TRIANGLE OF SADNESS

Sweden, 2022, 138 minutes, Colour.

Harrison Dickinson, Charlbi Dean, Vicki Berlin, Dolly De Leon, Alicia Eriksson, Woody Harrelson, Zlatko Buric, Sunnyi Melles, Amanda Walker, Oliver Ford Davies.

Directed by Ruben Ostlund.

When Carl, Harris Dickinson, auditions with a group of young men for commercials, someone says that the triangle of sadness is the part of one's face between the eyebrows, where it is believed that a person's stress and worry levels are apparent. Since we do get many close-ups of the range of characters in Triangle of Sadness, we see many stress and worry levels.

Ruben Ostlund, with his films Force Majeure, The Square, came to international attention, winning at Cannes with The Square and then with Triangle of Sadness, 2022. Ostlund is something of an iconoclastic writer and director, more than a touch of cynicism in his portrayal of the struggles between rich and poor, the battle of the classes. Which is key to understanding this film.

Ostlund does not worry as to whether his audience will be always on his wavelength, always following what is going on, but takes them wherever his imagination takes him – however wild (and, with his now-famous 18 minute vomiting sequence in the middle of the film), it veers in unexpected directions. And, worth noting, when asked about the ending of the film where, it seems, it just stops, he replied that he had not yet made up his mind! So, for audiences on this wavelength, quite an unexpected challenging entertainment.

Quite a deal of time is spent with the two young characters, Carl and Yaya (Charlbi Dean), he the model, she a glamorous “influencer”. In fact, the first part of the film is their squabble in a restaurant as to who will pay the bill, she seeming to have promised but casually avoiding it, he becoming more and more obsessive about principle, about men and women, rights, duties. He can’t let it go.

However, while they are still present throughout the film significantly, they become part of a larger cast on a luxury cruise, the core of the film. Actually, there are three levels of class: the first class wealthy passengers (for some, wealthy an understatement), including Carl and Yaya their trip is being sponsored; then there is the crew, at the beck and call of passengers, always saying “yes”, even when a drunken wife insists that all the crew go for a swim, using the slide into the ocean (and the answer is “yes”). But, below decks, other menial servants, the toilet cleaners and sweepers, mainly Asian.

The captain, Woody Harrelson, an alleged Marxist, is drunk and refuses to leave his cabin until the captain’s dinner. There is a bloated Russian oligarch who sells fertiliser and has made a mint, his wife. There is a rich man, very rich, from IT. There is a German with his wife who has suffered a stroke and who can only call out in German. And there is a very proper uppercrust British couple, Amanda Walker and Oliver Ford Davies (named, ironically, Winston and Clementine) who are revealed to be weapons merchants, grenades and landmines, talking business as if they were producing cheese.

So, satire on the wealthy. And, then the captain’s dinner, the lavish seven courses, the infections, the vomiting, the sewage overflowing, the oligarch arguing Marxism versus Communism with the Captain, and telling passengers that the boat was going down (and then relenting). But, in fact, the yacht is invaded by pirates, an explosion, and the yacht goes down.

An island for the third part. Only a few survivors. Mainly passengers, including Carl and Yaya and the oligarch, Paula, the head of the staff crew, and Abigail, one of the cleaners. Roles reversed. Abigail able to light fires, catch fish, take control, even decide to take Carl as a lover. Definitely roles reversed – and an effective performance by Dolly De Leon from the Philippines.

There is some drama with each of the characters, between Carl and his liaison with Abigail tormenting Yaya, the fact that one of the pirates has survived, Paula still in working mode but subordinate to Abigail.

A melodramatic buildup towards the end, Abigail and Yaya climbing the mountains, Yaya and a huge stone approaching Abigail – and then a revelation. What would happen? What did happen? And a final glimpse of Carl racing through the jungle. Final credits.

1. The title, the face, the space between the brows? In reference to this film, characters and action?
2. The director, perceptions of society, sardonic, critical, the touch of cynicism? Awards for this film?
3. The settings, ordinary European settings, modelling, fashion world, apartments, restaurants? The yacht, luxurious, exteriors, interiors? The island, tropical, vegetation, survival? The musical score, songs?
4. The structure of the film, the different chapters and emphases?
5. The introduction, the models, the various poses and faces, Carl within this world? Interviews, the panel, expressions, walking, rhythms? Car throughout the film, his relationship with Yaya, the long squabble about the payment, on the yacht, with the other guests, surviving on the island? Abigail and her demands on Carl? Yaya’s reactions?
6. The chapter on Carl and Yaya, their being a couple, the running time is spent in the restaurant, the aftermath of the meal, Carl and his being anxious, Yaya casual, conscious of herself, the phone? The issue of payment for the meal, what each said, Carl and his seriousness, continually pursuing the issue, Yaya casual, offering to pay? The return to the apartment, separate, the continued obsession?
7. The yacht, luxury, the captain, drinking, his Marxism, refusing to come out of his cabin? The second in charge, the requests? Paula, in charge of the staff, trying to persuade him to come out? His eventually coming out, the issue of the captain’s dinner, prospect of whether, entry, meeting the guests, the Russian oligarch, conversations of the table, Marxism and commoners, capitalism? The increasing storm, more drinking, the arguments? The passengers ill? The oligarch, drunk, on the microphone, announcing the ship was going down? Joke, change of heart, the continued discussions? The oligarch’s survival?
8. Paula, the pep talk with the staff, their cheering her on, urging yes for every reply? Her being busy, greeting the guests, concern about the captain? The issue of the Russian wife, wanting everybody to swim? The serving of the meal, the passengers getting sick? Her surviving on the island?
9. The range of staff, Alice’s representative, saying yes, everybody agreeable, the serving drinks, the saving of the meal, the discussion about everybody going for a swim, the decision to pander to the request? The Russian wife, relationship with her husband, his fortune, her drinking, her illness, drowning, washed up on shore?
10. Carl and Yaya on the boat, a complimentary trip? Sunbathing, the enormous number of photos, Yaya preoccupied with the photos? Carl, the touch of the sullen? Talking with the guests, at the meal? Surviving?
11. The British couple, Winston and Clementine, upper-class, talk in manner, their business, grenades, landmines? Their being unwell at the meal? Not surviving?
12. The reserved traveller, wealthy, IT, the drink at the bar with Yaya and her friend? The dancing? At the meal? Is surviving?
13. The couple with the wife having the stroke, the husband attentive, her repeating the same German phrase? At the meal? Her surviving?
14. The domestic staff, on the lower deck, cleanup work, the toilets, scrubbing the yacht after the vomiting? Abigail, her role, surviving?
15. The impact of the sickness sequence, the buildup, the seven courses, the description of the courses, luxury, the beginnings of the sickness, the continuing meal, the drinking, the vomiting and its range? The effect on the audience?
16. The storm, the pirates, the advance on the yacht, the explosions, the sinking? The pirate survivor, stating that he was in the engine room, later admitting the truth?
17. The survivors, washed onshore, the condition, not able to help themselves? Abigail, getting the fish, preparing the meal, lighting the fire, being in charge? The switch of roles? Paula and her reaction, obeying? The needs of the group, water, food? Abigail and her dominance, giving out the portions, more for herself? Carl and the pirate heating the sticks, not telling the truth, Abigail punishing them by not giving them food? The group and their subservience to Abigail?
18. Their interactions onshore, talking, discussions, surviving? Abigail and the lifeboat, her demanding that Carl spent his time with her? Yaya and her reaction? Carl, the blend of the naive with surviving? The sexual relationship with Abigail? The result for Yaya?
19. Collecting the debris from the boat, the presence of the pirate, his becoming part of the group? Revealing his character, educated? The financial benefits of being a pirate? The oligarch and his dead wife washed ashore?
20. Celebrations, the wealthy man in his suit and tie? The possibilities for survival?
21. Yaya, Carl and his behaviour, asking Abigail to cross the mountain with her, the danger, Yaya with the rock, to kill Abigail?
22. The mystery of the elevator on the other side of the island? Possibilities for rescue? The bonding between Abigail and Yaya?
23. Carl, his awareness, running through the jungle – and the film stopping?

