Displaying items by tag: Peter Malone's Movie Reviews

SLANT

Australia, 2022, 113 minutes, Colour.

Michael Nikou, Sigrid Thornton, Elle Mandalis, Ryan A.Murphy, Kate Lister, Ra Chapman, Pia Miranda, Shannon Berry, Petra Yarred, Neal Pigot, Monique Fisher, Fabio Motta, Simeon Bisas

Directed by James Vinson.

By the end of this quite quirky film, a lot of black comedy, but underlying serious themes, audiences may well have quite a range of slants in their takes on the characters and how this story is told. At one stage, someone refers to characters and events as “weird”. And they are not wrong. At times, Slant is very weird – but strangely very watchable.

In an interview with the writer-star, Michael Nikou, he confirms some suspicions we might have as we watch the film. It seems that the writer was making it up as he went along, continually asking “what if…?” A 90° angle turn in plot, then a character backflip, 180°, 90° again so that we are not quite sure where we are being led. Michael Nouki says there were at least 17 drafts of the film which indicates that this “what if…?” was his mode of writing, making new decisions in character development (and fates) with each draft.

Actually, it all seems rather weird as the film opens, a focus on Derek Verity, an intense monologue of instant mood swings but suddenly his getting a life-saving journalist job, a harsh boss (and later surprise there), an ambitious rival, and eventually proving that he can create a slant on everything and insinuate himself everywhere.

And, Slant could be called a family film – a story of two families, dysfunctional to say the least. There is Derek’s family, his mother, Sigrid Thornton, an alcoholic ageing actress, his brother, Billy, looking a lot like John Candy, repressed, potential for breakout. Family secrets, clashes, fights…

The other family is that of a woman, socialite, who has disappeared, her husband accused of killing her, his defending himself, her sister, Elle Mandalis, embracing the press opportunity to make a statement. Pia Miranda appears as the other sister of the deceased woman.

To say, as some commentators have, that the plot is convoluted is something of an understatement. There are all kinds of scenes, often appearing out of nowhere, characters at an Al-Anon session creating pandemonium; a memorial for the deceased which erupts; Derek’s mother auditioning for a role, and a close-up of her reciting lines from Medea superimposed on actions of her children… You never know what is coming up next.

And, while there is an accusation of murder, there are some murders in fact, and some touches of the gory!

Good drama requires this ascension suspension of disbelief – and, while one might have shaken one’s head during Derek’s initial monologue, disbelief, head shaking increases exponentially as the film goes on, and, by the final 20 minutes or so, non-stop shaking head in disbelief.

So, one might say a bizarre cinema experience, a lot of talent behind the film and on screen, weirdly interesting and entertaining.

SERGIO LEONE: L’ITALIANO CHE INVENTO L’AMERICA/ THE MAN WHO INVENTED AMERICA

Italy, 2022, 107 minutes, Colour.

Interviews: Dario Argento, Darren Aronofvsky, Jacques Audiard, Damien Chazelle, Jennifer Connolly, Robert De Niro, Clint Eastwood, Christopher Frayling, Arnon Milchan, Frank Miller, Giuliano Montldo, Ennio Morricone, Martin Scorsese, Steven Spielberg, Quentin Tarantino, Giuseppe Tornatore, Carlo Verdone, Tsui Hark, Eli Wallach.

Directed by Francesco Zippel.

This is a cinema portrait of celebrated Italian director, Sergio Leone. It was produced by his children who appear in interviews, their reminiscences about their father, their presence on film sets and their experiences. Included in the interviewees is Sir Christopher Frayling, Leone’s biographer.

A sufficient review would simply be to point out the interviewees and their reputations and state that expectations are fulfilled, from interesting and entertaining anecdotes to professional comments on filmmaking and performance and directing.

Leone’s father was a film director and actor, out-of-favour in the Fascist era, but imbuing his son with a love of cinema, growing up with cinema, feeling that he should continue his father’s legacy. There is a lot of footage of Italy during that period and some home films of the family and excerpts from the older Leone’s films..

Leone worked as an assistant director during the 1950s, a great deal of practical experience, making his first feature film, The Colossus of Rhodes in 1960 (Leone explaining the ironies in the storytelling rather than straightforward mythmaking).

There are a great number of clips from each of Leone’s films, giving the audience the opportunity to remember, to appreciate his directing style, the photography, the landscapes, and insights given from the range of those commenting. There are many directors, some actors, but also extensive interviews with his work with composer, Ennio Morricone (and one can recommend the feature documentary made about him, Ennio).. There is also extensive interview material with his producer, Arnon Milchan, who brought Once Upon a Time in America to the screen.

Quentin Tarantino is his ebullient self, insightful comments from Scorsese and Spielberg, from a number of Italian directors, from Sin City cartoonist, Frank Miller, and, of course, from Clint Eastwood.

