the anguish of local people and their grief and anger at the presence of foreigners.

With a focus on the boy and the other children, this film is a reminder of so many fine films from Iran which feature children.

1. A story of Kabul, the 2000 is, the American presence, NATO, journalists, the Taliban, bombs and deaths?
2. Filmed in Kabul, the homes, the streets, the markets, the fashionable shops, the contrasts? Realistic atmosphere? Musical score?
3. The screenplay based on actual events, bombings, family members killed, the helicopters, the death of the two boys?
4. The writer-director, Iranian background, Australian background? Her perceptions of the story? Her interpretation of Afghan life in the 2000s?
5. Hewad and his story, age 9, his father’s death, at home with his grandmother and mother, little sister, his uncle’s presence, his not wanting him to marry his mother? School, friends? The breadwinner, hiring the cart, arriving late and the disputes about which cart to take, issues of money, shopkeepers, the demands? The cart, the pomegranates, balloons, beetroot, the sales in the street, the hostility of the boys wanting their space, his moving on? Late hours, coming home, love for his grandmother, her wanting him to go to school? The sadness of his mother?
6. Hewad and his ambitions to be a movie star, Indian films, the girl helping him drag the cart and promising her a mention? The friends, his talk, the movies, the auditions, the pretend camera, their laughing, their weeping, being shot and dying? His friendship with Navid, his assistant, and with the auditions, collecting the money from the boys?
7. The encounter with the photographer, Australian background, his interpreter? Hewad and his story, the promise of being photographed, getting the other boys ready, the journalist and the bombing, buying the shoes for his son, buying trainers for Hewad, his excitement? Hewad with the camera at home on the range of photos of his family?
8. Hewad, his personality, a lot of go, ambitions? The incense and the purification rituals, the women asking for them, his selling the amulets, going to the maker, marketing them, the woman at the door with only her arm outside?
9. The sequences of the women and girls dancing, bringing in the pomegranate juice, the joy and exhilaration? The bomb and deaths?
10. Playing in the square, the rehearsals for the filming, the helicopter, the dropping of the bomb, the two boys killed? The presence of the photographer, the outsiders in Afghanistan, some consequences?