WHITE NOISE

US, 2022, 136 minutes, Colour.

Adam Driver, Greta Gerwig, Don Cheadle, May Nivola, Raffey Cassidy, Sam Nivola, Henry Moore, Dean Moore, Bill Camp, Jodi Turner Smith, Andre L. Benjamin, Barbara Sukowa.

Directed by Noah Baumbach.

White Noise is a film version of the award-winning novel by Don DeLillo. It is a portrait of an American world of the 1980s when the novel was published.

The film is quite demanding in its way, its range of characters, the succession of chapters, episodes, the emphasis on dialogue. (For those interested in comparisons with the original novel, the Wikipedia entry on the novel is most informative, the reader realising that the screenplay stays very close to the structure of the novel, reproduces many episodes explicitly, the drawing of the characters.)

The film was written and directed by Noah Baumbach who made a number of idiosyncratic, small dramas and comedies, from the early 2000’s – The Squid and the World, Frances Ha, Marriage Story.

There is a cinematic emphasis and perspective in the novel as well is in the film itself, an opening lecture about car crashes on screen, delivered by Murray (Don Cheadle), also introducing the world of academia and the central character, Jack, played with complexity by Adam Driver. Jack’s academic expertise is on Hitler – leading to an amusing sequence where Murray and Jack entertain and challenge their class, an interactive performance about Elvis and Hitler.

Jack is married, has been several times, currently to Babette (Greta Gerwig, Noah Baumbach’s partner and star of many of his films). There is a certain fragility about her character, with some comment on America’s reliance on medication, obtaining medication, and consequences.

Central to the plot is the dramatic episode of a petrol tank driver, careless, eventually crashing into a goods train with a spectacular disaster and fireball (illustrating what Murray said about accidents on screen). With the fireball and a storm, the authorities impose evacuation, Jack initially unwilling, then the family hurrying, lines and lines of traffic making towards the refuge centre, Jack getting out of the car to refill, then interrogated by the authorities at the centre, indicating that he could have been contaminated. This leads to something of a preoccupation with death. And, the realisation that the authorities are taken advantage of the fireball and storm to do a disaster evacuation exercise!

The latter part of the film has many sombre moments, Babette and her dependence on drugs, Jack investigating the source, finding the dealer, the dealer and his hold over Babette, Jack influenced by Murray’s conversation about sometimes it being necessary to kill someone, Jack with a gun, the confrontation, Babette arriving, the shooting. Even more bizarre is a final episode where Jack and Babette take the dealer to an emergency hospital – which is run by German nuns, severe in their manner, the Superior pragmatic in her selection of beliefs and her faith.

The film runs for 2 ¼ hours, has the main five chapters, ranges over the lives of middle Americans, relationships and family, the world of academia with its touch of the phony and the pretentious, American dependence on medication, guns and violence.

There is an extraordinary final credits’ sequence, more than five minutes, a choreographed shopping routine to music and a well-stocked supermarket, with a big cast, customers, checkout personnel… (The supermarket constructed for the film, stock with brands from the period, something of a tribute to the musicals of the past.)