With the running time, the audience has a substantial amount of opportunity to spend with Leone himself, quite a number of interviews inserted throughout the film, appreciating his re-creating the myths of the American West, moving on from Ford and Hawks, but also his long quest to make his American saga.

By the end of the film admiration for Leone is renewed – or discovered and appreciated for the first time.

EL CONDE

Chile, 2023, 110 minutes, Black-and-white.

Jaime Vadell, Gloria Munchmeyer, Alfredo Castro, Paula Luchsinger, Stella Gonet, Catalina Guerra, Amparo Noguerra, Antonio Zegers, Marcial Tagle, Diego Munoz, Clemente Rodriguez.

Directed by Pablo Larrain.

If you came across a news item or headline about this latest film from distinguished Chilean director, Pablo Larraiin, the immediate reaction might be to wonder what has happened to his mind. You would read that he has decided to dramatise and interpret the dictator, Pinochet, as a vampire. And he has made the film, using Pinochet’s chosen description of himself as a Count, El Conde. Vampire Pinochet.

For older audiences who may remember the Pinochet years in Chile, from 1973 to 1989, at time of repression, thousands of disappeared, ruthlessness, and his avaricious acquiring of hidden wealth, the vampire analogy may not seem so absurd. Larrain himself was born in 1974 and so grew up during this period, and dramatised aspects of this in his films, Tony Manero and, especially his film about elections in the 1980s, No. (Audiences not familiar with his Chilean films will be interested to remember that he directed a portrait of Jackie Kennedy, Jackie with Natalie Portman, and, more recently, Spencer, Princess Diana played by Kristin Stewart.)

Does the analogy work? Pinochet, as played by Hymie the Dell who more than resembles the older Pinochet, is sinister and self-seeking. There is also a portrait of his wife, seen here as also avaricious, unfaithful, longing for her husband to bite her neck and vamp arise her, but he refuses. He has a sinister Igor equivalent, a Russian exile, fired or. And, later in the film, paralleling reality in 2007, his five children assembling to argue about his estate.

But, there is a voice-over, remarkably like the voice and intonations of Margaret Thatcher. Later, she will appear, and, no spoilers now, an interesting relationship with Pinochet, more than when he took refuge in England and had her sponsorship. In fact, the narrative goes back to pre--French revolution days, the young Pinochet dismayed by revolutionaries and wanting them putdown, upset at the death of Marie Antoinette, taking refuge in the desert mountains of Chile.

As we watch, it all becomes rather convincing, presented in stark black-and-white, Pinochet in the desert, but with a capacity for flying over the terrain. And, as if this isn’t enough, a nun is sent to probe the doubledealing finances, but experiences more than she bargained for.

As said, for audiences who remember the period, a challenging opportunity to remember, to be disgusted at the violence and inhumanity of the dictator. For younger audiences, an opportunity to find out something about these tragic moments in Chilean history.

1. The premise that Pinochet was a vampire? Credible/preposterous? The imaginative treatment?
2. The work of the director, Chilean, his age, the experience of the Pinochet regime, his films, critical of Pinochet, the dramatising of Chile during that era, the aftermath? This film is a later condemnation of Pinochet, as a person, his ambitions, government, corruption, finance, cruelty, murders?
3. The black-and-white photography, the 18^th century, the Chilean desert, interiors, the elaborate basement of the Desert house? The musical score? Moments of colour at the end?
4. The narration, the Margaret Thatcher voice and intonations? The revelation about Margaret Thatcher as a character, her coming to the Desert house, the confrontation, the revelation about her being Pinochet’s mother?
5. Going back to the 18^th century, the birth of Pinochet, revolutionary France, friendship with Marie Antoinette, her execution, his determination against uprisings and rebels? His vampire behaviour, blood, women, victims?
6. Disappearing, reappearing in Chile, the 1960s and 1970s, the Socialist government, Allende, Pinochet and his rise, the coup, the American support? The change of regime? The next 17 years?
7. Pinochet and his wife, her support, with him in the desert, her ambitions? Wanting to become a vampire? Her relationship with Fyador? The liaison, the power struggle, confrontations with her husband? His knowing the truth?
8. Pinochet, wanting to die, his experiences of living, of being a vampire, weary? Yet still calculating? Not revamp your eyes in his wife?
9. The story of come and cheater, the conference, the discussions, singing, the choice of Carmen? Being sent to Pinochet? Financial issues? To bring him down? Taking of the habit, travelling to the desert, the encounters with Pinochet, his being charmed, her examining the books, the encounter with Pinochet’s children, with his wife, the threats about the money? The relationship with Pinochet, becoming a vampire? Her ability to fly, through the skies, over the earth? The reaction of his children, his wife, death?
10. Financial issues, the early 20^th century, Chile, government, examination of fraud, charging of Pinochet’s children? Their arrival, the different personalities, their meetings, discussions, taunts, controls? Wary of Carmen? The revelations about the financial situation?
11. Fyodor, his behaviour, obsequious service of Pinochet, yet with his wife, behind his back, the basement, the contents, the power?
12. Pinochet, his ability to fly, over the land, into the sky, the exhilaration?
13. The end of his empire, Fyodor, Pinochet’s wife, vampire, confrontation, destruction?
14. The arrival of Margaret Thatcher, her taking control, her prime ministerial manner, voice and intonation, clothes, coming to the desert, taking control, the revelation about Pinochet being her son, the flashbacks to the 18^th century, her wanting her son back?
15. The colour at the end, the change of tone, giving the audience the chance to reflect on their experience and this insight into the character, behaviour, dictatorship of Pinochet?