1. The title? The background noises of our lives? The influence of these noises? An American interpretation? The 1980s?
2. The status of the novel by Don DeLillo? In the US? Worldwide? Considered a classic? A screen adaptation, keeping very close to the original novel, the sections, the characters, the interactions, much of the dialogue?
3. The work of the director, his personal films, perspectives on American life?
4. The structure of the film, the various sections, the focus on waves and radiation, the airborne toxic event, the particular drug, Dylorama…?
5. The importance of the visuals, lively, colourful, the world of academia, the American homes, the disaster, the evacuations and camps, the more personal drama at home with the drugs, the confrontation with the dealer? The musical score, songs of the period?
6. The importance of words, conversations, academic, serious and pretentious, ordinary interaction words?
7. The opening atmosphere, Murray and his lecture about vehicle crashes in cinema, his ideas, contradictory, the focus, the danger, glorification…? And his later theories about the death of Elvis Presley? And, the repartee lecture with Jack and comparisons between Elvis and Hitler? Murray and his continued support of Jack?
8. Jack as the focus of the film, age, experience, academic, expertise on Hitler, his lectures, the response of the students? His preoccupation with Hitler throughout the story? Jack and Babette, the number of marriages, the children from different wives, the family together? At home, the conversations, arguments, differing points of view? The personalities of each of the children? Heinrich? The daughters, often antagonism? The youngest? Babette, her devotion to Jack, yet her concerns, health?
9. The drama of the disaster, the truck driver, explosives, careless, the long goods train, the buildup, the aerial shots, the eventual crash, explosion, fireball, the cloud in the sky, menacing, thunder and lightning?
10. Audience response at this stage to this perspective on America, Middle America, academia, family, seriousness, pretensions? And the atmosphere of the emphasis on crashes?
11. The airborne disaster, Jack and his nonchalance, not taking it seriously, Babette’s response, supporting Jack, the reaction of the children? The attention given to the drive, the conversations and variety of reactions, the children, emotions? The news that they had to evacuate? Packing, in the car, the long lines of traffic, trapped? Information? To go to the camp? Needing gas, going to the station, filling up, Jack’s exposure, not leaving any money, resuming the queue?
12. The crowds the camp, regulations, the authorities, signing in, the young official, Jack and his possibility of being contaminated, out of the car to get the gas?
13. The emphasis on death and dying, Babette and her health, tablets? Jack’s puzzle about the tablets? Their being hidden in the house? Jack discovering them? His own preoccupation with death, the exposure? Going to the doctor, prognoses, reactions?
14. The discussion with Murray about the possibility of killing someone and its effect?
15. The disaster, the simulation, taking advantage to test out disaster procedures?
16. The focus on the drugs, American preoccupation with drugs, health? Jack and his discussion with the children, confronting Babette, her revelation about the dealer, Jack finding the advertisement, Babette’s story of the sexual encounter with the dealer?
17. Jack, tracking down the dealer, confronting him, the gun, the dealer and his talking, issues of death and dying, the violence? Babette arriving, saying that men were violent and killers? Jack and his being injured? The decision about the dealer’s body, dragging it out of the motel, into the car, getting rid of the body?
18. The decision to take the dealer to the emergency, the irony of English and German, the German nuns, the old habits, the severity of the superior, the treatment of the victim, Jack and his discussion with the nun, issues of faith and belief, the nun’s scepticism, the wider repercussions of people’s belief, non-belief, ridding the world of superstition and falls religion?
19. The cumulative effect of this experience of Americana, the American family, academia, family life, health and cures, disasters and responses, religion?

A MAN CALLED OTTO

US, 2022, 126 minutes, Colour.

Tom Hanks, Marianna Trevino, Manuel Garcia-Rulfo, Rachel Keller, Truman Hanks, Cameron Britton, Juanita Jennings, Mike Birbiglia.

Directed by Marc Forster.

Otto was originally Ove, the grumpy central character of the Swedish novel and then an Oscar-nominated Swedish film, A Man Called Ove. He has now crossed the Atlantic and become Otto.

It may seem something of a paradox to say that this film about grouchy Otto is very genial. It is something of a crowd-pleaser. And, that is due to the fact that it casts the American icon, Tom Hanks, as Otto. We guess that Otto will eventually smile – but we can’t necessarily count on that.

Otto is a widower, very sad at the death of his wife, visiting her grave in the cemetery frequently, bringing flowers, talking with her – and wanting to join her very soon. In fact, he does make several attempts, often botched, sometimes interrupted! He has his daily routine, living in a small gated street, imposing the rules and minute regulations, checking on everything and everyone, telling people off, and growling when his neighbours greet him in the morning. And yet, Tom Hanks makes us interested in him.

One day Otto is exasperated as a U-Haul van bumps onto the sidewalk and he intervenes, discovering his new neighbours, the livewire pregnant mother, Marisol (an exuberant Marianna Trevino), her rather accident-prone husband (Manuel Garcia-Rulfo), surprised by two young girls sitting in the back of the van. We know that they are going to be the facilitators of some change in Otto but we enjoy discovering how – for instance, Marisol not having a driver’s license and needing to get to the hospital because her awkward husband has fallen off the ladder borrowed from Otto, and Otto deciding to give her a driving lesson, not without its hazards. And Marisol provides food for him – which surprises him because he finds it tasty. Later he will be asked to babysit the children, not his forte, and a severe clash with an over-enthusiastic clown who borrows his precious silver dollar, memory of his wife, and the clown gives him back another one instead!

So, while there is a lot to amuse, including some of the other neighbours, there is a great deal to be serious about. Otto has lost his zest for life and wants to end it. He does take an interest in Marisol and the family despite himself. He has to reconcile with a friend, African-American, from the past who is now paralysed, with whom he had fallen out, and discovering that the officious real estate agents, wanting to develop the street, are prepared to throw his friend and his wife out. He helps the young paper deliverer to fix his bike, bonding with him, and discovering that he is a trans-young man.

So, Otto’s street, is something of a microcosm of the United States, the presence of white people, the presence of African-Americans, the presence of Hispanics, the presence of gender-finding people…

And, there is the iconic Tom Hanks at the centre, causing us to be upset with him at times, but eliciting our sympathy.

A genially humane film.

1. The title, the focus on Otto, as a man, as a grumbling Everyman? The adaptation of a Swedish story and film?
2. The American setting, the town, homes, the private street? The action confined to the area? The cemetery, the railway station? The wider scope in the flashbacks, the young Otto, family, work, meeting Sophie and the train, the encounters, the restaurant and the kiss, marriage, Niagara Falls, the bus crash? The musical score?
3. Tom Hanks has Otto, in his mid-50s, living alone, punctual in time, his routine in checking all the cars in the street, the gate? Going to work, the cake with his icing photo, cantankerous, criticising his being ousted? Widower? Six months? His dealings with people, cranky? The real estate agents, driving in, confronting them? The paperboy and the bike? Curmudgeon?
4. The gradual revelation of Otto and his life, depression, visit to the cemetery, two bunches of flowers for the price of one, talking to Sophie? Wanting to join her? Succession of suicide attempts, buying the rope and his being abusive to the young man in the shop? Not wanting charity? Accuracy? The failure of the hook in the ceiling and his falling? In the car, the carbon monoxide, the knock on the door? With the shot gun? His being interrupted, explaining this to his wife, his continued intentions?
5. The neighbours, Mike and his exercise, friendliness? Anita, Ruben, falling out with them, the flashbacks about the car, their quarrel? Going to see Anita, her Parkinson’s, her son in Japan, selling the house? Otto with Reuben, Ruben in his wheelchair, silent? The news of the sale, the estate agent and Otto’s confrontation, preparing all the paperwork for saving the house?
6. At the railway station, on the edge, the man having the heart attack, Otto helping him, the rescue, staying on the track, the helping hand and his being saved? Everybody photographing the incident with their phones? The photojournalist, the episode on line, the million followers? Her coming to visit him, his aggressive treatment of her? The irony of his setting up the estate agent, the confrontation, the journalist, filming everything?
7. Marie Solon Tom, the first episode, trying to park the U-Haul, Otto and his exasperation, in the vehicle, discovering the two little girls? Marie’s soul and her livewire personality, Tom and his being slow, borrowing the latter, to open the window, his falling, in hospital, crutches? Mary saw pregnant? Her ability in managing things? Asking Otto to mind the children, his agreeing, reading, falling asleep? Driving her to the hospital? The driving lesson, in his car, brakes and clutch, almost crashing, his coming her down, success in driving?
8. The paperboy, the bike, Otto’s lecturing him? The later encounter, trans-young man, his story, Tony sympathy, showing how to repair the bike? The young man and his story, rejection by his father, asking Otto for some help, accommodation, Otto agreeing? And later giving him his car?
9. Mike, the exercises, friendly, helping Anita, the meals there? Helping in the house crisis?
10. The flashbacks, the young Otto, his family, wanting to be an engineer, his studies, seeing Sophie on the station, dropping her book, changing station, in the train, returning the book, the guard and the ticket? The further meeting? Her personality, the restaurant, the kiss, the engagement, marriage, his graduation? The honeymoon in Niagara Falls? The accident, her injuries, hospital, in the wheelchair? The long years and her support? Her death?
11. The humanising of Otto, with the family, with Anita and Ruben, with the trans-young man?
12. Otto and his health, rejected for the Army, his big heart, the visits to the doctor? Is carrying on, getting everything in order, the letter to Marisol, giving away the car, helping Anita and Ruben, the reconciliation?
13. Otto, his collapse, his death?

ASKING FOR IT

US, 2021, 97 minutes, Colour.

Kiersey Clemens, Vanessa Hudgens, Alexandra Shipp, Ezra Miller, Gaborey Sidibe, Radha Mitchell, Leslie Stratton, Luke Hemsworth, David Patrick Kelly, Demetrius Ship Jr.

Directed by Eamon O'Rourke.

This is a film with an unpleasant theme, brutality and violence by men, victimisation of women, women rising for retaliation.

The title indicates an attitude which some men take in terms of relating to women, sexually. At the core of this film is the dramatisation of a movement, Men for Men, meetings shown, slogans yelled, extreme macho male dominance. Ezra Miller plays the lead, fanatical yet sometimes coldly calculating, a strong presence at the Men for Men meetings. However, he is in collusion with the local sheriff, David Patrick Kelly, who is running a human trafficking organisation, abducting women, putting them on boats, $10,000 for each.

With this ugly portrayal of groups of young men, drinking, swaggering, little sense of decency, the portrayal of the women in the film can be understood, sympathised with.

The focus here is on a young girl, Joey, waitressing, urged to look for a better future, supported at home, who goes to a party, invited by a young man going to college – who then rapes her. Needless to say, it has a devastating effect on her while he, calmly, goes on his way.

Joey meets a regular customer at the diner where she works who invites her into conversation, to meet a number of her friends. While Joey is wary, she gets caught up with a number of the friends. They belong to a collective of women, victimised women, taking matters into their own hands, to wreak some kind of vengeance on abusive men. They have a central meeting place, a cafe, and a leader played by Radha Mitchell. There is quite a variety of women in the group and they go to a centre, on the outskirts of town, set up by refugees from the city, men and women, a kind of collective where they support one another.

The film shows the activities of the women. There are protests. There are demonstrations. There are fights. One complication is the past relationship of the leader in her study days, with the policeman (Luke Hemsworth) who is upholding the law but sympathetic to the women, with a rather daft assistant, who comes to the centre, offering support, especially in the confrontation with the corrupt sheriff.

Joey encounters her rapist, confronts him, he backing down, she humiliating him, making him admit the truth.

However, matters are not easy with the whole group, the corrupt sheriff and other police, fights, shootouts, deaths, Joey been taken, the possibility of her being trafficked. The leader is also shot dead.

While Joey returns quietly home, the audience has been immersed in the ugliness of the Men for Men meetings, the macho bravado, the violence, and made to look at this through the eyes of the protesting women.

COME AND FIND ME

US, 2016, 112 minutes, Colour.

Aaron Paul, Annabel Wallis, Garrett Delahunt, Chris Chalk, Zachary Knighton, Terry Chen.

Directed by Zach Whedon.

Something of an odd drama. The film begins somewhat playfully, a man and a woman on the bus, acting suspiciously, he following her, the confrontation only to find that they are playing, they are husband and wife. This gives something of a tone to what follows, people play acting.

Aaron Paul plays the bewildered hero, David, but it is not clear what he does for work and support himself. But he is devoted to his wife, Claire, Annabel Wallis. Then she disappears. David is distraught, spends a lot of time over the coming years making every effort to find her, in contact with the police, an encounter with a seeming old friend who suddenly attacks him violently.

David also finds a roll of film hidden in the house. Audiences realise that this is what everyone is after. David follows some clues concerning people in the photos, especially a wealthy businessman who is now dead. Then secret services are after him, international agencies – the film taking advantage of meetings, not in alleyways, but in beautiful mountain scenery.