STELLA. A LIFE

Germany, 2023, 120 minutes, Colour.

Paula Beer, Jannis Niewohner, Katja Riemann, Damian Hardung, Lukas Miko, Nikolai Will, Ulrich Schmissat, Bekim Latifi.

Directed by Kilian Riedhoff.

Perhaps there should be a question mark after the word “Life” in the title. Yes, this is something of a portrait of Stella, but the question of whether she really had a good life.

There have been many films, of course, about life in Europe from 1939 to 1945, and a good many films showing life in Berlin at the time. An interesting comparison would be the Polish film, Filip. Both are about Jews surviving in Berlin.

Award-winner, Paula Beer (Frantz, Undine) plays Stella, something of a goodtime girl even during the difficult circumstances of 1940, singing with a group, a love of jazz, performing such songs as Let’s Misbehave, rather self-preoccupied, prone to admire herself lovingly in mirrors, bossy with the group, and rather unsympathetic to the young musician upset because his father has been imprisoned. Stella lives with her doting parents. The group do very well gig, perhaps even despite the persecution of the Jews, the world could be opening up for Stella.

Transition to 1943. The world has not opened up. There is Stella, her mother, other friends, working in a German factory, wearing their identification, Jewish star. Most of the film takes place in this 1943, focusing on how Stella deals with the difficult situation, her ambitions, her desire for freedom, has some concern for her husband, greater concern for her parents. She does not look Jewish – rather, blonde hair Aryan. Going out at night, removing the star, flirting with the enemy, making contacts with a Jewish underground, becoming more involved in the forging of passports, and sales.

She has to move from accommodation to accommodation, relying on friends’ support, and for her parents. At one stage, there is a raid in the factory, a sympathetic supervisor letting Stella escape with her parents but has seeing her husband taken off to Auschwitz.

And this is where Stella’s life changes – for her better? Or her worse? Betrayed by a friend to the Gestapo, she is interrogated, treated brutally. However, Stella has been an opportunist and this is what happens to her life, trying to save her parents and herself, appearing in public places, identifying Jews, reporting them, and their being arrested. So, whatever sympathy we had for Stella, diminishes – and audiences will be dismayed at her behaviour, her motivations. She callously betrays friends.

After a long close-up of Stella, 1943, the film suddenly transitions to 1957 to a trial (and there were initial indications that this story was based on trial proceedings). Stella is in court, so many of those she betrayed calling for her punishment, and a sympathetic visit from Aaron who shared the musical experience in 1940, he now in the US with an African-American wife and child, a test case of whether Stella can still elicit sympathy no matter what she has done.

It is really here that the film ends although there is a sequence in 1984, some information about 1994, leaving the audiences thinking about Stella. A Life – or Life?

1. The title, the focus on Stella, a question mark about her life and its significance?
2. A World War II story, the Nazis, the Gestapo, the Jews, concentration camps, industry and work, arrests, questioning and torture?
3. A variation on this theme, Stella, Jewish, in Berlin, 1940, her parents, her ambitions, singing, the US, jazz? Threats, working in the factory, her marriage, her fearful husband, her attempts to survive, connections, passports, sales, becoming more involved, the military and Gestapo connections, the decision to betray the other Jews? The consequences, despised, and the Russian prison, 10 years, TB, the trial in 1957, her freedom, the glimpse in 1984, attempted suicide, final information about suicide in 1994?
4. The re-creation of Berlin in the 1940s, the streets and buildings, costumes and decor for the period? Homes, factories, apartments? The streets, night, the clubs? Gestapo headquarters?
5. The portrait of Stella, age, dressing, touches of vanity, kissing the mirror, the rehearsals, with Fred, putting off his adventures, the swim, the rehearsals, Fred’s fear about his parents, her moodiness, threatening to cancel, the bonds with the rest of the group? The night, the performance, Let’s Misbehave, success? Yet the Jewish tensions? Aaron being happy to talk about jazz, America?
6. The transition to 1943, the work in the factory, the effect on Stella, the survival of the parents, difficulties of accommodation, food stamps? Having to move? Stella and the connection in the factory, enabling an escape from the Gestapo? Moving accommodation? And the bond with her parents?
7. Stella, removing the star, make up, passing for Aryan, out in the night, the fresh air, the encounter with the military man, leading him on, the later sexual encounter, pretending that she was an actress? At home, her husband and his fears? Her friends, the link with Johnny, Rolf, the issue of the passports, the secret meetings, the older man and later setting him up for the rest and his appearance at her trial? Her playing people off the other? Passports, concealing newspapers, photos? Her becoming more and more involved? And the sexual relationship with Rolf? Money, manipulating people for higher payments?
8. The raids, Fred being taken to Auschwitz, her grief? Fears for her parents, survival? The link with the Gestapo, her encounter with Inge, others of the group, her betrayal, the arrest, the interrogation, the brutality and torture? The effect on her, her agreement to spy, walking the streets, making connections, informing the Gestapo? Her friends, the friend with the baby? The mother throwing herself from the balcony? Pretending that Inge was the traitor?
9. Time passing, the effect on Stella, of the Gestapo boss, relying on her, the threats for her parents, promising that they would go to Theresienstadt, the music, his dancing with her?
10. Her compromises, her downfall, her character, vanity, survival?
11. 1957, in court, still looking glamorous, the charges, all the witnesses in their condemnation of her, her story about the Russian camp, TB? Aaron and his presence, their memories of the past, music, America, his marriage, his African-American wife, child? The meeting in the restaurant, her self-justification, challenging him, his walking out on her?
12. The judgement of the court, time served, her being free – her relief, the uproar?
13. The postscript, 1984, dressing up, the mirror and make up, throwing herself from the balcony? The later information that she survived, her death in 1994, suicide?
14. The final notes of the film, the situation of the Jews, the Nazis, persecution, the camps, decisions, survival, responsibility and blame?