David is given information that Claire was an agent, on mission, had been killed during activity. There is also a back story about her past relationships.

However, with all the complications, Claire is not dead, reunites with David, confronts those pursuing him.

The film is quite long, complicated, puzzling.

ALL WE HAD

US, 2016, 104 minutes, Colourful.

Katie Holmes, Stephania Owen, Eve Lindley, Richard Kind, Luke Wilson, Mark Consuelos, Siobhan Fallon, Judy Greer.

Directed by Katie Holmes.

Katie Holmes had built up a career as a film star – and had the experience of marrying Tom Cruise. However, with this film, she began to move into direction as well as acting.

The film is a slice of life, focusing on economic hardships, a portrait of the mother and daughter, Rita and Ruthie, mother played by Katie Holmes, the daughter by Stephania Owen who looks like Katie Holmes and could pass as her sister. Men are absent in their lives except for Rita’s passing liaisons. In trouble, with little money, they decide to make a run for it and drive to Boston.

As happens, the car breaks down, the money is gone, they have a big meal at a diner and then leave without paying. However, the car fails and they return, imposing on the kindness of the manager, Richard Kind, and his associate, Pam, Eve Lindley, transgender, dreaming of going to New York. They are kind, give mother and daughter some accommodation, Ruthie becoming very friendly with Pam who supports her in times of crisis.

Ordinary events, the kind seen in many films, television movies and series.

Rita then makes a mistake, becoming attracted to the local estate agent, who does a deal for her for a house and rent, only for the deal to fall through and Rita feel betrayed. The other man in the film is Lee, Luke Wilson, a widower, drinking, going to AA meetings where he encounters Rita and, gradually, they become closer, Ruthie upset, walking out, supported by Pam.

The phrase everything will be okay occurs often in the film – an underlying hope, and the ending.

1. An American slice of life, downtrodden people, small town life, opportunities, failures? Hope?
2. The settings, the small towns, homes, trailers, the streets, diners, AA meetings…? Musical score?
3. The work of Katie Holmes, directing, starring? Sensitivity? Women’s issues? Mother and daughter?
4. The situation, Rita, age, education and lack, choices, relationship with Ruthie, the passing men in her life? Ruthie with more common sense? Life together, the shoplifting? The crisis, moving out, the dream of going to Boston, driving, the relationship between mother and daughter? The car failing, going to the garage, the cost?
5. Going to the diner, not open, helping, Pam and her serving, wary? Marty and his kindness? Rita and Ruthie not paying? Driving off, the car, not starting, returning? Asking for a job?
6. Rita, working in the diner, awkwardness, learning? Ruthie, going to school, the friends at school, the possibility of rebelling, being like her mother, changing with looking after her mother? The support of the principal?
7. Ruthie, becoming friends with Pam, Pam and her background, transgender, dreams of going to New York? Sharing time, the art and craft? In the diner?
8. Marty, kind, unwell? The customers? The declining customers, the possibility of selling?
9. Mark, attraction to Rita, the dates, real estate, the deal about the house, the rent, signing the document, his fickle attitude, Rita challenging him, his undermining her?
10. The episode with Lee, at the diner, Rita upset, his coming to apologise? His background, the death of his wife, drinking, going to the AA meetings? Encountering Rita? Beginning to talk, the beginnings of friendship, going out, the possibility of a future, offering mother and daughter his house? A genial character?
11. Ruthie, the effects of all the trouble, love for her mother, clashes with her mother, suspicions of Vic, verified? Leaving home? Rita upset? Finding her with Pam?
12. The troubles, coming through them, the statement that everything would be OK?

THE ROAD DANCE

UK, 2021, 117 minutes, Colour.

Hermione Corfield, Morven Christie, Ali Fumiko Whitney, Will Fletcher, Felicity Keenan, Scott Miller, Alison Peebles, Luke Nunn, Mark Gattis, Jeff Stewart.

Directed by Richie Adams.

The Road Dance of the title is a village celebration on the evening before some of the young men, conscripted, go to war.

This is a film of many moods. There is joy. There is great sadness, hurt. There is desperation.

The setting is the island of Lewis in the Outer Hebrides. The time is 1916. There is a great deal of the old world of the 19^th century there, brick and thatched huts, no electricity, an enclosed community – although there is connection to the mainland, a postal service, doctors visiting…

In a prologue set in 1904, we are introduced to Kirsty and her father, teaching her to swim, to breathe (even though his terminal illness prevents him breathing well), looking at the liner passing their bay on its way to America, the possibility of going there from Lewis.

In 1916, Kirsty (a glowing performance from Hermione Corfield, moments of joy, moments of hurt, moments of desperation) lives with her widowed mother and younger sister. They work the land, especially growing potatoes. There is a small community, a doctor from London, the police officer, an old eccentric who doesn’t talk, Skipper, an enigmatic lady who observes everyone, and the young men who find that they are soon to go to war. One of the men is already working at an Army desk, Murdo (Will Fletcher), discreetly in love with Kirsty and she with him.

This is a slow-build film, inviting the audience to come and live in Lewis, experience what it is like, meet the people, some likeable, some unlikeable, a mix.

Then there is the Road Dance, Murdo and the other five young men celebrating before they go off, with the enthusiastic blessing of the older men for them to go to fight for King and country.

On the night of the Road Dance, Kirsty, somewhat sad with Murdo’s imminent departure, goes out and sits on the cliffs – and is violently attacked, raped, she not seeing who it was attacked her, nor does the audience. Kirsty has hit her head on stones, is found, and taken to the care of the doctor.

So, this becomes a film about women who are victimised brutally by men, the secrecy, the shame, and the consequences for the young woman, pregnant, trying to conceal the pregnancy, even from her mother and sister. Kirsty becomes a very sad woman.

While the audience will think they know where the plot is going, and identifying the attacker it actually does not, quite some complications in the village, with her mother and sister, with the doctor, with the police. It is here that the drama becomes very involving for the audience. And it is compounded by sad news from the front – with some sequences shown of the trenches and of the men going over the trenches, exposed to the guns.