O.G.

US, 2018, 113 minutes, Colour.

Jeffrey Wright, Theothus Carter, William Fichtner, Boyd Holbrook, Mare Winningham, David Patrick Kelly, Yul Vazquez.

Directed by Madeleine Sackler.

O.G. stands for Original Gangsta.

This is a very serious film about prison life. It was filmed on an actual prison and many of the cast are prisoners rather than actors, including The authors Carter who plays Beecher.

However, the focus of attention is Louis, played effectively by Jeffrey Wright. He committed a crime, a murder during a robbery when he was young and has spent 24 years in prison, good conduct, and now promoted for parole. These are the final weeks of his prison sentence and he is trying to keep his record clean.

There are groups in the prison, drug dealing, partisans, the young newcomer, Beecher, tempted to join the gang but taken on by Louis to persuade him not to. Louis gets him job in the car machine department where he works.

There are the expected scenes of prison life, interactions, cells, the yard… There are also scenes with the guards, especially Louis and a sympathetic guard played by William Fichtner.

The film was directed by documentary maker, Madeleine Sackler. She belongs to the Sackler family very much involved in the promotion of OxyContin and the various trials against the family. There are some adverse blog comments about the money for the making of this film from her family and other derogatory remarks about them. (See the documentary, The Crime of the Century, directed by Alex Gibney and All the Beauty and Bloodshed, directed by Laura Poitras.)

Be that as it may, this is a strong documentary portraying American prison life.

1. An American prison film? Fiction? Documentary aspects?
2. The prison location, cells, offices, dining, the yard, mechanic shop…? The musical score?
3. Jeffrey Wright as Louis? 24 years in prison? The effect? The exploration of his character, survival in prison, lessening of his sentence, possibility for parole? His concern about his final weeks? His life in prison, the routines, the discussions with the guards, his work as a mechanic, his friends in the shop? Beecher and his arrival, the gangs in the prison, Louis fighting Beecher, wanting to save him, his explanations? The activities of the gang, drug importation? The authorities and severe interrogation of Louis? Calling him in, strict search? Humiliation? His discussions with Beecher, getting the job? The confrontation in the shop, shouting about the gun, the guards coming in, the falling of the attempt?
4. Louis, the recollections about the crime, the robbery, his shooting? The attempt restorative justice, his agreeing, the facilitators in the prison and the meetings? The sister of the victim, his apologies, her not being able to agree to his release?
5. The guards, their work, Danvers, friendship, interrogating and threatening Louis, the final farewell? The referral authorities, severe attitudes and interrogations?
6. Beecher, crime, in prison, to be with the gang in the prison, the effect of Louis and his intervention?
7. Louis, the final weeks, the dreams of freedom, waking again, the final, the clothes, his box, walking free?

THE CREATOR

US, 2023, 133 minutes, Colour.

John David Washington, Madeleine Yuna Vouyles, Gemma Chan, Alison Janney, Ken Watanabe, Sturgeon Sampson, Amar Chadha Patel, Ralph Ineson.

Directed by Gareth Edwards.

The Creator is a vast, visually impressive drama of the future, the development of AI, sophisticated robotics, robots with personality and parallel human functions, harmony with the humans – or hostility. It is the creative work of writer-director, Gareth Edwards (Monsters,). In many ways it is visionary.