The ending will give rise to a variety of reactions from the audience, the perpetual conflict between inevitable dramatic tragedy or happiness.

1. A Scottish story? The Outer Hebrides? The island of Lewis? Isolated, the connection with the mainland in communication? The Scots characters, 1916?
2. The visuals of the island, the brick and thatched homes, the store, the police, the doctor’s house, the church? The later scenes of the trenches and the battlefields? Finally in America? The musical score?
3. 1916, the Scots, part of Britain, World War I, having to serve King and Country? Murdo and his work at the desk? Coming back to the island? The other young men, the call-up, the old men urging them to serve? The night before leaving, the Road Dance? The farewell? The news of war? Letters from Murdo? The visualising of the war, the young men, in the trenches, the hardships, over the top, on the battlefield, their being killed and wounded?
4. Kirsty’s story, 1904, with her father, learning to swim, to breathe, his own illness and breathing and death? Seeing the liner going to the United States? Opening of the possibilities?
5. Kirsty in 1916, with her mother and sister, working the fields, potatoes, the sales? The place in the village? The gossip in the village? The prospect of marriage? The possibilities amongst the young men, some being urged on? Yet Kirsty’s love for Murdo, the importance of his return? The seeing each other, quietly? Love and respect?
6. The elders in the village, the policeman keeping order, the Reverend, the doctor having come from London? Their status?
7. Kirsty and her mother, memories of the father, her mother protective, Annie and her age, and her attraction to Angus?
8. The title of the film, the Road Dance, the celebration before the men went to war? Kirsty and the gift of the dress from her mother? The going to the dance? The young men, the musicians, the celebration? Murdo and his dancing with Kirsty?
9. Audience response to Kirsty in the early part of the film, lightly, vivacious, attractive? Strong personality? Her going for the walk by herself before Murdo left?
10. The scene of the rape, close-up, the audience not knowing who it was, Kirsty not knowing who it was? The head with the stone? The loss of detailed memories? The various young men and the possibilities? The after-effect, Murdo finding her, taking to the doctor, the doctor looking after her, the care? Her returning home? And the men going off the next morning? Patriotic and religious?
11. Kirsty, writing to Murdo, the letters from Murdo, the experience of the war?
12. Kirsty, her pregnancy, concealing it, the clothes? Tying cloth around herself? The months passing? Her finally confiding in her sister? Her mother’s discovery? Kirsty wanting to do something for the war effort, the old lady and the village, the women volunteering to do sewing?
13. The birth, her mother and sister, the close-ups of the birth, the effect on Kirsty?
14. The calling of the doctor, his care for her Kirsty, not revealing the birth? The policeman, concerned, visiting the home, suspicions? His wanting a second opinion?
15. The second doctor, coming from the mainland, to the house, his examination, and the audience learning later that he examined Annie?
16. Kirsty, the reflections, the realisation who the rapist had been? The confrontation with the doctor, audience surprised at his being the rapist? In the light of his story of his past history?
17. Murdo, presumed dead, his gift of the money for the fare to America, their plans? The preparations, her leaving, sailing for America?
18. In America, the sudden appearance of Murdo, prisoner of war? The happy ending?
19. Many unhappy with this ending in so far as the direction of the film was tragedy?

ROUTE 10

Saudia Arabia, 2021, 82 minutes, Colour.

Baraa Alem, Fatima Albanawi.

Directed by Omar Naim.

Route 10 is a film from Saudi Arabia with the director from Lebanon. It is a brief, effective drama, a literal road movie.

Route 10 is extraordinary, 800 km of straight road through the desert – and the audience having all kinds of views and perspectives of the road and the desert.

The audience is invited into Saudi Arabia, the affluent aspects of Riyadh, an influential family, brother and sister, living in a mansion, summoned to fly to Abu Dhabi for their father’s second wedding. They are informed of flights being cancelled so they have to travel by road.

There is tension between brother and sister, some alienation from the past, so the early part of the journey has some bickering, querulous aspects. The brother drives – and audiences are interested to see if the woman drives a car in Saudi Arabia. Eventually she does.

Many commentators have made the comparison with Steven Spielberg’s classic short drama, Duel, a driver on the road, an anonymous menacing driver in pursuit. And this happens with the couple on the road, some road games with an anonymous driver, though seen to be male, their ignoring him after a breakdown, relishing his discomfort. They also speculate on who the driver could be, remembering business connections (and the brother is continually on the phone), or the consequences of an injury by accident in the past. What follows is a series of menacing, pursuit, overtaking, bumping into cars, his threat to them when they stop at a wayside petrol station, putting a scorpion in the car. When the couple see a police patrol on the road, the policeman does not believe them, threatens them with stealth of the car, until the pursuer then attacks the policeman and kills him. There is a dilemma for the young woman, a popular trained nurse respected at the hospital, who wants to go back to help the policeman.

Ultimately, there is more pursuit, cars driven off the road, the confrontation with the driver, disposing of him – and taking his car to drive to the wedding.

There has been a lot of social discussion, the role of the financial barons of the country, their methods, inhumane treatment of those working for them, bad memories of their father and his treatment of their mother, and a final confrontation with him as they arrive at the wedding.

1. A Saudi Arabia Road movie? Route 10, length, to Abu Dhabi? Through the desert?
2. The brief running time, setting the situation, the characters, the unknown assailant, the theories, the action? And the personal relationship between brother and sister, children and father, mother?
3. The location photography, the various views of the road, from above, on the road, the lanes, the surrounding desert, the dunes, the supermarket, the prayer building, the police in the car, the men with their truck? The musical score?
4. The situation, the cancelled flights? Assuming that this was the case, not checking? The wealthy family, the father and his business sense, no human compassion, his face on the magazines, relationship with his son, the phone calls, the deals, the law, demands? Relationship with his daughter, ignoring her? His late wife? The new marriage, wanting his children at the wedding?
5. The affluent family, the house, the car, the servant, treatment by the father, the later suspicions of him behind the plot? Servant, mechanic?
6. The character of the son, age, experience, treatment by his father, working for his father, saying he worked with him, the phone calls, the deals, anxiety? Memories of childhood with his sister, blinding the boy? Suspicions that the assailant could be connected with him? The daughter, age, experience, nurse, service, respected at work?
7. The driving, the vistas of Riyadh, the vistas of Route 10, Nasser driving, Maryam offering, eventually her driving? Their talk, memories of the past, bickering, listening, reconciliations, memories? Disillusionment with their father, fond memories of their mother, Maryam having tapes?
8. The mysterious assailant, pursuing them, playing road games, his clothes, mail, anonymous? His Jeep? Pursuit, swerving, overtaking, going behind, unnerving them? His breakdown of their passing? The continued pursuit? Stopping at the supermarket, Nasser and his manner, the scorpion in the back? Going to pray, the disappearance of issues?
9. The pursuit, bumping the car, getting out, the attack, Nasser and his fall, the injury, Maryam and attending it? His dizziness?
10. Stopping for the men, their truck, borrowing the phone, the assailant, the attack, Maryam and getting the phone, injuries?
11. The scorpion, Maryam and getting it off Nasser’s foot?
12. The control on the road, his phone call, suspicions, handcuffing Nasser, the attack on the policeman, his injuries, crashing into the windscreen, his death? Maryam and her scruple about returning?
13. The policeman’s gun, shooting the tire, the discussions about going back, the pursuit, Nasser shooting, the crash, their car overturned, going back to the body of the assailant, revving the car, bearing him in the sand?
14. The continuing in his van in his Jeep, arrival at the wedding, closing injuries, confronting their father?

PUSS IN BOOTS: THE LAST WISH

US, 2022, 100 minutes, Colour.

Voices of: Antonio Banderas, Salma Hayek, Harvey Guillen, Florence Pugh, John Mulaney, Wagner Moura, Ray Winstone, Samson Kayo, Olivia Coleman, Da' Vine Joy Randolph.

Directed by Joel Crawford, Januel Mercado. 

A lot of audiences, young and old (except the littlies who might find it too scary), will enjoy this tale of Puss in Boots escapades.

Checking with Google, the origins of Puss in Boots go back to 1697, to the French fairytale storyteller, Charles Perreault (Sleeping Beauty, Cinderella…), And the story has been taken up by many storytellers over the centuries. In movie consciousness, Puss appeared in the second Shrek film, to great popularity, leading to appearances in further Shrek films, short films, games… Now, it is surprising to find that it is 11 years since Puss had his first full-length feature film. Audiences will welcome him back after such a long delay.

Puss is a derring-do Spanish Hidalgo type, a lot like Zorro in his style, his uniform, boots, his slouch at, his sword, with more than a touch of vanity, a legend in his own eyes as well as all those who admire him. He is voiced, as before, by Antonio Banderas.

The film is titled The Last Wish, Puss having to confront the possibility of his death, relying far too confidently on the fact that cats have nine lives – until it is revealed to him, in an amusing gallery of variations, visually and verbally, on Puss, that he has had eight deaths already! Puss is now ready to make wishes for a long life, and discovers a document “Star light, star bright…” And ventures out to find it and fulfil his wishes.

Audiences will enjoy Puss’s personality, his having to face reality, his being reunited with Kitty (Salma Hayek) and a cute little orphan dog, Perro, who becomes cuter and cuter! But, Puss has to find allies and confront hostilities. Who should turn up but Goldilocks and the three Bears, also on the wish quest (and very British with top-cast voices of Florence Pugh, Ray Winstone, Olivia Coleman, Samuel Kayo), who provide some entertainment..Then Little Jack Horner, small, insignificant, but hostile, becoming literally puffed up in pursuit of Puss. But, most frightening of all, is a giant Wolf, Death, dark and in shadows, piercing eyes, who will confront Puss – leading to battles, Puss, Kitty, Perro and the bears supporting Puss.

How to describe Puss in Boots? Exciting – but even more so. Colourful – flamboyantly so. Adventurous – more than we anticipated. Entertaining – definitely.

There is something ominous in the title of The Last Wish. Rather, a wish would be for another Puss in Boots adventure.

1. The popularity of Puss in Boots in fairytales? In films, the introduction in the Shrek films? As a character, presence, and the voice of Antonio Banderas?
2. The sequel, after 11 years, welcomed? The title – and yet audience eagerness for another sequel?
3. The animation style, vivid, colourful, the characters, the backgrounds, the action? The range of characters? The voice cast? The songs?
4. Audience lighting of Puss in Boots? The past? Seeing him again, Spanish, accent, style, the parallel with the Zorro? Swashbuckling? His mission is an achievement? Seeing him as a legend? His vanity? The shock of death? The vision of his previous deaths, the humorous presentation of the different aspects of Puss? There later reappearance, when he was on the brink of his last death?
5. Performance, song, the crowds? The reintroduction of Kitty? Their past, together, clashes, her annoyance at his vanity, yet continually with him? Support, challenge, love?
6. Perro, The orphaned dog, diminutive, cute – and becoming cuter?
7. The wish, the star, Puss and his wish? The introduction of Goldilocks and the Three Bears, their wishes? Jack Horner, in the corner but assertive? The range of other characters?
8. The quest, Puss, the search, the confrontation with the Bears, with Jack Horner? And the appearance of Death, the giant Wolf, eyes, pursuit, challenge?
9. Goldilocks, British accent, assertive, the other Bears, British accents? Audience knowledge of the fairytale, the variations, the comic touches, the happy resolution?
10. Jack Horner, inflated, pursuit, comeuppance?
11. Puss and the confrontation with death, the meeting of his other deaths? Kitty and her encouragement? The confrontation with death, the fight, the help, vanquishing?
12. An entertainment for children and adults?

AVATAR: THE WAY OF WATER

US, 2022, 192 minutes, Colour.

Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Kate Winslet, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Brendan Cowell, Jemaine Clement, Jamie Flatters, Britton Dalton, Jack Champion, Giovanni Ribisi.

Directed by James Cameron.