Overall, the audience is overwhelmed by being immersed in this future, 2067-2070, extraordinary locations, the vastness of Los Angeles destroyed by hostile AI forces, millions destroyed, Americans determined to wipe out AI. However, robotics is flourishing in what is called New Asia, humans living in harmony with the AI. Much of the filming was done in Thailand, in the rice fields, wonderful visual overviews, the crags emerging from the coastal waters, supplementary filming in Korea, Cambodia, and for spectacular mountain sequences, Nepal. There is a vastness about these landscapes.

But with the screenplay, there is a challenge to the audiences, the need for serious attention to determine who is who, who is on whose side, who are the enemies, who are the destructive forces, the American military? The AI weaponry? Some may find this challenge too much.

But, in this future, the robots can be distinguished with a literal hole in the head. The robots otherwise look human, act in a very human way. But, at the core of the film is the mysterious Creator with a mystique from Nepal. However, American intelligence indicates that the AI enemies have a mysterious weapon capable of complete destruction.

Also at the centre, is a human story, a focus on Joshua, John David Washington, undercover American agent in New Asia, married to a local wife, she pregnant. And then an American invasion, Joshua’s cover blown, his wife disappearing, his returning to LA and working for the government. Five years later he is approached to return to new Asia to find the mysterious weapon and to kill the mastermind creating AI.

In fact, the weapon is a mysterious child (mother Madeleine Yuna Voyles), hole in the head, very human (delighting in television cartoons), but with complete powers of control. All the rest of the screenplay is somewhat overwhelming in the confrontation between American forces, led by quite a fierce colonel, played by Alison Janney, backed by sinister authorities in Washington, but it is also very personal, Joshua and Alphie, as he calls her, escaping together, pursued, taken aboard an immense, really vast, airborne machine of surveillance, pursuit, heroics, sacrifice.

Enthusiasts for dramas about the human future, about the role of AI, will enjoy it is sometimes overwhelming drama. Audiences who prefer to focus on the present might find it too much.

1. The title? A world of AI? The Nepalese word and title?
2. Audience interest in AI, robotics, the past, the future? Human collaboration? Human hostility?
3. 2067, 2070? The US, AI and human dependence, the devastation in Los Angeles? The promotion of AI in New Asia? The US wanting to destroy AI? Surviving in New Asia?
4. The visuals of the future world, the wreckage of Los Angeles, the villages of New Asia (filming in Thailand, the rice fields, the coasts and crags, Cambodia, Korea, the mountains of Nepal)?
5. The technology, the robotics, human form, human functions, expressions of emotions, relationships? Weapons? The child as a weapon? And the huge airborne surveillance?
6. The screenplay, elaborating the situation, challenged to audiences as to who is who, who is on whose side, who are the humans, who are the robots? The nature of the confrontations and battles?
7. Joshua, the American government, undercover, his relationship with Maya, her pregnancy? Hopes? The invasion, blowing his cover, Maya and the confrontation, her disappearance?
8. Joshua in LA, the authorities, coming to him, drawing on his undercover experience in New Asia, his being sent in to find the AI weapon?
9. Joshua, his personality, regrets about his wife, her disappearance, the pregnancy, five years passing? The discovery of the weapon, the Creation? His searching for her, finding her, bonding, her name, the shared experiences, the risks? The protection? In New Asia, the American invasion, Col Howell and her hostility? The other Americans?
10. The people of new Asia, the robots in harmony with the humans, working the fields, protection? Support of Joshua? The religious backgrounds?
11. Colonel Howell, her personality, determination, her subordinates? Her tactics? Relationship with the authorities in Washington?
12. Joshua, calling the child Alphie, the attack, the pursuit, in the vehicles, the fights, the weaponry? The national surveillance overhead?
13. The Americans, the wounded, the appeal to Joshua? The implants, the recordings, Howell and her listening to the mind of the dead man, limited? The changes of appearances – and, in the AI world, the robots and their possibility of changing faces? Mayar’s face?
14. The buildup to the climax, aboard the floating surveillance, the chases, vastness, Joshua and his ingenuity, relying on Alfie and her powers, turning power on and off?
15. The finale, the explosions, the talk about heaven, for good persons, Joshua and his self-sacrifice?
16. Howelll, destruction, the floating surveillance?
17. The American attitudes, the Washington authority and commands, defeated? The people of New Asia continuing on in harmony?
18. The vision of the director, the future, technology, humanity?

O MATADOR/ THE KILLER

Brazil, 2017, 99 minutes, Colour.

Diogo Morgado, Will Roberts, Etienne Chicot, Maria de Medeiros.

Directed by Marcelo Galvao.

This is a brutal and grim Western – but a Brazilian Western, a Brazilian version of spaghetti Western with whatever culinary title would be appropriate.

The film is very distinctive in its north Brazil desert settings, the small towns, the outlying houses, and the contrasting mansions of the wealthy. The story opens in 1910 but the main action taking place in the 1930s and 1940s – various glimpses of bikes, cars, planes, but still very much looking like a 19^th century landscape and situation.