Many of us will remember seeing the original Avatar in 2009, swept away by its story, themes, strange characters, a visit to another world, the Pandora moon.

And, for years, James Cameron has promised us a sequel, indeed a pledge of many sequels. And, at last, Avatar The Way of Water. From December 15, 2022, there is simultaneous release of this film all around the world, from the US to China, and beyond, a kind of multi-verse of screens everywhere showing The Way of Water.

For those who relish Avatar and remember its details, they will be eager to see the characters again, visit Pandora, experience new adventures (and continuation of the old adventures). For those who cannot quite remember the details of the original, probably best to do some revision before venturing here.

Early in the film, there are some reminders of characters and of situations, especially the story of Jake Sully (Sam Worthington), in the first expedition to Pandora, his injuries, his falling in love, marrying (Zoe Kravitz) his being transformed into a Na’vi. There Is a glimpse of the scientist played by Sigourney Weaver (who now provides voice and performance for her daughter, Kiri). And those who thought the belligerent Colonel Quaritch, Stephen Lang, had died, the power of the inventive imagination has now revived him, but in the form of a Na’vi, bent on resentful revenge on Jake Sully.

James Cameron knows a lot about spectacle, think Titanic and the real-life dives to find the Titanic, his action spectacles like Terminator 2: Judgement Day, and his command of creative photography and computer-generated effects. This is particularly true of “performance capture”, used in the original film as here, the actors performing but technology able to transform their performance into the appearance of strange, unusual, blue creatures. And there are the effects as the Na’vi swoop through the air on giant flying creatures, or dive into the depths of the ocean with extraordinary sea creatures.

There are three distinct parts of this film (running for 192 minutes).

First, there is the establishing of the continuity of stories, the audience able to revisit Pandora and its characters, but also a new expedition from earth, seeking to exploit Pandora for minerals, setting up industry, building up a huge town and factories, with military support for protection. And the return of Quaritch. There is something of an uprising against the new colonial exploiting invaders, some guerrilla warfare on the part of Jake Sully. Action adventure.

Second, the mood changes, there is a focus on the families, Jake and his children, seeking refuge with another tribe (Cliff Curtis and Kate Winslet), interactions with the younger generation, some rivalries, a focus on one particular son, Lo’ak, taunted, left stranded in the wild ocean, discovering what seems to be a sea monster but finding it is friendly, able to communicate. This is a lyrical, Blue Lagoon, kind of storytelling.

Third, grand climax, the newcomers dominating and persecuting the locals, Quaritch and his continued quest, huge sea vehicles, building up to an enormous – and long – battle to end all battles, special effects, a pounding score, all that an audience wanting action and adventure could desire.

Which means then that Avatar, The Way of Water, achieves what it set out to do (although some audiences and reviewers are critical of James Cameron’s sometimes pedestrian dialogue). This kind of action adventure is different from the Marvel universe DC comics (Aquaman probably the closest). Rather, the Avatar films could appeal to those who relish the Narnia stories or have the Lord of The Rings.

1. A sequel after 13 years? The popularity of the original film, breaking all box office records? Story, characters, ecological message, industrial and colonialisation messages? Special effects? The techniques of “performance capture”, characters, appearances, action, voices?
2. The title, the explanations throughout of the continuous way of water? The amount of water in the film? Water sequences, underwater sequences, water creatures, Wales? Swimming, action, drama?
3. The cast, from the first film, the next generation, the actors, their performance capture appearances, their voices? The musical score, the pounding score during the final battle?
4. Audience memories of the original film, of Pandora, of the military and colonial coming to the moon, mining, conflicts, humans versus the people from Pandora? The beauty of Pandora, lyrical flights, the flying creatures, gravity?
5. Jake Sully, his role, the clash with Quaritch? Siding with the people of Pandora? His transformation? The death of Quaritch? The memories of the human characters, Sigourney Weaver as the doctor? Giovanni Ribisi as the manager? Their return in this film? And Sigourney Weaver playing her daughter?
6. The first part of the film, recapitulating the past, the role of Jake and his wife, their children, both human and local? The developers returning, the building of the town and the industry? Elaborate? Jake and the attacks, guerrilla warfare? The effect on Quaritch? Quaritch, his previous death, resurrected as Na’vi, his memories? His being determined to have vengeance on Jake? Is capturing the children, challenge to Jake? The rescue? Spider remaining, spider as’s Quaritch’s son, yet his loyalty to Jake and the family? Captured, interrogated, his silence? The commander, the fierceness in the interrogation, relentless?
7. The second part of the film, lyrical? The family, the parents, the relationship, Jake and his memories, the dangers, the pursuit by Quaritch? The children, their activities, bonding? The presence of Kiri? Her mother, her powers, communing with the spirit mother? Her collapse, her being healed? Her magical powers? The way of water, the children, swimming, underwater, adventures? The bonding and the attractions? Loyalties? Lo’ak, the clash with the son of the other chief, told to reconcile, the boys taking him out into the open seas, abandoning him, his encounter with the sea beast, the dangers, the pursuit, the crunching of the coral, but the rescue, the beast able to communicate? The return? The story of the beast, isolated, the past, the whale pursuers?
8. The third part, Jake and the family taking refuge with the other tribe, the bonding? Yet Quaritch, the attack, the weapons, the threats, being persecuted to give information about Jake? The buildup to the attack, Quaritch and his troops, Spider present, Scoresby, the scientist, the boat, Quaritch and his huge sea vehicle? The pursuit of the whales? The emergence of the whales from the water?
9. The buildup to the confrontation, lengthy, the pounding musical score, everybody involved, the special effects, the fighting, the destruction? The troops, Jake and the family, support, the capture of the children, freeing them, the buildup to the confrontation with Quaritch, Quaritch and his holding the daughter, the mother and her holding Spider, Quaritch relenting, letting him go?
10. The fight between Quaritch and Jake, the choreography of the fighting, the dangers, Jake choking Quaritch, yet trapped in the water, the urge to breathe, the rescue, the family?
11. The future, the family settling, Quaritch alive, Avatar 3?