The film opens with a man travelling with two children, today in by suspicious looking types, telling them here’s good at telling stories. And he does, meaning that the film relies on the narrative voice-over to help audiences know what is going on (and, it is often quite complex and difficult to follow), the action and characters just dramatising what has been said.

The film focuses on abandoned baby, cared for by a gunslinger Seven Years (a bizarre necklace of seven years from his victims). The boy grows up in isolation. When Seven Years leaves and doesn’t return, the boy ventures into the world, experiencing violence instantly, puzzled by pressures stones but eager to have them, discovering sex with prostitutes. He also confronts the local landowner, a ruthless Frenchman, with an aristocratic wife and a dilettante his son. The killer has no hesitation in shooting people and is soon employed by the Frenchman to kill off all rivals and those who refuse to sell that land to him.

Then, there is something of a D talk, a focus on a landowner whose wife and child are brutally killed (the treatment of women in the film is harsh and misogynistic) and seeks revenge, confronting the dapper lead rest bespectacled, continually washing his hands, administrator of the law. And he is brutal to his wife and cousin. Eventually, confrontations, shootings, and the landowning Frenchman asserting himself.

The latter part of the film, the killer discovers that he has a young son, awkward in dealing with him, the son wanting to accompany his father, growing dangers, the father putting his son on a train to the furthest destination, a shootout and his being wounded.

And, with a twist, it emerges that the narrator of the story is that son.

Of casting interest, the killer is played by Portuguese actor, Diogo Morgado, who was quite effective as Jesus Christ in The Bible television series and in the edited film version, Son of God. The Frenchman’s wife is played by Maria de Medeiros, prominent in many films over the decades, including Pulp Fiction.

For audiences interested in the variety of westerns, especially those outside the United States, but may bewilder to women violent for ordinary audiences.

MY SAILOR, MY LOVE

Ireland/Finland, 2022, 103 minutes, Colour.

James Cosmo, Brid Brennan, Catherine Walker.

Directed by Klaus Haro.

Here is a drama that can be recommended for the older target audience, audiences who have many memories that they can draw on, happiness, regrets, unhappiness, hopes.

It is a co-production between Ireland and Finland, but with Irish characters and an Irish setting, the beauty of the County Mayo Coast and Islands, mostly overcast and cloudy, perhaps symbolic of the lives that the people lead.

At the centre of the film is an old sea captain, Howard, played by veteran character actor over the years, James Cosmo. He has retired but has many memories of his days at sea, sad memories of the death of his wife, abrupt and sometimes resentful of the care from his daughter, Grace (Catherine Walker). He does have two other sons but they turn up only for his birthday. He is gruff, self-contained, but, in some surprising moments, we see him telling fanciful adventure stories to the delight of some little girls of the family at the local pub.

So far, some identification with Howard, but wariness about him and his gruffness. His exasperated daughter arranges for a local woman, Annie (Brid Brennan) to come twice a week for housekeeping – and she is almost immediately ousted by Howard. We like Annie, her daughters working at the pub, the little grandchildren, and are pained when she is treated so badly. But, fortunately, Howard comes to his senses, get some flowers, comes to apologise to Annie who lets him know how hurt she is.

But, she does come back, Howard mellows (perhaps a bit too dramatically quickly for the film) but, it is a joy to see him come alive, share so much with Annie, she hearing his story and the death of his wife, he hearing her unhappy marriage and her husband’s death. We are very happy to see them both so joyful, sharing so much, he come alive again.

Parallel to this story is Grace’s own story, a marriage which is breaking, her going to therapy and not finding it helpful, her work at the hospital and her being fired, her paying attention to her father, employing Annie, and, perhaps to be expected but regrettably so, her bad reaction to finding the bond between Annie and her father, denouncing her father as a self-centred man in the past, suggesting that he is exploiting Annie.

All of us who have had sadness in the past in our lives will be caught in the emotional crossfire, empathising with one, emphasising with another, trying to understand what is going on.

We get to like Howard very much, even as we acknowledge his being away from his family at sea, even more so as the years passed, the teenage Grace looking after her mother, welcoming her father home, a sense of obligation to care for him in his age and health situation. And we get to like Annie, her joy in her experience of getting to know and love Howard.

So, here is a film that can be recommended to an older audience, no off-putting violence, sex, language, the film having a PG rating because of mature themes.

1. An Irish story? Finland collaboration?
2. A film for older audiences, identification with the characters, their situations, crises, regrets, loves, hopes?
3. County Mayo, the coast, the Bay, the Ireland? Overcast, clouds? Atmosphere? The musical score?
4. The focus on Howard, James Cosmo’s presence, his life as a sea captain, away from home, relationship with his wife, distance, reluctance to come home, the death of his wife, Grace, looking after her mother, waiting for her father, his having to retire, health, living alone, grumpy, crossword puzzles, Grace trying to care for him?
5. Grace, her story, as a child, home from school, looking after her mother, her mother is drowning? A yearning for her father? His absences? Her marriage, the tensions, her mental state, illness, the support group, the other members, the therapy, the leader, Grace and her dissatisfaction, walking out? The tension with her husband, his further job, to go to Munich, the selling of the house, the visit of the estate agent, Grace and her resentment? Her work at the hospital, kindly with the patients? And needing time to care for her father? Her being fired? Getting the further job, with the other nurses? Her husband leaving, the empty house?
6. Grace employing Annie, Annie and her age, her later telling her story, her aggressive husband and his death, her daughters, marriages, the grandchildren, Julie? Work at the hotel? Annie, agreeing to work for Howard, getting the bus, going to the house, preparing the meal, his treatment of her, to never darken his door again? Her being hurt?
7. Howard, change of heart, the flowers, going to apologise to Annie, her reluctance? Howard and the grandchildren, telling the stories of the gorilla? The delighted response?
8. Annie, her return, cooking the meal, Howard setting the place for her, eating together, his change of heart, inviting her to return? The return, cleaning the house, discovering the weaving machine and repairing it, his inviting her to stay, talking with her daughters, her coming, rearranging house, the photos of her family? Going for drives? The bond between them?
9. Howard, the reason for his retirement, concealing it, his turn, the need for a checkup, his covering it over as blood pressure?
10. Grace, arriving, the discovery, upset, the confrontation with the father, confrontation with grace, telling Annie that her father was completely self-centred? The contrast with his behaviour with Annie, the family, joyful in celebration, Grace upset?
11. Annie leaving, Grace coming in wanting to stay, having now home, her father’s reaction?
12. His collapse, hospital, the truth about his illness? Grace planning for him to be at home? Annie and the visit to the hospital? After keeping away? Grace at the hospital?
13. Howard, the recuperation, and his visit, the proposal, the happiness?
14. Howard’s death, and he with him, Grace’s reaction?
15. Grace, coming to terms with her own life, deprivations, her attitude towards her father, love, need? The reconciliation with Annie?

A DAY AND A HALF

Sweden, 2023, 94 minutes, Colour.

Alexej Manvelov, Alma Posti, Fares Fares.

Directed by Fares Fares.

This is a very interesting film on domestic violence, coming from Sweden, cowritten and directed by the Swedish actor, Fares Fares (born in Lebanon on but coming to Sweden with his family in his early years, a strong performance in Cairo Conspiracy). Fares also stars as the mediating policeman.

The day and a half of the title refers to a disturbed husband coming into a hospital to confront his wife, accusing her of infidelity, of taking his child from him. He creates a scene in the hospital, the police are called, he takes his wife hostage. This is a very strong beginning, the mad look of the husband, more revelations about his past and domestic violence, his infidelity with a Thai woman, his wife leaving him and sending their daughter to her parents.

The mediator is called in and he drives the couple, the husband pointing a gun always at his wife, first to her parents’ home to get the child, a violent confrontation with the racist father and condemning mother, then an attempt to get a plane to Albania from where the husband comes, then the possibility of a ferry to Poland.

Stories are revealed during the long journey, day and night, morning. The mediator, always in contact with the police, prefers to be a listener, suggestions, more gentle, telling his own story and his own failings – which does lead to a moving moment where the harassed husband offers his phone for the mediator to phone his young alienated son for his 13^th birthday.

In many ways, the film is quite calm in its presentation of harsh and violent domestic troubles, the role of the mediator as a listener enabling the violent man possibly to become calm. And he is able to mediate some possibilities for forgiveness and reconciliation.

1. The title, the timespan, the initial confrontation and abduction, the journey, the final resolution?
2. The Swedish settings, the hospital, the police, on the road, the various landmarks, the different countrysides, near the airport, near the ferry? The musical score?
3. The credibility of the plot, domestic violence, tensions in marriage, mental illness, infidelities, children?
4. Lukas, the police, the mediator, his style of intervention, no weapons, friendly, not confrontative, engaging in conversation, enabling expression of feelings, making judgements to avoid violence, driving the car, contact with the other police, speaking frankly? Listening to the story, care for the wife? Eventually telling his own story, his limitations, infidelity, his son’s 13^th birthday, the phone call? His psychological skills in dealing with Artan? Care for Louise? Taking the couple to Louise’s parents, getting the child, the interaction, the father’s racism, the violence? Eventually following the possibilities, the plane, government officials, the ferry? The issue of Artan and not being able to travel? Artan getting him to get the coffee, his standing and observing the finale? Looking at Artan, looking at Louise? A sympathetic character, with limitations, skills, and the tears after the phone call to his son?
5. Artan and his story, Albanian migration, in Sweden, his marriage to Louise, the birth of the child and his devotion, his not understanding or appreciating Louise, her physical health, mental health, dominating, his infidelity with the Thai woman? His arrival of the hospital, his state of mind, emotions, demanding, the gun, the receptionist and her businesslike manner and his terrorising her, pushing her to the floor? The others in the waiting room? His not being able to wait, with his number?
6. Louise, her story, work in the hospital, the pregnancy, after the birth, love for her daughter, her husband’s treatment, the fact that he had charges of violence against him, his infidelity, her taking the children to her parents?
7. The gun, the situation, trying to escape from the hospital, the hostage situation, the phone calls, the police, Lukas arriving, his reaction to Lukas, keeping the gun always on his wife? The desperation, wanting a plane, his demands, Lukas seeming to agree with them, the phone calls, the continual contact with the police, Zzrtan hearing this? The car, the cloth at the back, the bystanders, the media, speculation?
8. The long journey, the hours passing, Lucas driving, Louise at the back, always with the gun, Artan and his desperation, his eyes? The gradual unfolding of the story, Louise and her experience, point of view? Artan and his defence of himself?
9. At her parents’ place, getting the child, tending it, the discussions with the father, his attitude towards Artan, Louise’s mother, even more severe, denouncing her daughter? The fight?
10. The possibility of a flight? Permission granted? The possibility of the ferry to Poland? Moving towards the sea?
11. The contingent of police following, the national group? The cyclist giving the food through the window?
12. The discomfort of the trip, the cup for your own, hunger, tension?
13. The arrival of the ferry, Artan giving Lukas the phone to phone his son, listening to the phone call, Lucas and his tears? Artan, the move taught surrender, emptying the gun, throwing it out the window? Telling Lucas to get the coffee?
14. The final talking between Lucas and Artan, his getting out, the police swooping on him, taking him away?
15. A dramatisation of contemporary domestic violence?

THE OFFERING

UK/US, 2022, 93 minutes, Colour.

Nick Blood, Emily Wiseman, Paul Kaye, Allan Corduner, Daniel Bens Zenou.

Directed by Oliver Park.

A small British horror film with a British cast, especially with veterans Paul Kaye (many episodes of Vera) and Allan Corduner (Sullivan in Mike Leigh's Topsy-Turvy).

However, the film was shot in Bulgaria and has a Brooklyn, New York setting. It also has a Jewish Orthodox setting which makes it seem more exotic than the regular horror films.

It opens very directly with an elderly Jewish gentleman subject to rituals, trying to be with his wife, a demonic appearance. The main part of the story concerns the son of an older, and the blood, returning to Brooklyn and his father with his British wife, Emily Wiseman, not Jewish. The father, played by Alan Corduner, conducts autopsies – and there are sinister happenings with the examination of the old dead man’s corpse. There is also the sardonic assistant, played by Paul Kaye.

There are various nightmares, especially on the part of the wife, and appearance of the dead man’s wife confronting the British woman, mysterious appearances, ritual explanations and ceremonies, circles… As well is a financial difficult background though ultimately, not much is made of that.

And, contrary to anticipation, the ending of the film is very grim.

1. A British horror film, the New York Brooklyn setting, filmed in Bulgaria, the British cast?
2. The title, the opening sequence, the old man, the eerie room, his rituals, the death of his wife, daughter, wanting them back, the Circle, the signs, the appearance of the creature? His death, taken to the morgue?
3. The Brooklyn settings, New York, the bridge, the river, the streets, the house, the Orthodox setting, rituals, prayer, gatherings? The morgue, autopsies, atmosphere? Musical score?
4. The Orthodox setting, Jewish history, religion, rituals, leaders? Mythologies?
5. The narrative, Arthur and Claire, returning from England, he returning home, American, she British, giving up her job, pregnant? Not Jewish? The background of financial dealings, the house, losing jobs? Saul welcoming them into the house?
6. Saul, his leadership, autopsies, widower, at prayer, his rituals? Attitude towards his son? Welcoming – but others memories of the past and the severity of his father? Leaving home? Saul and his kindly attitudes towards Claire and her pregnancy?
7. Arthur, the autopsy, the dead man, his story, disfigurements, atmosphere and its effect on Arthur?
8. Heimish, his character, working with the autopsy, antagonism towards Arthur, his remarks, criticisms? Sardonic? His getting the message from Arthur’s financial adviser, denouncing Arthur, showing the message to Saul? Arthur, his reaction, Claire and her surprise, her being accused of complicity? Confrontation with her husband?
9. The body, the odd happenings, his being infected? His father, with the body, and the sudden death of his father? Heimish, his help, calling in Chaim, his knowledge, information, and his death?
10. The atmosphere, evil possession, demonic presence, the appearance of the girl, Claire seen her at the wake, behind the curtain, disappearing? Are appearing to Arthur? Claire, her nightmares?
11. Arthur, more and more involved, Heimish and his help? The threats to Claire, the appearance of the old man’s wife, apparition, seeming real, ghostly, the threats to Claire under the table, Arthur trying to rescue, the repetition of the action?
12. The final confrontation and build up? The evil presence, the threats – and the pessimistic ending?